Homenaje a John Heartfield [Ovum No. 5]
Clemente Padín [Ed.]
1975
Homenaje a John Heartfield [Ovum No. 5]
Homenaje a John Heartfield [Ovum No. 5]
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John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the ...
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Homenaje a John Heartfield [Ovum No. 5]
Clemente Padín [Ed.]
1975
Montevideo: Ovum
Unpaginated [24 pages]
32 × 22 cm

John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the conceptual in a wide range of avant-garde experiments, including collages, visual poetry, manifestos, posters, and more. Fourteen international mail artists contributed to this particular assembling: Guillermo Deisler, Allan Bealy, Raúl Marroquín, Luis Enrique García, Horacio Zabala, the Brazilian Center for Contemporary Art, Rolf Nortemann, Gerd Scherm, Dámaso Ogaz, Paulo Bruscky, Reni Levy, Francisco Pino, Dino Bedino, and Clemente Padín himself.


 


The cover features a reproduction of Heartfield’s War and Corpses, the Last Hope of the Rich (1932), depicting a hyena embodying greedy capitalism as it strides triumphantly across a field of dead bodies. Ovum was a free magazine distributed as a tool of resistance and communication. Padín published seven issues before being arrested by the dictatorial regime in 1977.

Montevideo: Ovum
Unpaginated [24 pages]
32 × 22 cm

John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the conceptual in a wide range of avant-garde experiments, including collages, visual poetry, manifestos, posters, and more. Fourteen international mail artists contributed to this particular assembling: Guillermo Deisler, Allan Bealy, Raúl Marroquín, Luis Enrique García, Horacio Zabala, the Brazilian Center for Contemporary Art, Rolf Nortemann, Gerd Scherm, Dámaso Ogaz, Paulo Bruscky, Reni Levy, Francisco Pino, Dino Bedino, and Clemente Padín himself.

 

The cover features a reproduction of Heartfield’s War and Corpses, the Last Hope of the Rich (1932), depicting a hyena embodying greedy capitalism as it strides triumphantly across a field of dead bodies. Ovum was a free magazine distributed as a tool of resistance and communication. Padín published seven issues before being arrested by the dictatorial regime in 1977.

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John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the conceptual in a wide range of avant-garde experiments, including collages, visual poetry, manifestos, posters, and more. Fourteen international mail artists contributed to this particular assembling: Guillermo Deisler, Allan Bealy, Raúl Marroquín, Luis Enrique García, Horacio Zabala, the Brazilian Center for Contemporary Art, Rolf Nortemann, Gerd Scherm, Dámaso Ogaz, Paulo Bruscky, Reni Levy, Francisco Pino, Dino Bedino, and Clemente Padín himself.

 

The cover features a reproduction of Heartfield’s War and Corpses, the Last Hope of the Rich (1932), depicting a hyena embodying greedy capitalism as it strides triumphantly across a field of dead bodies. Ovum was a free magazine distributed as a tool of resistance and communication. Padín published seven issues before being arrested by the dictatorial regime in 1977.

Montevideo: Ovum
Unpaginated [24 pages]
32 × 22 cm

John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the conceptual in a wide range of avant-garde experiments, including collages, visual poetry, manifestos, posters, and more. Fourteen international mail artists contributed to this particular assembling: Guillermo Deisler, Allan Bealy, Raúl Marroquín, Luis Enrique García, Horacio Zabala, the Brazilian Center for Contemporary Art, Rolf Nortemann, Gerd Scherm, Dámaso Ogaz, Paulo Bruscky, Reni Levy, Francisco Pino, Dino Bedino, and Clemente Padín himself.

 

The cover features a reproduction of Heartfield’s War and Corpses, the Last Hope of the Rich (1932), depicting a hyena embodying greedy capitalism as it strides triumphantly across a field of dead bodies. Ovum was a free magazine distributed as a tool of resistance and communication. Padín published seven issues before being arrested by the dictatorial regime in 1977.

MORE BOOKS

John Heartfield’s photomontages went down in history as incisive anti-fascist statements. In this homage issue of the periodical Ovum, founded by Clemente Padín shortly after the 1973 military coup in Uruguay, the political meets the conceptual in a wide range of avant-garde experiments, including collages, visual poetry, manifestos, posters, and more. Fourteen international mail artists contributed to this particular assembling: Guillermo Deisler, Allan Bealy, Raúl Marroquín, Luis Enrique García, Horacio Zabala, the Brazilian Center for Contemporary Art, Rolf Nortemann, Gerd Scherm, Dámaso Ogaz, Paulo Bruscky, Reni Levy, Francisco Pino, Dino Bedino, and Clemente Padín himself.

 

The cover features a reproduction of Heartfield’s War and Corpses, the Last Hope of the Rich (1932), depicting a hyena embodying greedy capitalism as it strides triumphantly across a field of dead bodies. Ovum was a free magazine distributed as a tool of resistance and communication. Padín published seven issues before being arrested by the dictatorial regime in 1977.

MORE BOOKS