Is Dada the First Art Movement That Embrace Absurdism

Avant-garde art move in the early 20th century

Francis Picabia: left, Le saint des saints c'est de moi qu'il south'agit dans ce portrait, 1 July 1915; heart, Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915; right, J'ai vu et c'est de toi qu'il due south'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915

Dada artists, group photograph, 1920, Paris. From left to right, Dorsum row: Louis Aragon, Theodore Fraenkel, Paul Eluard, Clément Pansaers, Emmanuel Fay (cut off).
2d row: Paul Dermée, Philippe Soupault, Georges Ribemont-Dessaignes.
Front row: Tristan Tzara (with monocle), Celine Arnauld, Francis Picabia, André Breton.

Cover of the first edition of the publication Dada, Tristan Tzara; Zürich, 1917

Dada () or Dadaism was an art move of the European avant-garde in the early 20th century, with early centres in Zürich, Switzerland, at the Cabaret Voltaire (c. 1916). New York Dada began c. 1915,^{[2] [iii]} and after 1920 Dada flourished in Paris. Dadaist activities lasted until the mid 1920s.

Adult in reaction to World War I, the Dada movement consisted of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works.^{[four] [5] [6]} The fine art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-upward writing, and sculpture. Dadaist artists expressed their discontent toward violence, war, and nationalism, and maintained political affinities with radical left-fly and far-left politics.^{[7] [8] [9] [10]}

In that location is no consensus on the origin of the motion's proper name; a common story is that the German language artist Richard Huelsenbeck slid a paper pocketknife (alphabetic character-opener) at random into a lexicon, where information technology landed on "dada", a vernacular French term for a hobby horse. Jean Arp wrote that Tristan Tzara invented the word at vi p.yard. on 6 February 1916, in the Café de la Terrasse in Zürich.^[xi] Others notation that it suggests the showtime words of a child, evoking a childishness and applesauce that appealed to the group. Still others speculate that the word might have been chosen to evoke a similar meaning (or no significant at all) in any linguistic communication, reflecting the movement's internationalism.^[12]

The roots of Dada lie in pre-war avant-garde. The term anti-art, a precursor to Dada, was coined past Marcel Duchamp around 1913 to characterize works that challenge accepted definitions of art.^[thirteen] Cubism and the evolution of collage and abstract art would inform the motility'due south detachment from the constraints of reality and convention. The work of French poets, Italian Futurists and the German Expressionists would influence Dada'due south rejection of the tight correlation between words and meaning.^[14] Works such equally Ubu Roi (1896) by Alfred Jarry and the ballet Parade (1916–17) by Erik Satie would also be characterized as proto-Dadaist works.^[15] The Dada move'southward principles were first collected in Hugo Ball's Dada Manifesto in 1916.

The Dadaist motility included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics oft discussed in a diversity of media. Primal figures in the movement included Jean Arp, Johannes Baader, Hugo Ball, Marcel Duchamp, Max Ernst, Elsa von Freytag-Loringhoven, George Grosz, Raoul Hausmann, John Heartfield, Emmy Hennings, Hannah Höch, Richard Huelsenbeck, Francis Picabia, Man Ray, Hans Richter, Kurt Schwitters, Sophie Taeuber-Arp, Tristan Tzara, and Beatrice Wood, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, pop fine art and Fluxus.^{[ not verified in body ]}

Overview [edit]

Francis Picabia, Dame! Illustration for the comprehend of the journal Dadaphone, northward. 7, Paris, March 1920

Dada was an informal international movement, with participants in Europe and N America. The beginnings of Dada correspond with the outbreak of World State of war I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the state of war.^[16]

Avant-garde circles outside France knew of pre-war Parisian developments. They had seen (or participated in) Cubist exhibitions held at Galeries Dalmau, Barcelona (1912), Galerie Der Sturm in Berlin (1912), the Arsenal Show in New York (1913), SVU Mánes in Prague (1914), several Jack of Diamonds exhibitions in Moscow and at Moderne Kunstkring, Amsterdam (between 1911 and 1915). Futurism developed in response to the work of various artists. Dada afterward combined these approaches.^{[14] [17]}

Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into state of war. They expressed their rejection of that ideology in artistic expression that appeared to pass up logic and comprehend chaos and irrationality.^{[five] [6]} For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this globe of mutual destruction".^[5]

Co-ordinate to Hans Richter Dada was non art: it was "anti-fine art."^[16] Dada represented the reverse of everything which art stood for. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend.

