Dada 1 Dada Cover of the first edition of the publication Dada by Tristan Tzara; Zurich, 1917 Dada /ˈdɑːdɑː/ or Dadaism was an art movement of the European avant-garde in the early 20th century. Many claim Dada began in Zurich, Switzerland in 1916, spreading to Berlin shortly thereafter but the height of New York Dada was the year before in 1915. [1] To quote Dona Budd's The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artist and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada', a French word for 'hobbyhorse'. [2] The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left. Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, Georg Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus. Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism. [3] A movement that proclaimed to be nothing and everything, [4] Dada desperately sought a fresh start, a tabula rasa for culture and humanity. The prodigious savior, Dada, magically spurted in New York, Zurich, Paris, Berlin, Cologne and Hanover from 1915-1917 as a reaction to the atrocities of a war based on the rational decisions and so-called social order of the State (e.g., France, Germany, Austria-Hungary, etc.) Dada arose from the depths of individuals as a testament to the everlasting spirit of change. This spirit strove to offer a rebirth of thought that would wash away the tears and the disillusions of millions of lost souls and provide ground for humans to move forward, to forget the past and re-envision society. Dada as an art movement sought to unearth the façade established by misconceptions brought forth by definitions (such as that of the art establishment), yet it ultimately eroded and drowned in the boundaries of linguistics and semiotics. The movement lost its original premises and power of evoking change when it was granted an -ism by the consensus of general culture that turned Dada into Dadaism. Dada had thus been consumed by self-doubt and cast away by culture to the historical shadows of art—just another movement, just one of the many that have come and will continue to come.
Transcript
Dada 1
Dada
Cover of the first edition of the publication Dadaby Tristan Tzara; Zurich, 1917
Dada /ˈdɑːdɑː/ or Dadaism was an art movement of the Europeanavant-garde in the early 20th century. Many claim Dada began inZurich, Switzerland in 1916, spreading to Berlin shortly thereafter butthe height of New York Dada was the year before in 1915.[1] To quoteDona Budd's The Language of Art Knowledge,
Dada was born out of negative reaction to the horrors ofWorld War I. This international movement was begun by agroup of artist and poets associated with the CabaretVoltaire in Zurich. Dada rejected reason and logic, prizingnonsense, irrationality and intuition. The origin of thename Dada is unclear; some believe that it is a nonsensicalword. Others maintain that it originates from theRomanian artists Tristan Tzara's and Marcel Janco'sfrequent use of the words da, da, meaning yes, yes in theRomanian language. Another theory says that the name"Dada" came during a meeting of the group when a paperknife stuck into a French-German dictionary happened to point to 'dada', a French word for'hobbyhorse'.[2]
The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphicdesign, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-artcultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with theradical left.Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionatecoverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movementincluded Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara,Francis Picabia, Richard Huelsenbeck, Georg Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, KurtSchwitters, and Hans Richter, among others. The movement influenced later styles like the avant-garde anddowntown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus.
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a preludeto postmodernism, an influence on pop art, a celebration of antiart to be later embraced foranarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.[3]
A movement that proclaimed to be nothing and everything,[4] Dada desperately sought a fresh start, a tabula rasa forculture and humanity. The prodigious savior, Dada, magically spurted in New York, Zurich, Paris, Berlin, Cologneand Hanover from 1915-1917 as a reaction to the atrocities of a war based on the rational decisions and so-calledsocial order of the State (e.g., France, Germany, Austria-Hungary, etc.) Dada arose from the depths of individuals asa testament to the everlasting spirit of change. This spirit strove to offer a rebirth of thought that would wash awaythe tears and the disillusions of millions of lost souls and provide ground for humans to move forward, to forget thepast and re-envision society. Dada as an art movement sought to unearth the façade established by misconceptionsbrought forth by definitions (such as that of the art establishment), yet it ultimately eroded and drowned in theboundaries of linguistics and semiotics. The movement lost its original premises and power of evoking change whenit was granted an -ism by the consensus of general culture that turned Dada into Dadaism. Dada had thus beenconsumed by self-doubt and cast away by culture to the historical shadows of art—just another movement, just oneof the many that have come and will continue to come.
