Scheidegger & Spiess International New Titles Autumn 2023

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Poetic, radical, and ironic: Hannah Höch’s montages and the visual culture of Modernism
Edited by Martin Waldmeier and Nina Zimmer Book design by Bonbon, Zurich In cooperation with the Zentrum Paul Klee, Bern Paperback approx. 192 pages, 130 color and 20 b/w illustrations 17 × 23 cm 978-3-03942-172-5 English 978-3-03942-171-8 German sFr. 39.00 | € 38.00 | £ 32.00 | $ 40.00 DECEMBER 2023 (Europe) APRIL 2024 (US) ISBN 9783039421725 English ISBN 9783039421718 German A groundbreaking book on Hannah Höch’s montages in the context of film and the visual culture of Modernism Sheds light for the first time on Hannah Höch’s significance as a pioneering artist to confront the industrial age’s flood of images Richly illustrated, featuring also numerous prints and other documents from Höch’s estate, and film stills With a text-collage on the history of montage, assembling excerpts by Hannah Höch, Sergej Eisenstein, Raoul Hausmann, László Moholy- Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow 9 783039 421725 9 783039 421718 Exhibition: Hannah Höch—Assembled Worlds at the Zentrum Paul Klee, Bern (November 10, 2023 to February 25, 2024) Hannah Höch Assembled Worlds Hannah Höch (1889–1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital’s vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch’s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch’s fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume. Martin Waldmeier is a curator at the Zentrum Paul Klee in Bern. Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee. Scheidegger & Spiess Autumn 2023 5
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