Hani Nadem
A poet and a Syrian writer.
I was supposed to be at the Paris National Library looking for a manuscript. othèque nationale de France."
The presentation was for a map designer named Cissy Lupé, which inspired the technical partnership between the Ukrainian artist Sonia Dillonai and the famous Roman poet Tristan Tazara, and even stepped on their path, with the development of tools, where the elements were merged, produced dresses from paper, tower, poems, drawings and fabrics from crying napkins and hairs thrown under the windows.
Sonia Dilloni design dress with Tazara texts.
In modern times, this relationship between Daloni and Tazara may be the first obvious and systematicly explained beauty engagement between fashion and poetry, and the most representative situation in the employment of inter-science and close science in the service of poetry, or in the service of each other.
Dilloni identified to Tazara at the Paris Patriarchal Centre between the two world wars and became friends, bringing together the great ambition to move away from their generation technically and to produce progressive forms of art outside the language boundary. They introduced theatre, costumes, formation and hair even by borrowing from nearby arts, at a time of intellectual revolutions and gifted names.
The horror of his broad and seasonal songs, classified as one of the great linguas in modern European poetry, his mastery of many languages, his research and his constant obesity in a new language and chorus, making his hair out of logic and language, as well as his role as a singer and architects, in partnership with the prosperous and theatres.
Lead and crazy Sonya.
Sonia Dilloni (14 November 1885 - 5 December 1979) was a French artist born in the Russian Empire, Ukraine, who learned art in Russia and Germany before she moved to France and expanded its practice to include the design of textiles, costumes and decorations, when she arrived in Paris, she joined the art academy in Monbarnas, but she didn ' t turn around with the hard work of teaching. She was also the first living artist to set up a regular exhibition at the Louvre Museum in 1964.
Sonia developed new fabric formulations and translated non-substantive surface paintings into three-dimensional uniforms driven by subjects, and its dresses, hats and shoes earned special huge sales from the wives of the professors of the Bauhuahos school, raising the value of their work and placing them on the fashion map, but poetry.
The friend of Delunai, the poet and the famous artistic critic, Giom Apolliner, drafted the Orphenian term to describe the Dilloni version of the metaphor in 1913. The famous Cinders poem La prose du Transsibérien et de la Petite Jehanne de France, which revolved around a road trip across Siberia, made the text in an admirable book of two-metre hordes.
In 1923, Estonia invented 50 designs of fabric using engineering forms and bold colours, commissioned by a manufacturer in Lyon; shortly thereafter, it began its own work and became simultané with its registered brand name, and its name (obligation) briefly explains its project, after which Bhutik opened up the name of the mark that became for the great intellectuals and their wives, La Poutique Pincigard.
Tazara... Vision and course partnership
In the same year, 1923, Paris was preparing for the show of the terrifying poet Tristan Tazara Le Cayur à Gaz. Sonia has designed the Sinogravia and the costumes of representatives.
He began to write short poems that appeared to be liberated on dresses and crews designed and coloured by Sonya, and created shock and glow in literary and artistic circles together, so Le Figaro wrote, "It's a costume that worships its wool, because it's the whole textual, colour and meaning, who would wear it?"
A gas heart or a gas heart, a play written by a French tuzaar in the form of a series of unconnected events and a stereotypical simulation of classical drama, in which I felt in Paleh, scripts and formation, one of the most popular plays inspired by the anti-determinational trend, was first presented in Paris, as part of the Artist Sullon Dazzar in 1921.
A dress from the play show - the design of Sonia Delunai
The United States literary, David Graver, described the text as the greatest trick of three chapters in the century, crushing the elements of the traditional theatre that he uses so precisely that a few gestures or observations cohesive in any order that can be identified, these manifestations of dada at best reduce the stage to some kind of white voice.
It's the play of her body actresses, eye, mouth, ear, hand, chaotic but hairy.
"No one knows me."
I'm alone here in my closet and the mirror is empty when I look at myself.
The void drinks the vacuum and the air is born with blue eyes, which is why the aspirin swallows endlessly."
Tristan Tazara gave himself a glorious view of the sarcastic and subversive intent, and after the presentation, he said, "I beg critics and writers to treat this play as if they were treating a masterpiece like Macbeth, but treating the unabsolved author with no respect."
Like arts, hair's out of paper.
With the emergence of dictatorships, the world was flaunting with the destruction of barns, cooperation between the great poet, Andre Bowen and Tazara began in the late 20s and then turned into a conflict after 1921. It was reported that the Brighton objected to the Tazara style of performance, the Dada journey to San Julian Lou Buffer and other views and positions.
The first collision took place in March 1922, when the Bretton called for a conference to renew and defend the spirit of modernity and to mobilize eminent personalities associated with modern movements, then visiting the Conference to be proud of it while the Bretton used the conference as a platform to attack Tazara.
In response, Tazara issued the technical statement "the crooked heart", which was also signed by, among others, Marcel Duchamp, Jean Kukoto, Paul Elwar, Hans Arp, Cecil Suvaj, and others.
Paris educators who broke up between Syrialia and Duadiah and beyond appear in the back row of the left: Paul Elwar, Jean Abb, Ivanguy, René Karville, and in the left front: Tristan Tazara, André Proton, Salvador Dale, Max Arnt, Man Ray, Paris, 1933.
The statement was a mixture of predatory and anti-Belgian movement. The play show for the first time included music, formation, poetry, theatre and dance, together. The films were displayed inside the show and theatre in the theatre. The music was for George Oric, Darius Milhaod and Igor Stravinsky, and films were shown in addition to Ryan, Charles Schiller and Hansbonnez.
Maybe it's from here, from this experimental work, you're starting to pick up costumes and explain poetry, and talking the rest.