To speak of Dada in retrospect or to search for a definite understanding of the movement, of its intentions andfailures, is to betray the Dada spirit—that unmistakable freedom that impregnates the nuances of nature and humanlife; a vivacious force that sheds away the layers of words and exposes the vulnerabilities and inconsistencies ofcriticism and rationalism as well as any sort of structured-ism, may it be cubism, naturalism, or romanticism. Anyanalysis of Dada in the past has inherently been limited by the scope of its definition as an art movement. There is anemphasis on its origins in the arts, and for many a writer and critic, Dadaism’s roots are human, while the claim of aspirit—the Dada spirit—existing before and after humans, is usually shrugged off as another illogical entity createdas a form of revolt. The metaphysical nature of the movement, the same that desperately fought to transform humanconsciousness, is infinitely restricted by the lens imposed upon it by general culture. In order to understand theideological roots of the movement, and its intrinsic reliance in the Dada spirit that lasted more than the movementitself, it is necessary to review the history of Dada, for it clearly shows the limits imposed on it by culture andsociety. Dada was not just another avant-garde art movement that perished under the weight of its incomprehensibleand destructive nature; it was not an ephemeral thought that vanished with the past, but rather a way of thinking thatcontinues to permeate society. Dada is an unnamable entity that defies logic and leaves the critic impotent fromfurther study or elucidation. Dada achieved the impossible by superseding itself, by tearing itself away fromDadaism, adapting with time, and becoming the definition of art and nature, one void of words and formalisms."The public mind, consciously or not, needs a definition, any definition, because public taste, as Duchamp showed it,is based on stereotypes which most of the time bear no relation to truth or reality"[5]
OverviewIt's too idiotic to be schizophrenic.
— Carl Jung on the Dada productions[6]
Dada was an informal international movement, with participants in Europe and North America. The beginnings ofDada correspond to the outbreak of World War I. For many participants, the movement was a protest against thebourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, andagainst the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war.[]
Hannah Höch, Cut with the Dada Kitchen Knifethrough the Last Weimar Beer-Belly CulturalEpoch in Germany, 1919, collage of pasted
papers, 90×144 cm, Nationalgalerie, StaatlicheMuseen zu Berlin
Many Dadaists believed that the 'reason' and 'logic' of bourgeoiscapitalist society had led people into war. They expressed theirrejection of that ideology in artistic expression that appeared to rejectlogic and embrace chaos and irrationality. For example, George Groszlater recalled that his Dadaist art was intended as a protest "against thisworld of mutual destruction."[7]
According to Hans Richter, Dada was not art, it was "anti-art."[]
Everything for which art stood, Dada represented the opposite. Whereart was concerned with traditional aesthetics, Dada ignored aesthetics.If art was to appeal to sensibilities, Dada was intended to offend.
As Hugo Ball expressed it, "For us, art is not an end in itself ... but it isan opportunity for the true perception and criticism of the times we livein."[8]
A reviewer from the American Art News stated at the time that "Dadaphilosophy is the sickest, most paralyzing and most destructive thingthat has ever originated from the brain of man." Art historians havedescribed Dada as being, in large part, a "reaction to what many ofthese artists saw as nothing more than an insane spectacle of collectivehomicide."[]
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwareconomic and moral crisis, a savior, a monster, which would lay waste to everything in its path... [It was] asystematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."[]
History
ZurichIn 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber,and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing theirdisgust with the war and the interests that inspired it.Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did notoriginate fully in a Zurich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe,particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Marcel &Iuliu Iancu, Arthur Segal, and others) settled in Zurich. In the years prior to World War I similar art had already risenin Bucharest and other Eastern European cities; it is likely that DADA's catalyst was the arrival in Zurich of artistslike Tzara and Janco.[9]
Having left Germany and Romania during World War I, the artists found themselves in Switzerland, a countryrecognized for its neutrality. Inside this space of political neutrality they decided to use abstraction to fight againstthe social, political, and cultural ideas of that time. The dadaists believed those ideas to be a byproduct of bourgeoissociety, a society so apathetic it would rather fight a war against itself than challenge the status quo.[]
Marcel Janco recalled,We had lost confidence in our culture. Everything had to be demolished. We would begin again after thetabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, education,institutions, museums, good taste, in short, the whole prevailing order.