Additionally, Dada attempted to reverberate onto human perception and the chaotic nature of society. Tristan Tzara proclaimed, "Everything is Dada, too. Beware of Dada. Anti-dadaism is a disease: selfkleptomania, human'south normal condition, is Dada. But the real Dadas are confronting Dada".^[eighteen]

As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times nosotros alive in."^[19]

A reviewer from the American Fine art News stated at the fourth dimension that "Dada philosophy is the sickest, virtually paralyzing and most subversive affair that has ever originated from the brain of homo." Art historians take described Dada as being, in large part, a "reaction to what many of these artists saw as zippo more than than an insane spectacle of commonage homicide".^[twenty]

Years later, Dada artists described the move as "a miracle bursting forth in the midst of the postwar economical and moral crisis, a savior, a monster, which would lay waste to everything in its path... [It was] a systematic work of destruction and demoralization... In the finish it became cypher but an act of sacrilege."^[20]

To quote Dona Budd's The Language of Art Knowledge,

Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the proper noun Dada is unclear; some believe that it is a nonsensical word. Others maintain that information technology originates from the Romanian artists Tristan Tzara'south and Marcel Janco's frequent use of the words "da, da," meaning "yes, yeah" in the Romanian linguistic communication. Another theory says that the proper noun "Dada" came during a meeting of the group when a newspaper knife stuck into a French–German dictionary happened to signal to 'dada', a French word for 'hobbyhorse'.^[6]

The move primarily involved visual arts, literature, poetry, art manifestos, art theory, theatre, and graphic pattern, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works.

The creations of Duchamp, Picabia, Human Ray, and others between 1915 and 1917 eluded the term Dada at the fourth dimension, and "New York Dada" came to be seen as a mail service facto invention of Duchamp. At the showtime of the 1920s the term Dada flourished in Europe with the help of Duchamp and Picabia, who had both returned from New York. Notwithstanding, Dadaists such as Tzara and Richter claimed European precedence. Art historian David Hopkins notes:

Ironically, though, Duchamp's late activities in New York, along with the machinations of Picabia, re-cast Dada's history. Dada'south European chroniclers—primarily Richter, Tzara, and Huelsenbeck—would somewhen become preoccupied with establishing the pre-eminence of Zurich and Berlin at the foundations of Dada, but it proved to exist Duchamp who was most strategically bright in manipulating the genealogy of this avant-garde germination, deftly turning New York Dada from a late-comer into an originating force.^[21]

History [edit]

Dada emerged from a menstruum of artistic and literary movements like Futurism, Cubism and Expressionism; centered mainly in Italy, France and Frg respectively, in those years. Even so, different the before movements Dada was able to establish a broad base of operations of support, giving ascent to a movement that was international in scope. Its adherents were based in cities all over the earth including New York, Zürich, Berlin, Paris and others. There were regional differences like an accent on literature in Zürich and political protest in Berlin.^[22]

Prominent Dadaists published manifestos, but the movement was loosely organized and there was no central hierarchy. On xiv July 1916, Brawl originated the seminal manifesto. Tzara wrote a second Dada manifesto,^{[23] [24]} considered of import Dada reading, which was published in 1918.^[25] Tzara'due south manifesto articulated the concept of "Dadaist disgust"—the contradiction implicit in avant-garde works between the criticism and affidavit of modernist reality. In the Dadaist perspective mod fine art and civilization are considered a type of fetishization where the objects of consumption (including organized systems of thought similar philosophy and morality) are chosen, much like a preference for block or cherries, to fill a void.^[26]

The shock and scandal the movement inflamed was deliberate; Dadist magazines were banned and their exhibits closed. Some of the artists even faced imprisonment. These provocations were office of the amusement but, over fourth dimension, audiences' expectations eventually outpaced the movement'due south capacity to deliver. As the artists' well-known "sarcastic express mirth" started to come from the audition, the provocations of Dadaists began to lose their impact. Dada was an active motility during years of political turmoil from 1916 when European countries were actively engaged in World War I, the conclusion of which, in 1918, set the stage for a new political lodge.^[27]

Zürich [edit]

In that location is some disagreement almost where Dada originated. The movement is normally accepted past most art historians and those who lived during this period to take identified with the Cabaret Voltaire (housed inside the Holländische Meierei bar in Zürich) co-founded by poet and cabaret singer Emmy Hennings and Hugo Brawl.^[28] Some sources propose a Romanian origin, arguing that Dada was an offshoot of a vibrant creative tradition that transposed to Switzerland when a group of Jewish modernist artists, including Tristan Tzara, Marcel Janco, and Arthur Segal settled in Zürich. Before Globe War I, similar art had already existed in Bucharest and other Eastern European cities; it is likely that Dada'southward catalyst was the inflow in Zürich of artists like Tzara and Janco.^[29]

The name Cabaret Voltaire was a reference to the French philosopher Voltaire, whose novel Candide mocked the religious and philosophical dogmas of the day. Opening night was attended past Ball, Tzara, Jean Arp, and Janco. These artists along with others like Sophie Taeuber, Richard Huelsenbeck and Hans Richter started putting on performances at the Cabaret Voltaire and using art to express their cloy with the war and the interests that inspired it. Having left Germany and Romania during Globe War I, the artists arrived in politically neutral Switzerland. They used brainchild to fight confronting the social, political, and cultural ideas of that fourth dimension. They used shock art, provocation, and "vaudevilleian backlog" to subvert the conventions they believed had acquired the Great War.^[30] The Dadaists believed those ideas to be a byproduct of conservative society that was so blah information technology would wage state of war confronting itself rather than challenge the status quo:^[31]

We had lost conviction in our civilisation. Everything had to be demolished. Nosotros would brainstorm again later the tabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, teaching, institutions, museums, good taste, in short, the whole prevailing order."

