{"id":62730,"date":"2019-11-21T17:36:35","date_gmt":"2019-11-21T16:36:35","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=62730"},"modified":"2019-11-23T19:13:32","modified_gmt":"2019-11-23T18:13:32","slug":"one-mans-war-four-corners-and-the-photomontage-of-john-heartfield","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=62730","title":{"rendered":"One Man’s War: Four Corners and the Photomontage of John Heartfield"},"content":{"rendered":"\n

On October 31st<\/sup>, 2019, the UK intended to leave the European Union. Another delay prevented the departure, but again, the British public\u2014and the world\u2014had held its breath in anticipation. In the 2016 introduction to her bestselling novel, The Handmaid\u2019s Tale, <\/em>Margaret Atwood quotes a timeless aphorism: \u201cHistory doesn\u2019t repeat itself, but it often rhymes.\u201d It appears that the present, indeed, is rhyming with history. <\/p>\n\n\n\n

 Also on October 31st<\/sup>, a new art exhibition opened in London. That evening in Tower Hamlets, the Four Corners Gallery debuted One Man\u2019s War<\/em>, an art display dedicated to the photomontage work of John Heartfield, Berlin Dadaist, communist, and a staunch anti-fascist in Weimar and Nazi Germany. The Four Corners chose its opening date intentionally; Britain\u2019s official exit from the EU was a highly political day, and Heartfield\u2019s artwork is decidedly political. One might say the work rhymes. <\/p>\n\n\n\n

 Heartfield believed wholeheartedly that art was intended to shape social change, and his work did that in part by changing art itself. During the interwar period, Heartfield was instrumental in pioneering a new form of art that came to define his signature, bitingly satirical style: photomontage. By cutting and combining crisp images from newsprint, advertisements, and his own photographs, Heartfield created entirely new images of satire and juxtaposition, using the new form of art to emphasize its political function. <\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
Should Men Fall Again that Shares May Rise?!<\/em><\/figcaption><\/figure>\n\n\n\n

 Heartfield\u2019s membership in the Berlin Dada Club was also significant to his work in photomontage, which quickly became an essential genre of Dada. Photomontage was a new and creative form, entirely contradictory to the mainstream Romantic art that avant-garde artists fought to resist. Many Dada artists also found photomontage to be more appropriate for communist messages, like those Heartfield was sharing; its construction felt more industrialized, more proletariat than other, more bourgeois styles of art. Photomontage was revolutionary, subversive, and like the Berlin Dada movement\u2014and the Zurich Dada movement that had inspired it\u2014it marked a revulsion toward the status quo that had resulted in the first global war. <\/p>\n\n\n\n

For Heartfield in particular,\nphotomontage became a way to share the ideology of that revulsion using\njuxtaposition, often between capitalist or Nazi propaganda and reality. In\nWeimar Germany, Heartfield produced photomontages as campaign posters for his\npolitical party, the KPD, Germany\u2019s communist party. Many of these feature\njuxtapositions between the consequences of World War I for the proletariat and\nthe powerful capitalists; ordinary people suffered, but the wealthy made\nmillions. Voting communist, Heartfield\u2019s photomontage suggested, was the only\nway to prevent the ruling class from starting another war with similar results.<\/p>\n\n\n\n

When it appeared that a second world war was, in fact, approaching, as Hitler gained political influence in Germany, Heartfield\u2019s communist photomontages targeted him and the Nazi Party. The Meaning of the Hitler Salute<\/em>, for example, shows Hitler\u2019s infamous salute, but with a twist; Hitler\u2019s outstretched hand is receiving money from the capitalist elite, suggesting that it was millions of dollars of capitalist investment that supported Hitler\u2019s rise to power, rather than millions of everyday citizens. <\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
The Meaning of the Hitler Salute<\/em>
“Motto: Millions stand behind me”
“Little Man asks for big gifts”<\/figcaption><\/figure>\n\n\n\n

When Hitler was appointed\nchancellor in 1933, Heartfield\u2019s political art endangered his safety, and he was\nforced to flee to Prague as a political refugee to avoid arrest by the Gestapo.\nThe threats to his life did not stop him from creating more political\nphotomontages. While in exile, Heartfield continued working, contributing to\nthe German communist publication, Worker\u2019s\nIllustrated Journal<\/em>. Like his previous work, these images were powerfully\ncritical of Hitler\u2019s new regime, and Nazi Germany quickly demanded that the\nCzech government return Heartfield to German custody. Once again in unsafe territory,\nHeartfield left Prague for London. He made his decision at the right time; when\nthe Nazis invaded Czechoslovakia in 1939, Heartfield was fifth on the Gestapo\u2019s\nmost-wanted list. <\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
Blood and Iron<\/em>
“Blood and iron: the old motto of the New Empire”<\/figcaption><\/figure>\n\n\n\n

