Tematika: Ostalo
ISBN: Ostalo
Godina izdanja: 1900 - 1949.
Jezik: Nemački
Kulturno dobro: Predmet koji prodajem nije kulturno dobro ili ovlašćena institucija odbija pravo preče kupovine
Autor: Strani

Kurt Tucholsky - Deutschland, Deutschland über alles.
Ein Bilderbuch von Kurt Tucholsky und vielen Fotografen. Montiert von John Heartfield.

Neuer Deutscher Verlag, Berlin, 1929.
Tvrdi povez, rikna je ostecena pri vrhu (vidi sliku), desni forzec i beli predlist odvojeni od poveza, 232 strane. Sve Hartfildove fotomontaze su na mestu.
Ova knjiga se smatra remek - delom ilustracije, jednom od najbolje ilustrovanih knjiga svih vremena. Najveci deo tiraza je unisten u nacistickom spaljivanju knjiga 1933. godine.
IZUZETNO RETKO PRVO IZDANJE, CAK I U SVETSKIM OKVIRIMA!

Kurt Tucholsky (German: [kʊʁt tu.ˈxɔls.ki] ⓘ; 9 January 1890 – 21 December 1935) was a German journalist, satirist, and writer. He also wrote under the pseudonyms Kaspar Hauser (after the historical figure), Peter Panter, Theobald Tiger and Ignaz Wrobel.

A politically engaged journalist and temporary co-editor of the weekly magazine Die Weltbühne, he was also a satirist, an author of satirical political revues, a songwriter, and a poet. He saw himself as a left-wing democrat and pacifist and warned against anti-democratic tendencies — above all in politics and the military — and the threat of Nazism. His fears were confirmed when the Nazis came to power in January 1933. In May of that year he was among the authors whose works were banned as `un-German`[1] and burned;[2] he was also among the first authors and intellectuals whose German citizenship was revoked.[3][4]

According to Istvan Deak, Tucholsky was Weimar Germany`s most controversial political and cultural commentator. He published over 2,000 essays, manifestos, poems, critiques, aphorisms, and stories.

In his writings he hit hard at his main enemies in Germany, whom he identified as haughty aristocrats, bellicose army officers, brutal policemen, reactionary judges, anti-republican officials, hypocritical clergymen, tyrannical professors, dueling fraternity students, ruthless capitalists, philistine burghers, opportunistic Jewish businessmen, fascistic petty-bourgeois, Nazis, even peasants, whom he considered generally dumb and conservative….He is admired as an unsurpassed master of satire, of the short character sketch, and of the Berlin jargon.[5]

His literary works were translated into English, including the 1912 Rheinsberg: Ein Bilderbuch für Verliebte, translated as Rheinsberg: A Storybook for Lovers; and the 1931 Schloss Gripsholm: Eine Sommergeschichte, translated as Castle Gripsholm: A Summer Story.
Youth, school and university
Kurt Tucholsky (right), 14 years old with his siblings Ellen and Fritz (1904)
Tenement house in Szczecin, where Kurt Tucholsky lived in his early childhood

Kurt Tucholsky was born in a German Jewish family. His parents` house, where he was born on 9 January 1890, was at 13 Lübecker Straße in Berlin-Moabit. However, he spent his early childhood in Stettin (now in Poland), where his father had been transferred for work reasons. Alex Tucholsky had married his cousin Doris Tucholski in 1887 and had three children with her: Kurt, their eldest son, Fritz and Ellen. Tucholsky`s relationship with his mother was strained throughout his life; he had a more harmonious relationship with his father, who, however, died in 1905, during Kurt`s youth.[6] Alex Tucholsky left a considerable fortune to his wife and children, which enabled his eldest son to go to university without any financial worries.

In 1899, upon his family`s return to Berlin, Kurt Tucholsky attended the French Grammar School (Französisches Gymnasium Berlin).[7] In 1903 he transferred to the Royal Wilhelm Gymnasium;[7] he failed out of gymnasium in 1907 and subsequently prepared for his Abitur with the help of a private tutor.[7] After taking his Abitur examinations in 1909, he began studying law in Berlin in October of the same year, then spent his second semester in Geneva at the start of 1910.[7]

When he was at university, Tucholsky`s main interest was literature. Thus he travelled to Prague in September 1911 with his friend Kurt Szafranski to surprise his favorite author, Max Brod, with a visit and a model landscape that he had made himself. Brod introduced Tucholsky to his friend and fellow author Franz Kafka,[8] who afterwards wrote in his diary about Tucholsky:

a wholly consistent person of 21. From the controlled and powerful swing of his walking stick which gives a youthful lift to his shoulders to the deliberate delight in and contempt for his own literary works. Wants to be a criminal defence lawyer.