—Marcel Janco^[32]

Ball said that Janco's mask and costume designs, inspired by Romanian folk fine art, fabricated "the horror of our time, the paralyzing groundwork of events" visible.^[xxx] According to Ball, performances were accompanied past a "balalaika orchestra playing delightful folk-songs". Influenced by African music, arrhythmic drumming and jazz were common at Dada gatherings.^{[33] [34]}

Afterward the cabaret closed down, Dada activities moved on to a new gallery, and Hugo Ball left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with messages, and shortly emerged equally the Dada leader and main strategist. The Cabaret Voltaire re-opened, and is notwithstanding in the same identify at the Spiegelgasse i in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the art and literature review Dada showtime in July 1917, with five editions from Zürich and the concluding 2 from Paris.

Other artists, such as André Breton and Philippe Soupault, created "literature groups to help extend the influence of Dada".^[35]

After the fighting of the Kickoff Globe War had ended in the armistice of November 1918, most of the Zürich Dadaists returned to their abode countries, and some began Dada activities in other cities. Others, such as the Swiss native Sophie Taeuber, would remain in Zürich into the 1920s.

Berlin [edit]

Encompass of Anna Blume, Dichtungen, 1919

"Berlin was a urban center of tightened stomachers, of mounting, thundering hunger, where hidden rage was transformed into a dizzying money lust, and men's minds were concentrating more and more on questions of naked existence... Fear was in everybody's bones" – Richard Hülsenbeck

Raoul Hausmann, who helped institute Dada in Berlin, published his manifesto Synthethic Cino of Painting in 1918 where he attacked Expressionism and the art critics who promoted it. Dada is envisioned in contrast to art forms, such as Expressionism, that appeal to viewers' emotional states: "the exploitation of so-called echoes of the soul". In Hausmann'due south formulation of Dada, new techniques of creating fine art would open doors to explore new creative impulses. Fragmented use of existent world stimuli allowed an expression of reality that was radically unlike from other forms of art:^[36]

A child's discarded doll or a brightly colored rag are more necessary expressions than those of some ass who seeks to immortalize himself in oils in finite parlors.

—Raoul Hausmann

The groups in Germany were not as strongly anti-art as other groups. Their activeness and art were more political and social, with corrosive manifestos and propaganda, satire, public demonstrations and overt political activities. The intensely political and war-torn surround of Berlin had a dramatic impact on the ideas of Berlin Dadaists. Conversely, New York's geographic distance from the state of war spawned its more theoretically-driven, less political nature.^[37] According to Hans Richter, a Dadaist who was in Berlin nevertheless "aloof from active participation in Berlin Dada", several distinguishing characteristics of the Dada move at that place included: "its political element and its technical discoveries in painting and literature"; "inexhaustible energy"; "mental liberty which included the abolition of everything"; and "members intoxicated with their own power in a way that had no relation to the real globe", who would "plow their rebelliousness even against each other".^[38]

In February 1918, while the Smashing War was budgeted its climax, Huelsenbeck gave his first Dada spoken communication in Berlin, and he produced a Dada manifesto afterward in the year. Following the Oct Revolution in Russia, by then out of the state of war, Hannah Höch and George Grosz used Dada to express communist sympathies. Grosz, together with John Heartfield, Höch and Hausmann adult the technique of photomontage during this menstruum. Johannes Baader, the uninhibited Oberdada, was the "crowbar" of the Berlin movement's direct activeness according to Hans Richter and is credited with creating the first giant collages, according to Raoul Hausmann.

Subsequently the war, the artists published a series of short-lived political magazines and held the First International Dada Fair, 'the greatest projection all the same conceived by the Berlin Dadaists', in the summer of 1920.^[39] Also as piece of work by the main members of Berlin Dada – Grosz, Raoul Hausmann, Hannah Höch, Johannes Baader, Huelsenbeck and Heartfield – the exhibition also included the work of Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.^[39] In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which likewise ended up written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition lost money, with merely ane recorded sale.^[40]

The Berlin group published periodicals such equally Guild Dada, Der Dada, Everyman His Own Football, and Dada Almanach. They also established a political party, the Central Council of Dada for the World Revolution.

