391 (magazine)
391 was issued by the French artist Francis Picabia Journal of Dadaism and early Surrealism. She appeared with a total of 19 issues, which included four to 14 pages and a circulation between 400 to 1000 copies, in the years from January 1917 to October 1924. , The irregularly published magazine contained, apart from works of other artists in each issue poems, writings and drawings by Picabia; all envelopes showed each one of his works. Contributions came from, among others, Louis Aragon, Robert Desnos, Marcel Duchamp, Paul Éluard, Max Jacob, Man Ray, Philippe Soupault and Tristan Tzara. 391 appeared in Barcelona, New York, Zurich and Paris - in the places where Picabia was staying respectively.
History
The beginning
The first issue of Dada magazine 391 was released in January 1917 in Barcelona, until March of the year was followed by other three issues. Title and equipment were the in-house magazine 291 by Alfred Stieglitz's gallery 291 borrowed, had been involved in the Picabia as editor. He published it, for example, his machine images and proclaimed " anti-art " and " anti - literature ". Gabrielle Buffet - Picabia described that the journal was initially conceived as a mere joke, but become highly aggressive in later editions, and have shown a militant attitude that was characteristic of the 391.
The rival New York Dadamagazin The Blind Man was canceled after the second edition of 1917. The reason for this was a bet between Henri -Pierre Roché, one of the editors of The Blind Man next to Marcel Duchamp and Francis Picabia. Winning a chess match between the two should provide for deciding which publications should be set: The Blind Man or Picabia's magazine 391 Picabia won the match, and therefore the release of The Blind Man ended in favor of the 391
More Issues
New York, Zurich
After the first four editions, which were published in Barcelona, followed in the same year three more in New York between March and July. Add the numbers six and seven almost exclusively Picabia's drawings and texts were included. In 1918 he returned to Europe and began a collaboration with the Dadaist Tristan Tzara. 1919 appeared to number 8 in Zurich in a larger format, in addition to contributions by Picabia and Tzara on the checkerboard -like design envelope the name of Guillaume Apollinaire and Georges Ribemont - Dessaignes and American artist and art magazines such as Camera Work and The Blind Man had.
Paris
The issue 9 appeared in Paris in November 1919, it contained a polemical contribution to the Salon d' Automne of Ribemont - Dessaignes. With the No. 10 for the month of the format was even greater, text and illustrations aggressive. By Walter Serner and André Breton published articles in No. 11 in February 1920. LHOOQ the readymade, a parody of the Mona Lisa by Marcel Duchamp A month later, among others, in No. 12 is received, accompanied by Picabia's Dada Manifesto and its La Sainte Vierge. When reproducing, however, the goatee was omitted on the chin of the Mona Lisa, and only the mustache remained. Duchamp later explained that Picabia Duchamp's original was not available and he einzeichnete the mustache on a Mona Lisa reproduction, but the goatee forgot.
No. 13 was published in July 1920; in November of the year No. 14 was published, the latest edition, which dealt with the topic " Dada ". No. 15 of 1921 dealt with issues against Dada. The last four editions appeared in 1924, they contained mockery against Surrealism by Picabia the super realism and the Instantaneismus "invented". He signed in the last issue with " Metteur en scène du surréalisme d' André Breton " (Eng. about: director André Breton's Surrealism ). The closure was an ad for Picabia's ballet production Relâche, was premiered in the interlude as the Dadaist short film Entr'acte on November 27, 1924 in the Théâtre des Champs- Élysées with the participation of Picabia as an actor. Visitors were encouraged to bring sunglasses and ear plugs.