Yet, despite his later doctorate, Tucholsky never followed a legal career: his inclination towards literature and journalism was stronger.
First successes as a writer

While he was still at school, Tucholsky had already written his first articles as a journalist. In 1907 the weekly satirical magazine Ulk (`Prank`) published the short text Märchen (`Fairy Tale`), in which the 17-year-old Tucholsky made fun of Kaiser Wilhelm II`s cultural tastes.[9] At university he worked more intensively as a journalist, among other things working for the social democratic party organs Vorwärts (`onwards`) and Der Wahre Jacob.[10] He involved himself in the SPD`s election campaign in 1911.

With Rheinsberg – ein Bilderbuch für Verliebte (`Rheinsberg – a Picture Book for Lovers`) in 1912, Tucholsky published a tale in which he adopted a fresh and playful tone (which was unusual for that time) and which made him known to a wider audience for the first time. To support the sales of the book, Tucholsky and Szafranski, who had illustrated the tale, opened a `Book Bar` on Kurfürstendamm in Berlin: anyone who bought a copy of his book also received a free glass of schnapps (this student prank came to an end after a few weeks).

In January 1913 Tucholsky began an enduring and productive new phase of his journalistic career when he published his first article in the weekly theatre magazine Die Schaubühne (later called Die Weltbühne).[8][11] The owner of the magazine, the publicist Siegfried Jacobsohn, became Tucholsky`s friend and mentor, offering him both encouragement and criticism, sometimes co-writing articles with him, and gradually inviting him to assume some editorial responsibility for Die Schaubühne; under Tucholsky`s influence the focus of the journal shifted toward political concerns, and in 1918 it was renamed Die Weltbühne: Zeitschrift für Politik/Kunst/Wirtschaft (`The World Stage: Magazine for Politics/Art/Economics).[8] Tucholsky reflected on the significance of his relationship with Jacobsohn in a `Vita` (biography) that he wrote in Sweden two years before his death: `Tucholsky owes to the publisher of the paper, Siegfried Jacobsohn, who died in the year 1926, everything he has become.`[12]
Soldier in World War I

The beginning of Tucholsky`s journalistic career was interrupted by the outbreak of World War I – for over two years, no articles by Tucholsky were published. He finished his studies at the University of Jena in Thuringia where he received his doctorate in law (dr. jur.) cum laude with a work on mortgage law at the beginning of 1915. By April of that year he had already been conscripted[13] and sent to the Eastern Front. There he experienced positional warfare and served as a munitions soldier and then as company writer. From November 1916 onwards he published the field newspaper Der Flieger. In the administration of the Artillery and Pilot Academy in Alt-Autz in Courland he got to know Mary Gerold who was later to become his wife. Tucholsky saw the posts as writer and field-newspaper editor as good opportunities to avoid serving in the trenches. Looking back he wrote:

For three and a half years I dodged the war as much as I could – and I regret not having had the courage shown by the great Karl Liebknecht to say No and refuse to serve in the military. Of this I am ashamed. I used many means not to get shot and not to shoot – not once the worst means. But I would have used all means, all without exception, had I been forced to do so: I wouldn`t have said no to bribery or any other punishable acts. Many did just the same.[14]

These means, in part, did not lack a certain comic effect as emerges in a letter to Mary Gerold:

One day for the march I received this heavy old gun. A gun? And during a war? Never, I thought to myself. And leaned it against a hut. And walked away. But that stood out even in our group at that time. I don`t know now how I got away with it, but somehow it worked. And so I got by unarmed.[15]

His encounter with the jurist Erich Danehl eventually led to his being transferred to Romania in 1918 as a deputy sergeant and field police inspector. (Tucholsky`s friend Danehl later appeared as `Karlchen` in a number of texts, for example in Wirtshaus im Spessart.) In Turnu Severin in Romania, Tucholsky had himself baptized as a Protestant in the summer of 1918. He had already left the Jewish community on 1 July 1914.