Cologne [edit]

In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-conservative sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poesy past a woman in a communion dress. The police force closed the exhibition on grounds of obscenity, but information technology was re-opened when the charges were dropped.^[41]

New York [edit]

Like Zürich, New York Metropolis was a refuge for writers and artists from the First Globe War. Soon after arriving from French republic in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the eye of radical anti-art activities in the The states. American Beatrice Woods, who had been studying in French republic, before long joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, fleeing conscription in French republic, was too in New York for a fourth dimension. Much of their activity centered in Alfred Stieglitz'south gallery, 291, and the dwelling house of Walter and Louise Arensberg.

The New Yorkers, though not particularly organized, called their activities Dada, but they did not outcome manifestos. They issued challenges to art and culture through publications such as The Bullheaded Man, Rongwrong, and New York Dada in which they criticized the traditionalist footing for museum fine art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada' ".

During this time Duchamp began exhibiting "readymades" (everyday objects institute or purchased and declared fine art) such as a bottle rack, and was active in the Club of Contained Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists exhibition but they rejected the piece. First an object of scorn inside the arts community, the Fountain has since become almost canonized by some^[42] as one of the well-nigh recognizable modernist works of sculpture. Fine art world experts polled by the sponsors of the 2004 Turner Prize, Gordon's gin, voted it "the about influential work of modern art".^{[42] [43]} As recent scholarship documents, the work is however controversial. Duchamp indicated in a 1917 alphabetic character to his sister that a female friend was centrally involved in the formulation of this work: "I of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."^[44] The piece is in line with the scatological aesthetics of Duchamp'due south neighbour, the Baroness Elsa von Freytag-Loringhoven.^[45] In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in a replica of The Fountain with a hammer in Jan 2006; he also urinated on it in 1993.

Picabia'due south travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he too published the Dada periodical 391 in Barcelona, New York City, Zürich, and Paris from 1917 through 1924.

By 1921, about of the original players moved to Paris where Dada had experienced its last major incarnation.

Paris [edit]

Human Ray, c. 1921–22, Rencontre dans la porte tournante, published on the comprehend of Der Sturm, Volume 13, Number 3, 5 March 1922

Human Ray, c. 1921–22, Dessin (Drawing), published on folio 43 of Der Sturm, Volume 13, Number 3, 5 March 1922

The French advanced kept beside of Dada activities in Zürich with regular communications from Tristan Tzara (whose pseudonym means "sad in country," a proper name chosen to protest the handling of Jews in his native Romania), who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, Clément Pansaers, and other French writers, critics and artists.

Paris had arguably been the classical music capital of the earth since the advent of musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous ballet called Parade. First performed by the Ballets Russes in 1917, information technology succeeded in creating a scandal but in a different fashion than Stravinsky'south Le Sacre du printemps had done almost five years earlier. This was a ballet that was conspicuously parodying itself, something traditional ballet patrons would obviously have serious problems with.

Dada in Paris surged in 1920 when many of the originators converged at that place. Inspired past Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the last 2 editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)^[46]

The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif begetting the word Tabu. In the same twelvemonth Tzara staged his Dadaist play The Gas Centre to howls of derision from the audience. When it was re-staged in 1923 in a more professional product, the play provoked a theatre riot (initiated past André Breton) that heralded the split inside the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.

Netherlands [edit]

In the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing the De Stijl motility and magazine of the same name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such every bit Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg and Thijs Rinsema [nl] (a cordwainer and artist in Drachten) became friends of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where van Doesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszár demonstrated a mechanical dancing doll and Nelly van Doesburg (Theo'southward married woman), played avant-garde compositions on piano.

A Bonset sound-poem, "Passing troop", 1916

Van Doesburg wrote Dada poesy himself in De Stijl, although under a pseudonym, I.G. Bonset, which was simply revealed after his death in 1931. 'Together' with I.Thou. Bonset, he also published a short-lived Dutch Dada magazine called Mécano (1922–3). Another Dutchman identified by K. Schippers in his study of the movement in kingdom of the netherlands^[47] was the Groningen typographer H. N. Werkman, who was in touch with van Doesburg and Schwitters while editing his own magazine, The Side by side Call (1923–half dozen). Two more artists mentioned past Schippers were German-born and eventually settled in the Netherlands. These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and Paul Citroen.