The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall[10] on July 14, 1916, Ballrecited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dadawritings, which was published in 1918. Other manifestos followed.A single issue of the magazine Cabaret Voltaire was the first publication to come out of the movement.After the cabaret closed down, activities moved to a new gallery and Hugo Ball left for Bern. Tzara began arelentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soonemerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at theSpiegelgasse 1 in the Niederdorf.Zurich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with fiveeditions from Zurich and the final two from Paris.When World War I ended in 1918, most of the Zurich Dadaists returned to their home countries, and some beganDada activities in other cities. Others, such as Swiss native Sophie Täuber, would remain in Zurich into the 1920s.
"Berlin was a city of tightened stomachers, of mounting, thunderinghunger, where hidden rage was transformed into a boundless moneylust, and men’s minds were concentrating more and more on questionsof naked existence... Fear was in everybody’s bones "- RichardHülsenbeck
The groups in Germany were not as strongly anti-art as other groups.Their activity and art were more political and social, with corrosivemanifestos and propaganda, satire, public demonstrations and overtpolitical activities. It has been suggested that this is at least partiallydue to Berlin's proximity to the front, and that for an opposite effect,New York's geographic distance from the war spawned its moretheoretically-driven, less political nature.[citation needed]
In February 1918, Huelsenbeck gave his first Dada speech in Berlin,and produced a Dada manifesto later in the year. Hannah Höch andGeorge Grosz used Dada to express post-World War I communistsympathies. Grosz, together with John Heartfield, developed thetechnique of photomontage during this period. The artists published aseries of short-lived political magazines, and held the FirstInternational Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.[11] Aswell as the main members of Berlin Dada, Grosz, Raoul Hausmann, Höch, Johannes Baader, Huelsenbeck andHeartfield, the exhibition also included work by Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter,Johannes Baargeld and others.[11] In all, over 200 works were exhibited, surrounded by incendiary slogans, some ofwhich also ended up written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high ticket prices,the exhibition lost money, with only one recorded sale.[12]
The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football, and DadaAlmanach.
CologneIn Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsenseand anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participantswalk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibitionon grounds of obscenity, but it was re-opened when the charges were dropped.[13]
Like Zurich, New York City was a refuge for writers and artists fromWorld War I. Soon after arriving from France in 1915, MarcelDuchamp and Francis Picabia met American artist Man Ray. By 1916the three of them became the center of radical anti-art activities in theUnited States. American Beatrice Wood, who had been studying inFrance, soon joined them, along with Elsa von Freytag-Loringhoven.Arthur Cravan, fleeing conscription in France, was also present for atime. Much of their activity centered in Alfred Stieglitz's gallery, 291,and the home of Walter and Louise Arensberg.
The New Yorkers, though not particularly organized, called theiractivities Dada, but they did not issue manifestos. They issuedchallenges to art and culture through publications such as The BlindMan, Rongwrong, and New York Dada in which they criticized the
traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was insteaddriven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudevilleand poets Marsden Hartley included an essay on "The Importance of Being 'Dada'".
Rrose Sélavy, the alter ego of famedDadaist Marcel Duchamp.
