Briony Fer

  • “Dada”

    THERE IS A SEQUENCE in René Clair’s Entr’acte (1924) in which the image of a folded-paper boat floating on a deluge of water is superimposed over shots of the rooftops of Paris, so that it seems to be moving through the watery skyline of a mysteriously postdiluvian city. Watching the film at the Centre Pompidou, where it was screened as part of the exhaustive survey exhibition “Dada”—jointly organized by the Centre Pompidou and the National Gallery of Art, Washington, DC, in collaboration with the Museum of Modern Art, New York, and spearheaded by curators Leah Dickerman, of the National Gallery,