In the annals of avant-garde art, few figures are as intriguing as Raoul Hausmann, whose journey from the anarchic Dada movement in Berlin to the tranquil shores of Ibiza offers an intense and weird narrative of artistic evolution. Born in 1886 in Vienna, Hausmann became a pivotal figure in the Berlin Dada circle, renowned for his audacious photomontages, sound poetry and writing that vehemently critiqued the art establishment and socio-political status quo.
The tumultuous post-World War I environment fuelled Hausmann’s revolutionary zeal, but by 1933 he found himself added to the infamous Nazi degenerate artist list, leading him to seek refuge in Ibiza. The island, with its serene ambience and radiant Mediterranean light, marked a significant shift in his artistic temperament and output. Ibiza’s ancient, rugged beauty and the placid sea became his new muses, leading him to integrate natural elements and textures into his work, a stark contrast to the mechanical and urban motifs prevalent in his earlier Dada era.
Hausmann was deeply influenced by the island’s rural architecture, appreciating its material culture and simplicity. He saw these structures as embodiments of autonomy and practicality, referring to them as ‘an architecture without architects’. This perspective led him to produce anthropological and historical essays about the island, and his related drawings and photographs were featured in various magazines. Hausmann’s work captured the essence of Ibiza’s traditional homes and their inhabitants, reflecting his acute sensitivity to the unique architectural and cultural landscape of the island.
His profound engagement with Ibiza is documented through hundreds of typed pages, nearly five hundred photographic negatives, and a book titled Hyle which was published in 1969 and became a defining work of avant-garde literature. Hausmann’s unique eye captured the pristine Ibizan landscapes and its ancient local culture, providing an ideal backdrop for his artistic and philosophic explorations. His self-directed and dogged research connected Ibiza’s architecture with other Mediterranean styles, influencing future scholars like Blakstad Architects and Design Consultants founder, Rolph Blakstad.
The onset of the Spanish Civil War in 1936 ignited his natural disgust of authoritarianism and he joined the Republican cause mounting an anti-Franco committee in Ibiza. He was forced to abandon the island when it fell to the fascists, heading first to Switzerland before settling in France. His last years have been described as tragic and lonely with much of his work destroyed, until he returned to painting much later in life. He passed away in Limoges 1971.
He might not have realised his rebellious tendencies and passion for social justice were well suited to an island that has attracted black sheep for aeons but his deep and respectful interactions with the environment, history, culture and population left a huge mark on his world view. In Ibiza, he was able to confirm his belief that “the idea of a single origin was a fiction and that the so-called ‘purity’ of a people or culture didn’t exist”. Like many that came after him, Ibiza showed him the oneness of humanity.
