Indestructible Objects

Meret Oppenheim, Fur Gloves, 1936

Wilhelm Freddie, Zola's Writing Desk, 1936 

 Marcel Duchamp / Enrico Donati, Prière de Toucher (Please Touch), 1947

Meret Oppenheim, Turkey shoes, 1936

 

Elsa Shiparelli, Monkey Hair Shoes, 1938

 

  Meret Oppenheim: Object (Luncheon In Fur), 1936

 

 Marcel Marien, L'introuvable (Das Unauffindbare), 1937

 

Man Ray, Indestructible Object, 1921

Claude Cahun, Object, 1936

Marcel Jean, Specter of the Gardenia, 1936

Eileen Agar, Angel of Anarchy, 1936

 

 

 Man Ray, Cadeau, 1921

 

 Marcel Duchamp, Bottle Dryer, 1914

 

Hans Bellmer, The Doll, 1936 

 

Ángel Ferrant, Maniquí (Mannequin), 1946

 

 George Grosz / John Heartfield
Der wildgewordene Spießer Heartfield (Elektromechanische Tatlin-Plastik), 1920

 

 Otto Morach, La boite a joujoux: The Blue Doll, 1918

 

 Hanna Höch, DaDa Dolls, 1916

 

 Luigi Veronesi, Devils, 1942

Puppets for "The Soldier's Tale" by Igor Stravinsky

 

 Sophie Täuber, Military Guards (Die Wachen), 1918

Marionette for the play The King Stag (König Hirsch) by Carlo Gozzi, 1762

 

 

 Alexandra Exter, L'Homme réclame [Publicity man], c. 1920

 

Pierre Klossowski, Diane et Acteon, c. 1975

 

 et al., EN PASSANT, 2011

 

 

 Denise Bellon, Salvador Dalí und sein Mannequin (Detail), 1938 

 

 

 Denise Bellon, Mannequin von André Masson (Detail), 1938 

 

 

 Marcel Duchamp, Why not sneeze Rose Sélavy?, 1921

André Breton wrote about Why not Sneeze, Rose Sélavy?:

I have in mind the occasion when Marcel Duchamp got hold of some friends to show them a cage which seemed to have no birds in it, but to be half-full of lumps of sugar. He asked them to lift the cage and they were surprised at its heaviness. What they had taken for lumps of sugar were really small lumps of marble which at great expense Duchamp had had sawn up specially for the purpose. The trick in my opinion is no worse than any other, and I would even say that it is worth nearly all the tricks of art put together.

 

 Irina Polin, Butterfly 2009

 

 Man Ray, L'énigme d'Isidore Ducasse, 1920 (Sewing Machine, Wool & Rope)

 

 Joseph Beuys, Homogeneous Infiltration for Piano, 1966

 

Salvador Dalí, Hummer - oder aphrodisisches Telefon, 1936

 Conroy Maddox, Onanistic Typewriter, 1940 

 Meret Oppenheim, Table with Bird's Legs, 1939 

 Isamu Noguchi, Monument to Heroes, 1943 

 

 

Alexander Calder, Red and Black Waves on Grey Stalk, 1954

 Leonid Sokov, Lenin and Giacometti, 1989

 Georges Hugnet, Painted Stone in Form of a Mask, 1955

Jean Benoît, Antiquité du XXième siècle, 1965 

 Paul Joostens, Dada-Object, 1918

  Kurt Schwitters, The Cathedral of Erotic Misery - Merzbau - Hanover - 1924

 Wilhelm Freddie, Sex-paralyseappeal, 1936

 Raoul Hausmann, The Spirit of Our Age - Mechanical Head, 1920

 Oskar Schlemmer, Triadisches Ballett (Triadic Ballet), 1922. Costume

John Heartfield's and Rudolf Schlichter's Prussian Archangel assemblage (1920), depicts a pig-headed military officer that the artists suspended from the ceiling. The giant puppet is wrapped with a poster that reads "I come from Heaven, from Heaven on high" - the refrain from a well-known German Christmas carol. The sign dangling below further mocks the military: "In order to understand this work of art completely, one should drill daily for twelve hours with a heavily packed knapsack in full marching order in the Tempelhof Field [a military training ground in Berlin]." When the Prussian Archangel was exhibited in 1920 during the First International Dada Fair in Berlin, authorities charged the artists with defaming the German army. In the end, Schlichter and Heartfield were acquitted. 

Paul Klee, Untitled (Big Eared Clown), 1925

 

 

 

 Lyonel Feininger, Toy Town, 1925

 

 

Hermann Finsterlin, Study for a House of Sociability, project, c. 1920

 

Finsterlin, a painter, toy designer, and architectural visionary, is closely associated with the German Expressionist architecture of the 1920s, which privileged inspiration over rationalism. He was introduced to architect Bruno Taut and the Arbeitsrat für Kunst—a Berlin group of radical German architects, artists, and critics—when they invited amateurs to submit work for their 1919 Exhibition for Unknown Architects. 

Einstein Tower in Potsdam-Berlin by Erich Mendelsohn, 1919-22

 

 Georg Baselitz, My New Hat, 2003

 

"I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens." - Georg Baselitz

German aquamanile depicting Airstotle’s girlfriend Phyllis riding him around the garden after Aristotle warned Alexander the Great about women. Copper alloy, 1400 AD.

 

 The author wound up for an afterenactment by a magnificent transformation scene

 

 

Some of the images provided by http://mondo-blogo.blogspot.com