Although Tucholsky still took part in a contest for the 9th war bond (Kriegsanleihe) in August 1918, he returned from the war in the autumn of 1918 as a convinced anti-militarist and pacifist. In a 1931 text, he wrote Soldaten sind Mörder (`soldiers are murderers`), which subsequently led to numerous judicial proceedings in Germany.

In December 1918, Tucholsky took on the role of editor-in-chief of Ulk, which he held until April 1920. Ulk was the weekly satirical supplement of publisher Rudolf Mosse`s left-liberal Berliner Tageblatt.[16]
Influence in the Weimar Republic

While Tucholsky was the editor of Ulk, he remained a contributing writer to Die Schaubühne (The Theater Stage), which had been renamed Die Weltbühne (The World Stage) in 1913. The author, who wrote under his own name as well as under four pseudonyms (Theobald Tiger, Peter Panter, Kaspar Hauser, and Ignaz Wrobel) became one of the most famous and influential voices of the Weimar Republic, an outspoken satirist, and an opponent of German militarism, the right-wing judiciary system and an early warner about the rising National Socialist movement. He spent the years from 1925 to 1928 in Paris but returned to Berlin to briefly become editor of Die Weltbühne. His books were among the first to be burned by the Nazi party in 1933. At that point, he had already fled to Sweden.[17]
Death

On the evening of 20 December 1935 Tucholsky took an overdose of sleeping tablets in his house in Hindås.[18][failed verification] The next day he was found in a coma and taken to hospital in Gothenburg. He died there on the evening of 21 December. Recently, Tucholsky`s biographer Michael Hepp has called into doubt the verdict of suicide, saying that he considers it possible that the death was accidental.[citation needed] However, this claim is disputed among Tucholsky researchers. Kurt Tucholsky was buried in the cemetery of Mariefred (near Gripsholm Castle) at Lake Mälaren. An inscription on his grave reads: Alles Vergängliche ist nur ein Gleichnis (`All that is transitory is merely a simile`), a quote from Goethe.
English editions and books

Tucholsky, Kurt: Berlin! Berlin! Dispatches from the Weimar Republic, translated by Cindy Opitz. New York: Berlinica Publishing LLC, 2013. ISBN 978-1-935902-23-2
Tucholsky, Kurt: Rheinsberg. A Storybook for Lovers, translated by Cindy Opitz. New York: Berlinica Publishing LLC, 2014. ISBN 978-1-935902-25-6
Tucholsky, Kurt: Castle Gripsholm: A Summer Story translated by Michael Hofmann, Woodstock, New York: The Overlook Press, 1988. ISBN 0-87951-293-8
Tucholsky, Kurt: Deutschland, Deutschland Über Alles: A Picture-book by Kurt Tucholsky, Photos assembled by John Heartfield. Translated from the German by Anne Halley. Afterword and notes by Harry Zohn. University of Massachusetts Press, 1972. ISBN 978-0870230387
Tucholsky, Kurt: Prayer After the Slaughter: Poems and Stories from World War I, translated by Peter Appelbaum and James Scott. New York: Berlinica Publishing LLC, 2015. ISBN 978-1-935902-28-7
Tucholsky, Kurt: Germany? Germany!: Satirical Writings: the Kurt Tucholsky Reader, translated by Harry Zohn. New York: Berlinica Publishing LLC, 2017. ISBN 978-1-935902-38-6
Tucholsky, Kurt: Hereafter: We Were Sitting on a Cloud, Dangling Our Legs, translated by Cindy Opitz. New York: Berlinica Publishing LLC, 2018. ISBN 978-1-935902-89-8

Legacy and honours
Memorial plaque at his birthplace in Berlin-Moabit (Lübecker Straße 13)

In 1985, the Swedish branch of PEN International started awarding the Tucholsky Prize, a 150 000 SEK grant in memory of Kurt Tucholsky, to a persecuted, threatened or exiled writer or publicist.

