The book expands on Rainer Ganahl's public project, which involved six reading seminars held across different countries from 1993 to 1996. Each seminar featured distinct bibliographies, emphasizing the theme of reinventing the coffee table through curated selections of 25 books. This work serves as a reflection on the seminars and their cultural impact, offering insights into the intersection of art, literature, and public engagement.
The series of drawings reflects on the transition from the Austrian 50 Schilling banknote, featuring Sigmund Freud, to the Euro. Created by artist Rainer Ganahl, each piece captures his recorded dreams alongside the banknote's daily value in various currencies and the number of books available online. This project not only highlights Freud's significance in dream analysis but also intertwines personal reflection with economic change, culminating on the day the Schilling ceased to be legal tender in Austria.
DADA and Lenin share more parallels than commonly recognized, revealing tragicomic elements in their intertwined artistic and political narratives. This connection raises critical questions about the avant-garde's unfulfilled legacy. DADA emerged at the Cabaret Voltaire in Zurich, close to where Lenin was exiled, writing on Imperialism. This historical coincidence prompts an exploration of the relationship between aesthetic and political vanguards. Rainer Ganahl’s extensive body of work draws from DADA and Lenin as rich sources of historical imagination. He employs diverse artistic media—animation, theatre, ink drawings, and bronze sculptures—exploring themes that traverse the realms of porn, terror, and avant-garde history. Co-editor Johan F. Hartle contextualizes DADALENIN within Ganahl’s oeuvre and contemporary discussions on avant-garde movements. The project reflects key motifs in cultural theory, revealing monstrous alliances that resonate today. An interview with Jenny Borland delves into Ganahl’s artistic rationale, examining his media, techniques, and development processes. Boris Groys assesses DADALENIN’s insights into the avant-garde's history, linking it to significant 20th-century events in Russia and Europe, ultimately suggesting that “All of history is Dadaist.”