In the safety of London, Heartfield\ncontinued his work, but it was received somewhat differently by his new British\naudience. Despite his fame in the rest of Europe, Heartfield\u2019s photomontage was\nlittle known in England, and audiences there were more accustomed to humorous\ncaricatures of Hitler, rather than Heartfield\u2019s darkly satirical take. <\/p>\n\n\n\n

Despite receiving relatively little\nrecognition with the British crowd, Heartfield kept working, uniting with other\nGerman-speaking artists and \u00e9migr\u00e9s to create the Free\nGerman League of Culture, an anti-fascist group. The group hosted German art\nevents around London, reminding the British public\u2014and the world\u2014that real German\nculture was not what Hitler\u2019s Nazi Party suggested. <\/p>\n\n\n\n

Unfortunately, the British\ngovernment did not share the same view. In 1940, Heartfield\u2014along with other immigrants\nof German, Austrian, and Italian descent, including Jewish people fleeing\nconcentration camps\u2014was declared an enemy alien of the state and interned at\nthe Isle of Man. As Winston Churchill reportedly said at the time, British\npolicy was to \u201ccollar the lot\u201d. Heartfield was released from custody after six\nweeks due to poor health, but he was forbidden from working for three years. <\/p>\n\n\n\n

After the war, in 1950, Heartfield\nmoved back to East Germany. Despite his obvious and lifelong ties to the\nCommunist Party, he still faced difficulties returning home. State-sanctioned\nart was the aesthetic of socialist-realism, which used the painting techniques\nof realism to present an intensely optimistic viewpoint of Stalin and communism.\nIt ultimately amounted to state propaganda. Heartfield\u2019s photomontages,\ncritical as ever, did not resemble this art, and he faced government scrutiny\nbefore he could return to his home. Finally allowed reentry into Germany,\nHeartfield worked in relative obscurity before Stalin\u2019s death in 1953, after\nwhich Bertolt Brecht intervened to have Heartfield inducted into the East\nBerlin Academy of the Arts. <\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
The Hand Has Five Fingers<\/em>
“Five fingers has the hand! With these five grab the enemy!”
<\/figcaption><\/figure>\n\n\n\n

Heartfield, by then 76 years old,\ndied in 1968, just before a planned trip to Britain to plan a new art\nexhibition. In the same year, however, Heartfield\u2019s art was reborn. Rediscovered\nby activists, particularly by anti-war demonstrators, his photomontages became symbols\nfor a new generation. In the years since, Heartfield\u2019s artwork has continually\nbeen renewed this way; somehow, despite its age, it is never old.<\/p>\n\n\n\n

Now, through the efforts of the Four\nCorners Gallery, it is on display in London, viewable for another generation. One Man\u2019s War<\/em> is the story of John\nHeartfield, told through the dozens of photomontages he created and the work of\nlater activists he inspired.<\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
War and Corpses: The Last Hope of the Rich<\/em> <\/figcaption><\/figure>\n\n\n\n

As a refugee in Britain, John Heartfield helped to shape cultural attitudes, and he is one of many to do so. Some of these refugee artists will be featured alongside Heartfield in the Four Corners\u2019s winter\/spring exhibition theme, Another Eye<\/em>, which is dedicated to the work of migrants and refugees who came to Britain from the 1930s to the present day. <\/p>\n\n\n\n

Following Another Man\u2019s War, <\/em>beginning in February 2020, is Women Exile Photographers<\/em>, exhibiting the photography of refugees Dorothy Bohm, Gerti Deutsch, and Lotte Meitner-Graf, among others. In the current climate of anti-immigrant and anti-refugee rhetoric, Another Eye <\/em>highlights the contributions made by refugees of yesterday and today, using the humanity of art to remind audiences of the people behind the politics. <\/p>\n\n\n\n

Until February 2020 at the Four Corners Gallery, Heartfield\u2019s photomontages take the spotlight, cutting and dark like ink. Moving through the One Man\u2019s War<\/em> exhibition, reading Heartfield\u2019s political messages made for social change, is like moving through time. But, as the Four Corners Gallery asks us to question, are we revisiting the past by experiencing Heartfield\u2019s work, or are we seeing the present?<\/p>\n\n\n\n

\"\"
\u00a9 The Heartfield Community of Heirs \/ DACS 2019
Never Again!<\/em>
<\/figcaption><\/figure>\n\n\n\n

Information about the Four Corners’s Another Eye<\/em> exhibition, featuring One Man’s War <\/em>and Women Exile Photographers<\/em>, can be found here: https:\/\/www.fourcornersfilm.co.uk\/another-eye<\/a> <\/p>\n","protected":false},"excerpt":{"rendered":"

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