WALTER TRIER / LILLIPUT – The Pocket Magazine for Everyone

032c Workshop / Joerg Koch is pleased to present UDO KITTELMANN’s personal collection of Lilliput, the antifascist pocket magazine for everyone.

032c2

Lilliput was a British monthly magazine of art, photography, humor, and fiction founded in 1937 by the filmmaker and photojournalist Stefan Lorant, who had served time in Nazi prison before emigrating to England. Until 1949, each cover was illustrated by WALTER TRIER (1890–1951), a German-Jewish antifascist exiled in Britain and one of the greatest illustrators of the Weimar Republic. Trier gained worldwide recognition for illustrating the children’s books of Erich Kästner, including Emil and the Detectives (1929). After the war, Trier moved to Canada, where Walt Disney offered him a job as an animator, but Trier declined because he didn’t want to work within a corporate framework. Each of Trier’s covers for Lilliput features the fictional couple Frau Lena and Herr Walter as well as their Scottish terrier dog, Zottel, who together engaged in activities such as peeling potatoes, sunbathing, or working in a munitions factory. Historical periods are varied and the mood of each cover is lively yet carries a veiled menace.

032c7Lilliput is named after the fictional island nation in Jonathan Swift’s 1726 political satire Gulliver’s Travels. Inhabited by people who are 1/12 the size of human beings, Lilliput the island and its internal politics parody those of Great Britain in the 18th century, “belittling” yet deliberating on the central issues of the time. Lilliput the magazine was a small but fierce publication that preserved British morale during the Second World War, and like Swift’s satire, its politics were disguised in cheer. “We believe that a paper such as Lilliput can help to win the war!” wrote Lorant in the September 1940 editorial. The publication was literate, but not literary, and featured articles by other German-Jewish exiles including Lion Feuchtwanger, Ernst Toller, and Arnold Zweig, as well as international writers such as Upton Sinclair and AJ Cronin. It also included photography by Erwin Blumenfeld, Bill Brandt, Brassaï, and John Heartfield. At the heart of each issue was Lilliput’s “doubles” feature, which juxtaposed two unrelated images suddenly cast into wholly new relationships. This surrealist method – although customary today – was a powerful gesture for a general-interest publication in the 1930s and 40s, suggesting a phantom science of the image and its unknown potential.

WALTER TRIER / LILLIPUT – The Pocket Magazine for Everybody opens February 20 and is on view until March 27, 2014.

Works:

• 142 Lilliput magazines, 1937–1949
• Jonathan Swift (1667–1745), Gulliver’s Reisen in unbekannte Länder, Stuttgart, 1848
• Walter Bosse (1904–1979), Dog, Kufstein, Austria, 1930s
• Popeye & Olive, United States, 1940s–50s
• Library staircase maquette, 20th century
• Bucket, moulds, and sand, 21st century

IMG_0109-2

032c Workshop / Joerg Koch is an exhibition space in Berlin. Featuring an eight-meter-long vitrine designed by Konstantin Grcic, its programming includes several exhibition series, exploring the idea of the archive, the auteur, or the unseen.

Deeper

  • 032c Cosmic Workshop Collection

    032c COSMIC WORKSHOP "Maria" Longsleeve Grey

    €90
    Buy Now
  • Life Exists: Theaster Gates’ Black Image Corporation

    Theaster Gates' “The Black Image Corporation” presents photographs from the holdings of Chicago’s Johnson Publishing Company, a sprawling archive that shaped “the aesthetic and cultural languages of contemporary African American identity.” Gates approached the project as a celebration and activation of the black image in Milan through photographs of women photographed by Moneta Sleet Jr. and Isaac Sutton – of black entrepreneurship and legacy-making. “Life exists” in the Johnson archive, he says, just as it exists and should be honored in other places of black creativity.More
  • FRIDA ESCOBEDO: The Era of the Starchitect is Over

    Rising Mexican architect Frida Escobedo is relentlessly inquisitive, eschewing stylistic constants in favour of an overriding preoccupation with shifting dynamics. Personal curiosity is the driving force behind her practice, which makes he an outlier in a profession dominated by extroverted personalities keen on making bold assertions. "I think it really is a generational shift," Escobedo says. "The idea of the starchitect making grand gestures with huge commissions is over."More
  • “I live a hope despite my knowing better”: James Baldwin in Conversation With Fritz J. Raddatz (1978)

    Born in Berlin in 1931, editor and writer Fritz J. Raddatz relied on food delivered by African American GIs after the death of his parents. To Baldwin he was an “anti-Nazi German who has the scars to prove it.” Debating his return to the USA after 25 years, Baldwin explores the political climate in America at the end of the 1970s in a conversation at home in Saint-Paul-de-Vence.More
  • House as Archive: James Baldwin’s Provençal Home

    For her new book, Magdalena J. Zaborowska visited the house Baldwin occupied from 1971 to 1987 “to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity”. Here, she narrates her early journeys to Baldwin’s home and proposes a salve for its recent loss: a virtual presentation of Baldwin’s home and effects.More
  • Where are the real investments? Theaster Gates on James Baldwin

    The Chicago-based artist talks to Victoria Camblin about materializing the past, the house as museum, and preserving black legacies. Social and artistic engagement, Gates suggests, may allow the contents and spirit of Baldwin’s home, and others like it, to settle in lived experience.More