One of the Pioneers of the Dada Art Movement?

Avant-garde art motility in the early 20th century

Francis Picabia: left, Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; center, 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 s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915

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

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

Dada () or Dadaism was an art movement 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] ^[3] and afterward 1920 Dada flourished in Paris. Dadaist activities lasted until the mid 1920s.

Adult in reaction to World State of 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.^[4] ^[5] ^[6] The art of the move spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent toward violence, war, and nationalism, and maintained political affinities with radical left-wing and far-left politics.^[vii] ^[8] ^[9] ^[x]

There is no consensus on the origin of the motion's proper noun; a mutual story is that the High german artist Richard Huelsenbeck slid a paper pocketknife (alphabetic character-opener) at random into a dictionary, where information technology landed on "dada", a colloquial French term for a hobby equus caballus. Jean Arp wrote that Tristan Tzara invented the word at 6 p.yard. on 6 Feb 1916, in the Café de la Terrasse in Zürich.^[11] Others notation that it suggests the first words of a child, evoking a childishness and applesauce that appealed to the grouping. Still others speculate that the word might have been chosen to evoke a like meaning (or no meaning at all) in any language, reflecting the motion's internationalism.^[12]

The roots of Dada lie in pre-war avant-garde. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works that claiming accepted definitions of art.^[13] Cubism and the evolution of collage and abstract art would inform the move's detachment from the constraints of reality and convention. The work of French poets, Italian Futurists and the High german Expressionists would influence Dada'southward rejection of the tight correlation between words and pregnant.^[fourteen] Works such as Ubu Roi (1896) by Alfred Jarry and the ballet Parade (1916–17) by Erik Satie would also be characterized as proto-Dadaist works.^[xv] The Dada motility'due south principles were first nerveless in Hugo Brawl'due south Dada Manifesto in 1916.

The Dadaist move included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and civilization were topics often discussed in a variety of media. Fundamental 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 subsequently styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, popular art and Fluxus.^{[ not verified in body ]}

Overview [edit]

Francis Picabia, Dame! Analogy for the cover of the periodical Dadaphone, n. seven, Paris, March 1920

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

Avant-garde circles exterior France knew of pre-state of 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 subsequently combined these approaches.^[14] ^[17]

Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to pass up logic and embrace chaos and irrationality.^[v] ^{[half dozen]} For case, George Grosz afterwards recalled that his Dadaist art was intended as a protestation "against this world of mutual destruction".^[v]

According to Hans Richter Dada was non fine art: information technology was "anti-art."^[sixteen] Dada represented the opposite of everything which art stood for. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to entreatment to sensibilities, Dada was intended to offend.

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

As Hugo Brawl expressed it, "For us, art is non an end in itself ... but it is an opportunity for the true perception and criticism of the times nosotros live in."^[nineteen]

A reviewer from the American Art News stated at the fourth dimension that "Dada philosophy is the sickest, most paralyzing and well-nigh destructive thing that has always originated from the brain of man." Art historians have described Dada as being, in large part, a "reaction to what many of these artists saw every bit nothing more than an insane spectacle of collective homicide".^[20]

Years later, Dada artists described the movement as "a miracle bursting along in the midst of the postwar economical and moral crisis, a savior, a monster, which would lay waste matter to everything in its path... [Information technology was] a systematic work of devastation and demoralization... In the end it became zilch but an human activity of sacrilege."^[20]

To quote Dona Budd's The Linguistic communication of Art Knowledge,

Dada was born out of negative reaction to the horrors of the First World State of war. This international motility 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 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'southward frequent use of the words "da, da," meaning "yes, yes" in the Romanian language. Some other theory says that the name "Dada" came during a meeting of the grouping when a paper knife stuck into a French–German lexicon happened to betoken to 'dada', a French word for 'hobbyhorse'.^{[half dozen]}

The motility primarily involved visual arts, literature, poetry, fine art manifestos, 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.