Georgia [edit]

Though Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the Celsius temperature of a high fever [equal to 105.viii Fahrenheit]) organized forth Dadaist lines. The virtually important figure in this group was Iliazd (Ilia Zdanevich), whose radical typographical designs visually echo the publications of the Dadaists. Afterward his flying to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when Tristan Tzara was banned from property seminars in Théâtre Michel in 1923, Iliazd booked the venue on his behalf for the performance, "The Bearded Heart Soirée", and designed the flyer.^[48]

Yugoslavia [edit]

In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity betwixt 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo Due south. Petrov, Ljubomir Micić and Branko Ve Poljanski.^[49] Aleksić used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.^{[50] [51]}

Italy [edit]

The Dada movement in Italy, based in Mantua, was met with distaste and failed to make a significant impact in the world of art. It published a magazine for a short time and held an exhibition in Rome, featuring paintings, quotations from Tristan Tzara, and original epigrams such every bit "True Dada is against Dada". Ane member of this group was Julius Evola, who went on to become an eminent scholar of occultism, every bit well as a correct-wing philosopher.^[52]

Japan [edit]

A prominent Dada grouping in Nippon was Mavo, founded in July 1923 past Tomoyoshi Murayama, and Yanase Masamu later joined by Tatsuo Okada. Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katué Kitasono.

Dada, an iconic character from the Ultra Series. His design draws inspiration from the art movement.

In Tsuburaya Productions's Ultra Series, an conflicting named Dada was inspired by the Dadaism movement, with said character first appearing in episode 28 of the 1966 tokusatsu serial, Ultraman, its design past character artist Toru Narita. Dada'southward pattern is primarily monochromatic, and features numerous sharp lines and alternating black and white stripes, in reference to the movement and, in particular, to chessboard and Go patterns. On May 19, 2016, in commemoration to the 100 year anniversary of Dadaism in Tokyo, the Ultra Monster was invited to run across the Swiss Ambassador Urs Bucher.^{[53] [54]}

Butoh, the Japanese dance-form originating in 1959, can be considered to take direct connections to the spirit of the Dada move, equally Tatsumi Hijikata, one of Butoh's founders, "was influenced early in his career past Dadaism".^[55]

Russia [edit]

Dada in itself was relatively unknown in Russian federation, however, avant-garde art was widespread due to the Bolshevik'southward revolutionary agenda. The Nichevoki [ru], a literary group sharing Dadaist ideals^[56] achieved infamy later on one of its members suggested that Vladimir Mayakovsky should get to the "Pampushka" (Pameatnik Pushkina – Pushkin monument) on the "Tverbul" (Tverskoy Boulevard) to clean the shoes of anyone who desired it, after Mayakovsky declared that he was going to cleanse Russian literature.^[56] For more than information on Dadaism'south influence upon Russian avant-garde art, see the book Russian Dada 1914–1924.^[57]

Women of Dada [edit]

Often overlooked when discussing the history and foundations of Dada, information technology is necessary to shed light on the female artists who created and inspired fine art and artists alike. These women were often times in platonic or romantic relationships with the male person Dadaists mentioned in a higher place but are rarely written by the relative ties. However, each artist fabricated vital contributions to the move. Other notable mentions that do not include the artists below are: Suzanne Duchamp, Elsa von Freytag-Loringhoven, Emmy Hennings, Beatrice Forest, Clara Tice, and Ella Bergmann-Michel.

Hannah Höch [edit]

Hannah Höch of Berlin is considered to exist the only female Dadaist in Berlin at the fourth dimension of the motility.^[58] During this time, she was in a relationship with Raoul Hausmann who as well was a Dada artist. She channeled the same anti-war and anti-authorities (Weimar Republic) in her works just brought out a feminist lens on the themes. With her works primarily of collage and photomontage, she ofttimes used precise placement or detailed titles to callout the misogynistic means she and other women were treated.^[59]

Sophie Taeuber-Arp [edit]

Sophie Taeuber-Arp was a Swiss artist, instructor, and dancer who produced diverse types of fine art and handicraft pieces. While married to Dadaist Jean Arp, Taeuber-Arp was known in the Dada community for her performative dancing. Every bit such, she worked with choreographer Rudolf von Laban and was written by Tristan Tarza for her dancing skills.

Mina Loy [edit]

London-born Mina Loy was known for being active in the literary sector of the New York Dada scene. She spent fourth dimension writing poesy, creating Dada magazines, and acting and writing in plays. She contributed writing to Dada journal The Bullheaded Man and Marchel Duchamp'southward Rongwrong.

Poetry [edit]

Dadaglobe solicitation form letter of the alphabet signed by Francis Picabia, Tristan Tzara, Georges Ribemont-Dessaignes, and Walter Serner, c. week of November eight, 1920. This instance was sent from Paris to Alfred Vagts in Munich.