The prize has been awarded to the following writers:[19]
Year Name Nation(s)
1985 Adam Zagajewski Poland
1986 No prize was awarded
1987 Don Mattera South Africa
1988 Sherko Bekes Iraq, Kurdistan
1989 Augusto Roa Bastos Paraguay
1990 Bei Dao China
1991 Nuruddin Farah Somalia
1992 Salman Rushdie India
1993 Mirko Kovač SFR Yugoslavia
1994 Taslima Nasrin Bangladesh
1995 Shirali Nurmuradov Turkmenistan
1996 Svetlana Alexievich Belarus
1997 Faraj Sarkohi Iran
1998 Vincent P. Magombe Uganda
1999 Flora Brovina Kosovo
2000 Salim Barakat Syria, Kurdistan
2001 Asiye Zeybek Guzel Turkey
2002 Rajko Đurić Serbia, Romani
2003 Jun Feng China
2004 Yvonne Vera Zimbabwe
2005 Samir El-Youssef Palestine
2006 Nasser Zarafshan Iran
2007 Faraj Bayrakdar Syria
2008 Lydia Cacho Mexico
2009 Dawit Isaak Eritrea
2010 Abdul Samay Hamed Afghanistan
2011 Uladzimir Nyaklyayew Belarus
2012 Samar Yazbek Syria
2013 Masha Gessen Russia
2014 Muharrem Erbey Turkey, Kurdistan
2015 Arkady Babchenko Russia
2016 Aslı Erdoğan Turkey
2017 Yassin al-Haj Saleh Syria
2018 Nasrin Sotoudeh[1][permanent dead link] Iran
2019 Gui Minhai China, Sweden
2020 Maria Ressa Philippines, USA
2021 Dmitrij Strotsev Belarus
2022 Perhat Tursun China
2023 Serhiy Zhadan Ukraine
2024 Bushra al-Maqtari Yemen

There is also a German Kurt Tucholsky Prize of €3,000 that is awarded every two years since 1995 by the Kurt Tucholsky Foundation for `committed and succinct literary works`.
Kurt Tucholsky is portrayed in the political/historical comic series Berlin by Jason Lutes.
12401 Tucholsky, asteroid.
Tucholskystraße in Berlin-Mitte is named after Kurt Tucholsky.
In 1985 Dalida recorded “ Nein, Zärtlich bist du nicht”, which is a Tucholsky’s poem “Sie Zu Ihm” turned into a pop song by Hanne Haller.

John Heartfield (born Helmut Herzfeld; 19 June 1891 – 26 April 1968) was a German visual artist who pioneered the use of art as a political weapon. Some of his most famous photomontages were anti-Nazi and anti-fascist statements. Heartfield also created book jackets for book authors, such as Upton Sinclair, as well as stage sets for contemporary playwrights, such as Bertolt Brecht and Erwin Piscator.
Biography
Early life, education and work

John Heartfield was born Helmut Herzfeld on 19 June 1891 in Berlin-Schmargendorf, Berlin under the German Empire. His parents were Franz Herzfeld, a socialist writer, and Alice (née Stolzenburg), a textile worker and political activist.[1]

In 1899, Helmut, his brother Wieland, and their sisters Lotte and Hertha were abandoned in the woods by their parents after Franz Herzfeld was accused of blasphemy.[clarification needed] His family[clarification needed] had to flee to Switzerland and later they were deported to Austria. When their parents disappeared in 1899,[clarification needed] Heartfield and his siblings were left abandoned in a mountain hut. The four children went to live with an uncle, Ignaz, in the small Austrian town of Aigen.[2]

In 1908, he studied art in Munich at the Königliche Kunstgewerbeschule München (Royal Bavarian Arts and Crafts School). Two commercial designers, Albert Weisgerber and Ludwig Hohlwein, were early influences.

While living in Berlin, he began styling himself `John Heartfield`, an anglicisation of his German name, to protest against anti-British fervour sweeping Germany during the First World War, when Berlin crowds often shouted `Gott strafe England!` (`May God punish England!`) in the streets.[3]

During the same year, Heartfield, his brother Wieland and George Grosz launched the Malik publishing house in Berlin. In 1916, he and George Grosz experimented with pasting pictures together, a form of art later named photomontage, and which would become a central characteristic of their work.

In 1917, Heartfield became a member of Berlin Club Dada.[3] Heartfield would later become active in the Dada movement, helping to organise the Erste Internationale Dada-Messe (First International Dada Fair) in Berlin in 1920. Dadaists were provocateurs who disrupted public art gatherings and ridiculed the participants. They labeled traditional art trivial and bourgeois.

In January 1918, Heartfield joined the newly founded German Communist Party (KPD).[3]
Interwar period

In 1919, Heartfield was dismissed from the Reichswehr film service because of his support for the strike that followed the assassination of Karl Liebknecht and Rosa Luxemburg. With George Grosz, he founded Die Pleite, a satirical magazine.

Heartfield met Bertolt Brecht in 1924, and became a member of a circle of German artists that included Brecht, Erwin Piscator, Hannah Höch, and a host of others.

