Grotesque Visions: The Science of Berlin Dada

Grotesque Visions explores the radical avant-garde interventions of Salomo Friedländer, Til Brugman, and Hannah Höch, who used the artistic grotesque to criticize, satirize, and subvert scientific objectivity. The volume concludes by examining the exhibition "Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940," which reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.

Format: Paperback / softback
Length: 272 pages
Publication date: 29 December 2022
Publisher: Bloomsbury Publishing Plc

Grotesque Visions delves into the daring avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch, who boldly challenged the dubious practices and evidentiary claims of late-19th- and early-20th-century science. This captivating volume showcases the often excessive measures taken by pathologists, anthropologists, sexologists, and medical professionals to present their research in a seemingly unambiguous manner. Through the lens of Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists, the book reveals how they employed the artistic grotesque as a powerful tool to critique, satirize, and subvert various forms of purported scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson unveils a distinctive deployment of the artistic grotesque that specifically targeted established and emerging scientific discourses at the turn of the last fin-de-siècle.

Introduction:
Grotesque Visions explores the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch, who boldly challenged the dubious practices and evidentiary claims of late-19th- and early-20th-century science. This captivating volume showcases the often excessive measures taken by pathologists, anthropologists, sexologists, and medical professionals to present their research in a seemingly unambiguous manner. Through the lens of Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists, the book reveals how they employed the artistic grotesque as a powerful tool to critique, satirize, and subvert various forms of purported scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson unveils a distinctive deployment of the artistic grotesque that specifically targeted established and emerging scientific discourses at the turn of the last fin-de-siècle.

Challenging Scientific Objectivity:
The book delves into the ways in which pathologists, anthropologists, sexologists, and medical professionals sought to present their research in a seemingly unambiguous way. It highlights the often excessive measures they took, such as dissecting bodies, conducting experiments, and analyzing data, to establish their claims. These practices not only violated ethical standards but also undermined the credibility of scientific findings. By employing the artistic grotesque, Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists sought to challenge these practices and expose the flaws in scientific objectivity.

Artistic Grotesque as a Tool of Critique:
The artistic grotesque, characterized by its distorted and exaggerated features, was a perfect medium for critiquing scientific objectivity. Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the grotesque to satirize the scientific establishment and its claims. They depicted scientists as flawed individuals, often portrayed with grotesque physical characteristics or engaged in absurd or unethical practices. Through their artwork, they aimed to undermine the authority and credibility of scientific knowledge and promote a more critical approach to scientific inquiry.

Exhibition Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940:
The book concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. This exhibition showcased a collection of artwork that embraced the artistic grotesque as a means of critiquing scientific objectivity. It featured the works of Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists, as well as artists from other parts of Germany. The exhibition aimed to highlight the historical significance of the artistic grotesque in challenging scientific objectivity and promoting a more critical understanding of scientific knowledge.

Conclusion:
In conclusion, Grotesque Visions provides a valuable insight into the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch, who challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Through the artistic grotesque, these artists employed a powerful tool to critique, satirize, and subvert scientific objectivity. The book also examines the exhibition Grotesk!: 130 Jahre Kunst der Frechheit / Comic Grotesque: Wit and Mockery in German Arts, 1870-1940, which showcased a collection of artwork that embraced the artistic grotesque as a means of critiquing scientific objectivity. By highlighting the historical significance of the artistic grotesque, the exhibition aimed to promote a more critical understanding of scientific knowledge and encourage a more nuanced approach to scientific inquiry.

Dimension: 216 x 140 (mm)
ISBN-13: 9781501369940