DADA & Modernist Magazines


  • cover 75HP


  • 75 HP
    Director/Editor Ilarie Voronca, Stéphane Roll and Victor Brauner
    N° 1 (October 1924). Only one issue published
    Published in Bucharest
    Includes 'Pictopoezie, inventata de Victor Brauner & Ilarie Voronca'
    27.5 × 23.3 cm
  • Dada Global 91.


  • [printed] 75 HP / Ilarie Voronca ... and others; préface de Marina Vanci-Perahim (Éditions Jean-Michel Place : Paris 1993).

secondary literature

  • Carole Benaiteau
    '75HP', in Dada (Editions du Centre Pompidou : Paris 2005) 60-61.
  • Irina Carabas
    'Representing Bodies. Victor Brauner's Hybrids, Fragments and Mechanisms', in Nordlit 21 (Spring 2007) 229-240 [online]; available at <> [accessed 2 August 2011].
  • Emily Hage
    New York and European Dada Art Journals, 1916-1926: International Venues of Exchange (S.l. : s.n. 2005) 377-383.
  • Vincentiu Ilutiu
    'Voronca Between Tradition And Innovation' / translated from the French by Monica Voiculescu, in Plural Magazine N° 3 (1999) [online]; available at <> [accessed 2 July 2013].
  • Irina Livezeanu
    'Romania: "Windows toward the West": new forms and the "poetry of true life". Revista celor l'alti (1908), Insula (1912), Chemarea (1912), Contimporanul (1922-32), 75 HP (1924), Punct (1924-5 ), Integral (1925-8), Urmuz (1925 ), Unu (1928-33)', in The Oxford Critical and Cultural History of Modernist Magazines. Volume III: Europe 1880 - 1940 / edited by Peter Brooker, Sascha Bru, Andrew Thacker, and Christian Weikop (Oxford University Press : Oxford etc. 2013) 1157-1183. google-books
  • Steven A. Mansbach
    'The "foreignness" of classical modern art in Romania', in Art Bulletin 80, No. 3 (September 1998) 534-554 [JSTOR stable URL]
    [abstract] Modern art emerged in Romania under circumstances foreign historically, politically, and culturally to those prevailing in the industrialized West. Moreover, the artists responsible for creating an originary Dada and a singular form of Constructivism, among other modern expressions, were perceived as foreigners in their own land. The present study offers an analysis of the aesthetic, ethnic, and social contexts that resulted in a singular history of modern art in Romania, one that would play a decisive role in the evolution of modern art in the West.
  • Andrei Oisteanu
    'The Romanian Avant-Garde And Visual Poetry', in Exquisite Corpse. A Journal of Letters and Life. The original study was published for the exhibition 'Dada East? The Romanians of Cabaret Voltaire = Dada Est? Romanii de la Cabaret Voltaire', curated by Adrian Notz, Raimund Meyer, and Juri Steiner for the Cabaret Voltaire Dadahaus, Zurich (20.09.06 - 22.02.07) [online]; available at <> [accessed 2 August 2011].
  • Krisztina Passuth
    'Die rumänische Avantgarde. Tristan Tzara, Marcel Iancu : Ion Vinea und Contimporanul, M.H. Maxy und Integral, Victor Brauner und 75HP, Constantin Brâncusi', in Krisztina Passuth, Treffpunkte der Avantgarden Ostmitteleuropa 1907-1930 / [aus dem Ungarischen, Anikó Harmath] (Balassi Kiadó etc. : Budapest etc. 2003) 218-244.
  • Petre Raileanu
    'L'Avant-garde roumaine', in Le Rameau d'or N° 2 (Bucarest 1995) 30-37.
  • Petre Raileanu
    'Victor Brauner' / translated from the French by Monica Voiculescu, in Plural Magazine N° 3 (1999) [online]; available at <> [accessed 2 July 2013].
  • Mariana and Gheorghe Vida
    'Mattis Teutsch and the Romanian Avant-garde', online text to the exhibition 'Mattis Teutsch and Der Blaue Reiter' in the Hungarian National Galley, Budapest (14 March - 24 June, 2001) and in the Haus der Kunst, Munich (5 July - 7 October, 2001) [online]; available at <> [accessed 2 August 2011].