During this time Duchamp began exhibiting "readymades" (everyday objectsfound or purchased and declared art) such as a bottle rack, and was active in theSociety of Independent Artists. In 1917 he submitted the now famous Fountain, aurinal signed R. Mutt, to the Society of Independent Artists exhibition only tohave the piece rejected. First an object of scorn within the arts community, theFountain has since become almost canonized by some as one of the mostrecognizable modernist works of sculpture. The committee presiding overBritain's prestigious Turner Prize in 2004, for example, called it "the mostinfluential work of modern art."[14] As recent scholarship documents, the work islikely more collaborative than it has been given credit for in twentieth-century arthistory. Duchamp indicates in a 1917 letter to his sister that a female friend wascentrally involved in the conception of this work. As he writes: "One of myfemale friends who had adopted the pseudonym Richard Mutt sent me aporcelain urinal as a sculpture."[15] The piece is more in line with the scatologicalaesthetics of Duchamp's friend and neighbour, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.[16] Inan attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in TheFountain with a hammer in January 2006; he also urinated on it in 1993.
Picabia's travels tied New York, Zurich and Paris groups together during the Dadaist period. For seven years he alsopublished the Dada periodical 391 in Barcelona, New York City, Zurich, and Paris from 1917 through 1924.By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (seeNeo-Dada for later activity).
ParisThe French avant-garde kept abreast of Dada activities in Zurich with regular communications from Tristan Tzara(whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania),who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, ClémentPansaers, and other French writers, critics and artists.Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous balletcalled Parade. First performed by the Ballets Russes in 1917, it succeeded in creating a scandal but in a differentway than Stravinsky's Le Sacre du Printemps had done almost five years earlier. This was a ballet that was clearlyparodying itself, something traditional ballet patrons would obviously have serious issues with.Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soonissued manifestos, organized demonstrations, staged performances and produced a number of journals (the final twoeditions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)[17]
The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crottiexhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu. In the same yearTzara staged his Dadaist play The Gas Heart to howls of derision from the audience. When it was re-staged in 1923in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the splitwithin the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist drama was his "ironic tragedy"Handkerchief of Clouds in 1924.
NetherlandsIn the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing theDe Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poemsfrom many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburgbecame a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where VanDoesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàrdemonstrated a mechanical dancing doll and Nelly Van Doesburg (Theo's wife), played avant-garde compositions onpiano.Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was onlyrevealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazinecalled Mécano.
GeorgiaAlthough Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets calledthemselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever)organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographicaldesigns visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaistson publications and events.
YugoslaviaIn Yugoslavia there was heavy Dada activity between 1920 and 1922 run mainly by Dragan Aleksić and includingMihailo S. Petrov, Zenitist's two brothers Ljubomir Micić and Branko Ve Poljanski. Aleksić used the term"Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.[18]
ItalyThe Dada movement in Italy, based in Mantova, was met with distaste and failed to make a significant impact in theart world. They published a magazine for a short time and held an exhibit in Rome, featuring paintings, Tristan Tzaraquotes, and original epigrams such as "True Dada is against Dada". The most notable member of this group wasJulius Evola, who went on to become a preeminent occult scholar of the 20th century, as well as a right-wingphilosopher and aide to Mussolini.[19]
TokyoA prominent Dada group in Japan was MAVO (JA), founded in July 1923 by Tomoyoshi Murayama and MasamuYanase (DE, JA). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi (JA) and KatsueKitasono.
IrelandDada in Ireland centered around the activities of Dermot O'Reilly, Kevin Leeson and Brian Sheridan. All threeworked at the Guinness brewery in Dublin - for this reason the Irish Dadaists are usually referred to as the "GuinnessDadaists." They were most active between 1920 and 1922, during the period of the Irish War of Independence. Ledby O'Reilly, the Guinness Dadaists put on performances and created sculptures, wall hangings and sound poetry. Thelatter was composed using the rules of pronunciation of the Irish language and as such is extremely difficult fornon-Irish speakers to read or perform.
Sound poetry by Dermot O'Reilly, ca. 1921
Russia
The Russian literary group Nichevoki came close to the Dadaideologies. They became famous for proposing Vladimir Mayakovskyto go to the "Pampushka" (abbreviation for "pamyatnik pushkina",which means "Pushkin monument") at the "Tverbul" (abbreviation for"tverskoj bulvar", which means "Tverskoy Boulevard") and clean anydesiring person's shoes, when he declared that he would "clean Russianpoetry".