Dadists used daze, nihilism, negativity, paradox, randomness, subconscious forces and antinomianism to subvert established traditions in the aftermath of the Great War. Tzara'southward 1920 manifesto proposed cut words from a newspaper and randomly selecting fragments to write poetry, a procedure in which the synchronous universe itself becomes an active agent in creating the art. A poem written using this technique would be a "fruit" of the words that were clipped from the article.^[60]

In literary arts Dadaists focused on verse, particularly the so-called audio poetry invented by Hugo Ball. Dadaist poems attacked traditional conceptions of poetry, including construction, order, as well as the interplay of audio and the meaning of language. For Dadaists, the existing system past which information is articulated robs language of its dignity. The dismantling of language and poetic conventions are Dadaist attempts to restore language to its purest and most innocent form: "With these audio poem, we wanted to manipulate with a language which journalism had made desolate and impossible."^[61]

Simultaneous poems (or poèmes simultanés) were recited by a group of speakers who, collectively, produced a chaotic and confusing prepare of voices. These poems are considered manifestations of modernity including advertising, engineering science, and conflict. Unlike movements such every bit Expressionism, Dadaism did not accept a negative view of modernity and the urban life. The chaotic urban and futuristic world is considered natural terrain that opens up new ideas for life and fine art.^[62]

Music [edit]

Dada was not bars to the visual and literary arts; its influence reached into sound and music. These movements exerted a pervasive influence on 20th-century music, especially on mid-century advanced composers based in New York—among them Edgard Varèse, Stefan Wolpe, John Cage, and Morton Feldman.^[63] Kurt Schwitters developed what he called audio poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920.^[64] Other composers such as Erwin Schulhoff, Hans Heusser and Alberto Savinio all wrote Dada music,^[65] while members of Les Six collaborated with members of the Dada motion and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during his career, although he is primarily associated with musical Impressionism.^[64]

Legacy [edit]

While broadly based, the movement was unstable. By 1924 in Paris, Dada was melding into Surrealism, and artists had gone on to other ideas and movements, including Surrealism, social realism and other forms of modernism. Some theorists debate that Dada was actually the kickoff of postmodern art.^[66]

By the dawn of the Second World State of war, many of the European Dadaists had emigrated to the United States. Some (Otto Freundlich, Walter Serner) died in death camps under Adolf Hitler, who actively persecuted the kind of "degenerate art" that he considered Dada to represent. The movement became less active as mail-war optimism led to the development of new movements in art and literature.

Dada is a named influence and reference of various anti-art and political and cultural movements, including the Situationist International and culture jamming groups like the Cacophony Club. Upon breaking up in July 2012, agitator pop band Chumbawamba issued a argument which compared their own legacy with that of the Dada art movement.^[67]

At the same time that the Zürich Dadaists were making dissonance and spectacle at the Cabaret Voltaire, Lenin was planning his revolutionary plans for Russia in a nearby flat. Tom Stoppard used this coincidence every bit a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce equally characters. French writer Dominique Noguez imagined Lenin as a member of the Dada grouping in his tongue-in-cheek Lénine Dada (1989).

The former edifice of the Cabaret Voltaire barbarous into busted until it was occupied from January to March 2002, by a group proclaiming themselves Neo-Dadaists, led past Mark Divo.^[68] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee, and Dan Jones. After their eviction, the infinite was turned into a museum dedicated to the history of Dada. The work of Lee and Jones remained on the walls of the new museum.

Several notable retrospectives have examined the influence of Dada upon fine art and society. In 1967, a large Dada retrospective was held in Paris. In 2006, the Museum of Mod Art in New York City mounted a Dada exhibition in partnership with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris. The LTM label has released a large number of Dada-related audio recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp, and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.^[69]

Musician Frank Zappa was a self-proclaimed Dadaist after learning of the movement:

In the early days, I didn't even know what to telephone call the stuff my life was made of. You tin imagine my delight when I discovered that someone in a distant land had the same idea—AND a nice, curt name for it.^[seventy]

David Bowie adjusted William S. Burrough's cut-upwardly technique for writing lyrics and Kurt Cobain also absolutely used this method for many of his Nirvana lyrics, including "In Flower".^[71]

Art techniques developed [edit]

Dadaism as well blurred the line betwixt literary and visual arts:

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop fine art, a celebration of antiart to exist later embraced for anarcho-political uses in the 1960s and the movement that laid the foundation for Surrealism.^[72]

Collage [edit]

The Dadaists imitated the techniques developed during the cubist movement through the pasting of cutting pieces of paper items, but extended their art to encompass items such every bit transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life. They as well invented the "gamble collage" technique, involving dropping torn scraps of newspaper onto a larger canvas and then pasting the pieces wherever they landed.

Cut-up technique [edit]

Cutting-upwardly technique is an extension of collage to words themselves, Tristan Tzara describes this in the Dada Manifesto:^[73]

TO Make A DADAIST Verse form
Take a paper.
Take some pair of scissors.
Choose from this newspaper an article of the length you lot desire to brand your poem.
Cut out the article.
Next advisedly cutting out each of the words that makes upwards this article and put them all in a bag.
Milk shake gently.
Side by side take out each cut one later on the other.
Copy conscientiously in the lodge in which they left the bag.
The poem will resemble you lot.
And there you are – an infinitely original author of mannerly sensibility, even though unappreciated past the vulgar herd.