Though he was a prolific producer of stage sets and book jackets, Heartfield`s main form of expression was photomontage. Heartfield produced the first political photomontages.[4] He mainly worked for two publications: the daily Die Rote Fahne (`The Red Flag`) and the weekly communist magazine Arbeiter-Illustrierte-Zeitung (AIZ; `Workers` Illustrated Newspaper`), the latter of which published the works for which Heartfield is best remembered. He also built theatre sets for Erwin Piscator and Bertolt Brecht.

During the 1920s, Heartfield produced a great number of photomontages, many of which were reproduced as dust jackets for books such as his montage for Upton Sinclair`s The Millennium.

It was through rotogravure, an engraving process whereby pictures, designs, and words are engraved into the printing plate or printing cylinder, that Heartfield`s montages, in the form of posters, were distributed in the streets of Berlin between 1932 and 1933, when the Nazis came to power.

His political montages regularly appeared on the cover of Arbeiter-Illustrierte-Zeitung from 1930 to 1938, a popular weekly whose circulation (as many as 500,000 copies at its height) rivaled any other contemporary German magazine. Since Heartfield`s photomontages appeared on this cover, his work was widely seen at newsstands.

Heartfield lived in Berlin until April 1933 when the Nazi Party took power. On Good Friday, the SS broke into his apartment, but he escaped by jumping from his balcony and hiding in a trash bin. He fled Germany by walking over the Sudeten Mountains to Czechoslovakia.[5] He eventually rose to number five on the Gestapo`s most-wanted list.[6]

In 1934, he combined four bloody axes tied together to form a swastika to mock the `Blood and Iron` motto of the Reich (AIZ, Prague, 8 March 1934).[7]

In 1938, given the imminent German occupation of Czechoslovakia, he was forced once again to flee from the Nazis. Relocating to England, he was interned as an enemy alien, and his health began to deteriorate. Afterward, he lived in Hampstead, London. His brother Wieland was refused a British residency permit in 1939 and instead left for the United States with his family.
Postwar period

In the aftermath of World War II, Heartfield was denied his written applications to remain in England for `his work and his health`, and was convinced in 1950 to join Wieland, who had been living in East Berlin, East Germany. Heartfield moved into an apartment next to his brother`s, at 129A Friedrichstrasse. However, his return to Berlin was seen with suspicion by the East German government due to his 11-year stay in England and the fact his dentist was under suspicion by the Stasi. He was interrogated[note 1][8] and released having narrowly avoided a trial for treason, but was denied admission into the East German Akademie der Künste (Academy of the Arts). He was forbidden to work as an artist and was denied health benefits.

Due to the intervention of Bertolt Brecht and Stefan Heym, Heartfield was formally admitted to the Academy of the Arts in 1956. Although he subsequently produced some montages warning of the threat of nuclear war, he was never again as prolific as in his youth.

In East Berlin, Heartfield worked closely with theatre directors such as Benno Besson and Wolfgang Langhoff at Berliner Ensemble and Deutsches Theater. He created innovative stage set designs for Bertolt Brecht and David Berg. Using Heartfield`s minimal props and stark stages, Brecht interrupted his plays at key junctures to have the audience be part of the action and not lose themselves in it.

In 1967, he visited Britain and began preparing a retrospective exhibition of his work, which was subsequently completed by his widow Gertrud and the Berlin Academy of Arts, and shown at the ICA in London in 1969.
Works

He is best known for the 240 political art photomontages[9] he created from 1930 to 1938, mainly criticising fascism and Nazism. His photomontages satirising Adolf Hitler and the Nazis often subverted Nazi symbols such as the swastika in order to undermine their propaganda message.
Selection of notable works

