In the midst of a political crisis in the Kingdom of Serbs, Croats and Slovenes, on 6 January 1929 King Alexander I abolished the Constitution and established a dictatorship, renaming the country the Kingdom of Yugoslavia. This was followed by a severe economic crisis, staunch resistance from the communists, and the persecution of political opponents.
The book’s cover refers to this situation. It was designed by Werner Eggert, inspired by a (lost) photomontage created by the Croatian artist Ivana Tomljenović. Photomontage is a form of art that uses photographs cut out from the press and popular-culture magazines to create new images. It was popularised by the surrealist Dadaist movement in the 1920s, which often used it to deliver political messages.
Tomljenović briefly studied photography at the Bauhaus, the famous avant-garde art school, which was then based in Dessau, Germany. The Bauhaus attracted students from all over Europe. Tomljenović, like other students, was politically engaged and was affiliated with the German Communist Party. In Berlin, where she was in contact with Yugoslav political refugees, she visited the exhibition Tod und Terror in Jugoslawien (Death and terror in Yugoslavia) held by the Bund Freier Balkan in December 1929 at the gallery Sturm. She used material exhibited there to create the photomontage.
In 1930, rising tensions, mirroring the increasing polarisation of German (and European) politics, led to the expulsion of several communist students from the Bauhaus and, eventually, the firing of its director, Hannes Meyer. Tomljenović decided to leave the Bauhaus that summer. In another photomontage, she depicted herself on the road to Berlin, greeting her ‘comrades’ from the Bauhaus with a cheery ‘see you after the revolution!’