Poetry; music and soundDada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwittersdeveloped what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dadamusic performed at the Festival Dada in Paris on 26 May 1920. Other composers such as Erwin Schulhoff, HansHeusser and Albert Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dadamovement and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during hiscareer, although he is primarily associated with musical Impressionism.In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." Africanmusic and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.[citation needed]
The Janco Dada Museum, named after MarcelJanco, in Ein Hod, Israel
While broad, the movement was unstable. By 1924 in Paris, Dada wasmelding into surrealism, and artists had gone on to other ideas andmovements, including surrealism, social realism and other forms ofmodernism. Some theorists argue that Dada was actually the beginningof postmodern art.[20]
By the dawn of World War II, many of the European Dadaists hademigrated to the United States. Some died in death camps under AdolfHitler,[citation needed] who persecuted the kind of "Degenerate art" thatDada represented. The movement became less active as post-WorldWar II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art andpolitical and cultural movements including the Situationist International and culture jamming groups like theCacophony Society. Upon breaking up in July 2012, famous anarchist pop band Chumbawamba issued a statementwhich compared their own legacy with that of the Dada art movement.[21]
At the same time that the Zurich Dadaists made noise and spectacle at the Cabaret Voltaire, Vladimir Lenin wrotehis revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for hisplay Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer DominiqueNoguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).
The Cabaret Voltaire fell into disrepair until it was occupied from January to March, 2002, by a group proclaimingthemselves Neo-Dadaists, led by Mark Divo.[22] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar,Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. Thework of Lee and Jones remained on the walls of the museum.Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dadaretrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dadaexhibition in conjunction 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 sound recordings, including interviews with artists suchas Tzara, Picabia, Schwitters, Arp and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes,Picabia and Nelly van Doesburg.[23]
Art techniques developed
CollageThe Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces ofpaper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. toportray aspects of life, rather than representing objects viewed as still life.
PhotomontageThe Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to expresstheir views of modern life through images presented by the media. A variation on the collage technique,photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst usedimages from World War I to illustrate messages of the destruction of war.[24]
AssemblageThe assemblages were three-dimensional variations of the collage – the assembly of everyday objects to producemeaningful or meaningless (relative to the war) pieces 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 be hung on awall.[25]
ReadymadesMarcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called"readymades". He would add signatures and titles to some, converting them into artwork that he called "readymadeaided" or "rectified readymades". Duchamp wrote: "One important characteristic was the short sentence which Ioccasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant tocarry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail ofpresentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.'" [26] One suchexample of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled"Fountain", and submitted to the Society of Independent Artists exhibition that year. The piece was not displayedduring the show, a fact that unmasked the inherently biased system that was the art establishment, seeing as any artistthat paid the entry fee could in theory display their art, but the work of R. Mutt was banished by the judgment of agroup of artists.[]
References[1] de Micheli, Mario(2006). Las vanguardias artísticas del siglo XX. Alianza Forma. p.135-137[2] Budd, Dona, The Language of Art Knowledge, Pomegranate Communications, Inc.[3] Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation[4][4] Cabanne, Pierre, and Marcel Duchamp. Dialogues with Marcel Duchamp. New York: Viking, 1971. Print.[5][5] Foster, Stephen C., and Rudolf E. Kuenzli. Dada Spectrum: The Dialectics of Revolt. Madison, Wi.: Coda, 1979. Print.[6][6] Melzer (1976, 55).[9] Tom Sandqvist, DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.[11][11] Dada, Dickermann, National Gallery of Art, Washington, 2006 p443[12][12] Dada, Dickermann, National Gallery of Art, Washington, 2006 p99[14] "Duchamp's urinal tops art survey" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 4059997. stm), BBC News December 1, 2004.[15] Duchamp, Marcel trans. and qtd. in Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press,
2002, 224.[16] Gammel, Baroness Elsa, 224-225.[17][17] Marc Dachy, Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, "Découvertes" n° 476 , 2005.[18] (http:/ / books. google. com/ books?id=c8ZbINFYdVoC& pg=PA132& lpg=PA132& dq=Yugo-Dada& source=bl& ots=wkZIUoT3bQ&
sig=jU2Bh9Eu9uZh6u-HRFYnC8PEdhU& hl=en& ei=ssJdSo_cFI66Nazp_b8C& sa=X& oi=book_result& ct=result& resnum=1) JovanovJasna, Kujundžić Dragan, "Yougo-Dada"."Crisis and the Arts: The History of Dada", Vol. IV, The Eastern Orbit: Russia, Georgia, Ukraine,Central Europe and Japan, General Editor Stephen C. Foster, G.K. Hall& Comp. Publishers, New York 1998, 41 - 62; JasnaJovanov,Demistifikacija apokrifa: dadaizam na jugoslovenskim prostorima 1920 - 1922, Novi Sad: Apokrif, 1999.