Photomontage [edit]

Raoul Hausmann, ABCD (cocky-portrait), a photomontage from 1923–24

The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of existent photographs printed in the printing. In Cologne, Max Ernst used images from the First World War to illustrate letters of the destruction of war.^[74] Although the Berlin photomontages were assembled, like engines, the (non)relationships amidst the disparate elements were more rhetorical than real.^[75]

Aggregation [edit]

The assemblages were iii-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of piece of work including war objects and trash. Objects were nailed, screwed or fastened together in different fashions. Assemblages could be seen in the round or could exist hung on a wall.^[76]

Readymades [edit]

Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add together signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". Duchamp wrote: "One important characteristic was the curt sentence which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to carry the heed of the spectator towards other regions more exact. Sometimes I would add a graphic particular of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.'"^[77] I such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled Fountain, and submitted to the Club of Independent Artists exhibition that year, though information technology was non displayed.

Many young artists in America embraced the theories and ideas consort by Duchamp. Robert Rauschenberg in detail was very influenced by Dadaism and tended to employ establish objects in his collages every bit a means of dissolving the boundary betwixt loftier and low culture.^[78]

Artists [edit]

• Dragan Aleksić (1901–1958), Yugoslavia
• Louis Aragon (1897–1982), France
• Jean Arp (1886–1966), Germany, France
• Sophie Taeuber-Arp (1889–1943) Switzerland, France
• Johannes Baader (1875–1955) Germany
• Hugo Ball (1886–1927), Deutschland, Switzerland
• André Breton (1896–1966), France
• John Covert (painter) (1882–1960), US
• Jean Crotti (1878–1958), France
• Otto Dix (1891–1969), Federal republic of germany
• Theo van Doesburg (1883–1931) Netherlands
• Marcel Duchamp (1887–1968), French republic
• Suzanne Duchamp (1889–1963), French republic
• Paul Éluard (1895–1952), France
• Max Ernst (1891–1976), Federal republic of germany, Us
• Julius Evola (1898–1974), Italy
• George Grosz (1893–1959), Germany, France, The states
• Raoul Hausmann (1886–1971), Deutschland
• John Heartfield (1891–1968), Frg, USSR, Czechoslovakia, UK
• Hannah Höch (1889–1978), Germany
• Richard Huelsenbeck (1892–1974), Germany
• Georges Hugnet (1906–1974), French republic
• Marcel Janco (1895–1984), Romania, Israel
• Elsa von Freytag-Loringhoven (1874–1927), Frg, The states
• Clément Pansaers (1885–1922), Kingdom of belgium
• Francis Picabia (1879–1953), France
• Human Ray (1890–1976), France, US
• Georges Ribemont-Dessaignes (1884–1974), France
• Hans Richter, Germany, Switzerland
• Juliette Roche Gleizes (1884–1980), France
• Kurt Schwitters (1887–1948), Germany
• Walter Serner (1889–1942), Austria
• Philippe Soupault (1897–1990), France
• Tristan Tzara (1896–1963), Romania, France
• Beatrice Wood (1893–1998), US

See too [edit]

• Art intervention
• Dadaglobe
• List of Dadaists
• Épater la bourgeoisie
• Happening
• Incoherents
• Transgressive art
• Devastation Was My Beatrice, history by Jed Resula

References [edit]

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Sources

• Elger, Dietmar [de] (2004). Uta Grosenick [de] (ed.). Dadaism. Taschen. ISBN 9783822829462.
• Gammel, Irene (2002). Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, Massachusetts: MIT Press.
• Jovanov, Jasna (1999). Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima. Novi Sad: Apostrof.
• Motherwell, Robert (1951). The Dada Painters and Poets; an anthology. New York: Wittenborn, Schultz. OCLC 1906000.

Farther reading [edit]