Adolf, the Superman (published in the Arbeiter-Illustrierte-Zeitung [AIZ, `Workers` Illustrated Newspaper`], Berlin, 17 July 1932),[10] used a montaged X-ray to expose gold coins in Adolf Hitler`s esophagus leading to a pile in his stomach as he rants against the fatherland`s enemies.
In Göring: The Executioner of the Third Reich (AIZ, Prague, 14 September 1933), Hermann Göring is depicted as a butcher.[11]
The Meaning of Geneva, Where Capital Lives, There Can Be No Peace (AIZ, Berlin, 27 November 1932),[12] shows the peace dove impaled on a blood-soaked bayonet in front of the League of Nations, where the cross on the Swiss flag is changed into a swastika.
Hurrah, die Butter ist Alle! (Hurray, There`s No Butter Left!)[13] was published on the front page of the AIZ in 1935. A pastiche of the aesthetics of propaganda, the photomontage shows a German family at a dinner table eating a bicycle, with a portrait of Hitler hanging on the wall; the wallpaper is emblazoned with swastikas. A baby gnaws on an executioner`s axe, also emblazoned with a swastika, and a dog licks an oversized nut and bolt. The title is written in large letters, in addition to a quote uttered by Hermann Göring during a food shortage. Translated, the quote reads: `Hooray, the butter is all gone!`. Göring once said in an address delivered in Hamburg: `Iron ore has made the Reich strong. Butter and drippings have, at most, made the people fat`.[14]

Death and legacy
Grave of John Heartfield in Berlin

Following a lifelong history of illness, Heartfield died on 26 April 1968 in East Berlin, East Germany. He was buried in the Dorotheenstadt Cemetery, adjacent to Brecht`s former home.

After his widow Gertrud Heartfield`s death, the East German Academy of the Arts took possession of all of Heartfield`s surviving works. When the West German Academy of Arts absorbed the East German Academy, the Heartfield Archive was transferred with it.

From November to December, 1974 the Ministry of Culture and the Academy of Arts of the Democratic Republic of Germany (East Germany) hosted an exhibition of John Heartfield photomontages at the Museum of Modern Art in Paris.[15]

From 15 April to 6 July 1993, the New York City Museum of Modern Art hosted an exhibition of Heartfield`s original montages.[16]

In 2005, the British Tate Gallery held an exhibition of his photomontage pieces.[citation needed] The Museum Ludwig in Cologne held a retrospective exhibition of Marinus and Heartfield in 2008.[17][18]

In 2023, an animated documentary about Heartfield was released, directed by Katrin Rothe.[19]
In popular culture

Hurray, There`s No Butter Left!,[20] was an inspiration for the song `Metal Postcard` by Siouxsie and the Banshees. This song was re-recorded in German as `Mittageisen` and released as a single in September 1979 in Germany with Heartfield`s work as the cover art. A few months later the single was also released in the UK. The Swiss darkwave band Mittageisen (1981–1986) is named after this song`s title.

Hurray, There`s No Butter Left, was the text on the bottom of a photo of a German family, which can be found in a political comic posted into a banned communist magazine, in 1935.

Slovenian and former Yugoslav avant-garde music group Laibach has a number of references to Heartfield`s works: the original band`s logo, the `black cross`, references Heartfield`s art Der alte Wahlspruch im `neuen` Reich: Blut und Eisen (1934), a cross made of four axes, as can be seen on the inner sleeves and labels of their 1987 album Opus Dei. The cover art of their self-titled debut album Laibach (Ropot, 1985, Ljubljana), also references Heartfield`s Wie im Mittelalter… so im Dritten Reich (1934). A track called Raus! (Herzfelde), originally on Slovenska Akropola, but also included in Krst pod Triglavom and Opus Dei as Herzfeld (Heartfield), is about Heartfield.

British hardcore punk band Discharge used Heartfield`s work `Peace and Fascism` for the cover artwork of their 7-inch EP Never Again, 1981.

English post-punk band Blurt recorded a song called `Hurray, the Butter is All Gone!` on their 1986 album Poppycock.
The Hand Has Five Fingers (5 Finger hat die Hand), a 1928 poster by Heartfield that inspired the album cover for System of a Down

Armenian-American alternative metal band System of a Down used Heartfield`s poster for the Communist Party of Germany (The Hand Has Five Fingers) as cover art on their 1998 self-titled debut album.

German experimental group Einstürzende Neubauten reference Heartfield and his brother Wieland Herzfelde, as well as other Dadaist and Futurist artists such as Kurt Schwitters, Hannah Höch, George Grosz and Filippo Tommaso Marinetti in the track `Let`s Do It a Dada` from their 2007 album Alles wieder offen.

tags: avangarda, dadaizam, dada, kurt sviters, hans arp, georg gros, hans rihter, nadrealizam, nemoguce, andre breton, marko ristic, koca popovic, zenit, zenitizam, politicka propaganda, bauhaus, ivana tomljenovic, ljubomir micic, vajmarska republika, vajmar, kurt tuholski, dzon hartfild, dzon hirfild...