[19] Julius Evola - International Dada Archive (http:/ / sdrc. lib. uiowa. edu/ dada/ dadas/ evola. htm)[22] 2002 occupation by neo-Dadaists (http:/ / www. praguepost. com/ articles/ 2006/ 11/ 01/ a-work-in-process. php) Prague Post[23] http:/ / www. ltmrecordings. com/ fdrcat. html[26][26] "The Writings of Marcel Duchamp" ISBN 0-306-80341-0
Bibliography• The Dada Almanac, 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, TristanTzara. ISBN 0-947757-62-7
• Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck's Fantastic Prayers, & Walter Serner'sLast Loosening - three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Green. Atlas Press,ISBN 0-947757-86-4
• Ball, Hugo. Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)• Biro, M. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota
Press, 2009. ISBN 0-8166-3620-6•• Dachy, Marc. Journal du mouvement Dada 1915-1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art,
1990)• Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994.• Jovanov, Jasna. Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima, Novi Sad/Apostrof 1999.• Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, Découvertes n° 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• Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002.• Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds
Collection (http:/ / www. artic. edu/ reynolds/ essays/ hofmann. php), Ryerson and Burnham Libraries, The ArtInstitute of Chicago.
• Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles,1991)
• Jones, Dafydd. Dada Culture, NY and Amsterdam, Rodopi, 2006• Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch. New Haven: Yale
University Press, 1993.• Lemoine, Serge. Dada, Paris, Hazan, coll. L'Essentiel.• Lista, Giovanni. Dada libertin & libertaire, Paris, L'insolite, 2005.• Melzer, Annabelle. 1976. Dada and Surrealist Performance. PAJ Books ser. Baltimore and London: The Johns
Hopkins UP, 1994. ISBN 0-8018-4845-8.•• Novero, Cecilia. "Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art." (University of Minnesota
Press, 2010)• Richter, Hans. Dada: Art and Anti-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 Press, 2009• Schneede, Uwe M. George Grosz, His life and work (New York: Universe Books, 1979)• Verdier, Aurélie. L'ABCdaire de Dada, Paris, Flammarion, 2005.
External links• Dada (http:/ / www. dmoz. org/ Arts/ Art_History/ Periods_and_Movements/ Dada/ / ) at the Open Directory
Project• Dada art (http:/ / www. peak. org/ ~dadaist/ Art/ index. html) - includes images showing the characteristics of
Dada• The International Dada Archive (http:/ / www. lib. uiowa. edu/ dada/ ) - includes scans of publications• Dadart (http:/ / www. dadart. com/ dadaism/ dada/ index. html) - includes history, bibliography, documents, and
news• Dada magazine (http:/ / www. ossilegium. com/ dada/ one/ ) translated into English and remastered for the
internet.• From Dada to surrealism (http:/ / www. guardian. co. uk/ artanddesign/ 2011/ jul/ 19/
dada-to-surrealism-dagen-review) review from The Guardian