• The Dada Annual, ed Richard Huelsenbeck [1920], re-edited and translated by Malcolm Green et al., Atlas Press, with texts by Hans Arp, Johannes Baader, Hugo Ball, Paul Citröen, Paul Dermée, Daimonides, Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario D'Arezzo, Adon Lacroix, Walter Mehring, Francis Picabia, Georges Ribemont-Dessaignes, Alexander Sesqui, Philippe Soupault, Tristan Tzara. ISBN 0-947757-62-7
• Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck'southward Fantastic Prayers, & Walter Serner's Concluding Loosening – three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Greenish. Atlas Press, ISBN 0-947757-86-4
• Brawl, Hugo. Flying Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)
• Bergius, Hanne Dada in Europa – Dokumente und Werke (co-ed. Eberhard Roters), in: Tendenzen der zwanziger Jahre. 15. Europäische Kunstausstellung, Catalogue, Vol.III, Berlin: Dietrich Reimer Verlag, 1977. ISBN 978-iii-496-01000-5
• Bergius, Hanne Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen. Gießen: Anabas-Verlag 1989. ISBN 978-iii-870-38141-7
• Bergius, Hanne Dada Triumphs! Dada Berlin, 1917–1923. Artistry of Polarities. Montages – Metamechanics – Manifestations. Translated by Brigitte Pichon. Vol. V. of the ten editions of Crunch and the Arts: the History of Dada, ed. by Stephen Foster, New Haven, Connecticut, Thomson/Gale 2003. ISBN 978-0-816173-55-half dozen.
• Jones, Dafydd Due west. Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014). ISBN 978-i-781-380-208
• Biro, Chiliad. The Dada Cyborg: Visions of the New Man in Weimar Berlin. Minneapolis: Academy of Minnesota Press, 2009. ISBN 0-8166-3620-six
• Dachy, Marc. Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (M Prix du Livre d'Fine art, 1990)
• Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994.
• Dada : La révolte de fifty'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005.
• Archives Dada / Chronique, Paris, Hazan, 2005.
• Dada, catalogue d'exposition, Centre Pompidou, 2005.
• Durozoi, Gérard. Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005
• Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Ryerson and Burnham Libraries, The Art Institute of Chicago.
• Hopkins, David, A Companion to Dada and Surrealism, Volume 10 of Blackwell Companions to Art History, John Wiley & Sons, May ii, 2016, ISBN 1118476182
• Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Printing: Berkeley and Los Angeles, 1991)
• Jones, Dafydd. Dada Civilization (New York and Amsterdam: Rodopi Verlag, 2006)
• Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch. New Haven: Yale Academy Press, 1993.
• Lemoine, Serge. Dada, Paris, Hazan, coll. Fifty'Essentiel.
• Lista, Giovanni. Dada libertin & libertaire, Paris, L'insolite, 2005.
• Melzer, Annabelle. 1976. Dada and Surrealist Operation. PAJ Books ser. Baltimore and London: The Johns Hopkins Upward, 1994. ISBN 0-8018-4845-viii.
• Novero, Cecilia. "Antidiets of the Avant-garde: From Futurist Cooking to Eat Art." (Academy of Minnesota Printing, 2010)
• Richter, Hans. Dada: Art and Anti-Fine art (London: Thames and Hudson, 1965)
• Sanouillet, Michel. Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005
• Sanouillet, Michel. Dada in Paris, Cambridge, Massachusetts, The MIT Printing, 2009
• Schneede, Uwe M. George Grosz, His life and work (New York: Universe Books, 1979)
• Verdier, Aurélie. Fifty'ABCdaire de Dada, Paris, Flammarion, 2005.

Filmography [edit]

• 1968: Germany-DADA: An Alphabet of German DADAism on YouTube, Documentary by Universal Instruction, Presented By Kartes Video Communications, 56 Minutes
• 1971: DADA 'Archives du XXe siècle' on YouTube, Une émission produite par Jean José Marchand, réalisée par Philippe Collin et Hubert Knapp, Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min.
• 2016: Das Prinzip Dada, Documentary past Marina Rumjanzewa [de], Schweizer Radio und Fernsehen (Sternstunde Kunst [de] ), 52 Minutes (in German)
• 2016 Dada Art Move History – "Dada on Tour" on YouTube, Bruno Art Group in collaboration with Cabaret Voltaire & Art Stage Singapore 2016, 27 minutes

External links [edit]

Wikimedia Commons has media related to Dada.

Wikiquote has quotations related to: Dada

• Dada Companion, bibliographies, chronology, artists' profiles, places, techniques, reception
• Dada at Curlie
• The International Dada Archive, University of Iowa, early Dada periodicals, online scans of publications
• Dadart, history, bibliography, documents, and news
• Dada audio recordings at LTM
• New York dada (mag), Marcel Duchamp and Homo Ray, April, 1921, Bibliothèque Kandinsky, Centre Pompidou (access online)
• Kunsthaus Zürich, i of the world's largest Dada collections
• "A Brief History of Dada", Smithsonian Magazine
• Introduction to Dada, Khan University Art 1010
• National Gallery of Fine art 2006 Dada Exhibition
• Hathi Trust full-text Dadaism publications online
• Collection: "Dada and Neo-Dada" from the University of Michigan Museum of Art

Manifestos

• Text of Hugo Ball'south 1916 Dada Manifesto
• Text of Tristan Tzara'south 1918 Dada Manifesto
• Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)
• Seven Dada Manifestos by Tristan Tzara

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Source: https://en.wikipedia.org/wiki/Dada

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