The creations of Duchamp, Picabia, Man Ray, and others between 1915 and 1917 eluded the term Dada at the fourth dimension, and "New York Dada" came to be seen every bit a mail facto invention of Duchamp. At the commencement of the 1920s the term Dada flourished in Europe with the help of Duchamp and Picabia, who had both returned from New York. Yet, Dadaists such equally 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'south history. Dada'southward 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, simply it proved to exist Duchamp who was most strategically bright in manipulating the genealogy of this advanced germination, deftly turning New York Dada from a belatedly-comer into an originating forcefulness.^[21]

History [edit]

Dada emerged from a menses of creative and literary movements like Futurism, Cubism and Expressionism; centered mainly in Italia, France and Federal republic of germany respectively, in those years. Withal, unlike the earlier movements Dada was able to constitute a broad base of operations of support, giving rise to a movement that was international in scope. Its adherents were based in cities all over the globe including New York, Zürich, Berlin, Paris and others. In that location were regional differences like an emphasis 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 14 July 1916, Ball originated the seminal manifesto. Tzara wrote a 2d Dada manifesto,^[23] ^[24] considered important Dada reading, which was published in 1918.^[25] Tzara's manifesto articulated the concept of "Dadaist cloy"—the contradiction implicit in avant-garde works between the criticism and affirmation of modernist reality. In the Dadaist perspective modern 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 cake or cherries, to fill up a void.^[26]

The daze 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 entertainment but, over time, audiences' expectations eventually outpaced the motility's capacity to deliver. As the artists' well-known "sarcastic laugh" started to come up from the audience, the provocations of Dadaists began to lose their affect. Dada was an agile move during years of political turmoil from 1916 when European countries were actively engaged in World War I, the determination of which, in 1918, set the stage for a new political order.^[27]

Zürich [edit]

In that location is some disagreement almost where Dada originated. The movement is usually accepted by most art historians and those who lived during this menstruum to take identified with the Cabaret Voltaire (housed inside the Holländische Meierei bar in Zürich) co-founded by poet and cabaret vocaliser Emmy Hennings and Hugo Ball.^[28] Some sources suggest 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. Earlier World War I, similar art had already existed in Bucharest and other Eastern European cities; information technology is likely that Dada'southward catalyst was the inflow in Zürich of artists like Tzara and Janco.^[29]

The proper noun Cabaret Voltaire was a reference to the French philosopher Voltaire, whose novel Candide mocked the religious and philosophical dogmas of the 24-hour interval. Opening night was attended by Ball, Tzara, Jean Arp, and Janco. These artists forth with others like Sophie Taeuber, Richard Huelsenbeck and Hans Richter started putting on performances at the Cabaret Voltaire and using art to express their disgust with the war and the interests that inspired it. Having left Germany and Romania during Earth State of war I, the artists arrived in politically neutral Switzerland. They used brainchild to fight against the social, political, and cultural ideas of that time. They used shock fine art, provocation, and "vaudevilleian excess" to subvert the conventions they believed had acquired the Great War.^[thirty] The Dadaists believed those ideas to be a byproduct of bourgeois society that was and so apathetic information technology would wage war confronting itself rather than challenge the status quo:^[31]

We had lost confidence in our culture. Everything had to exist demolished. We would begin again after the tabula rasa. At the Cabaret Voltaire we began past shocking common sense, public opinion, education, institutions, museums, adept taste, in short, the whole prevailing order."

—Marcel Janco^[32]

Ball said that Janco'due south mask and costume designs, inspired by Romanian folk art, made "the horror of our time, the paralyzing background of events" visible.^[30] According to Brawl, performances were accompanied by a "balalaika orchestra playing delightful folk-songs". Influenced past African music, arrhythmic drumming and jazz were common at Dada gatherings.^[33] ^[34]

After the cabaret closed downwardly, 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 letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is nevertheless in the aforementioned place at the Spiegelgasse ane in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the fine art and literature review Dada beginning in July 1917, with five editions from Zürich and the final two 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 First World War had concluded in the armistice of November 1918, well-nigh of the Zürich Dadaists returned to their home 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]

Cover of Anna Blume, Dichtungen, 1919

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

Raoul Hausmann, who helped constitute 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 fine art forms, such as Expressionism, that entreatment to viewers' emotional states: "the exploitation of so-called echoes of the soul". In Hausmann'due south conception of Dada, new techniques of creating fine art would open doors to explore new artistic impulses. Fragmented utilise of existent earth stimuli immune an expression of reality that was radically different 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 non as strongly anti-fine art as other groups. Their activity and fine 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 war spawned its more theoretically-driven, less political nature.^[37] According to Hans Richter, a Dadaist who was in Berlin withal "aloof from active participation in Berlin Dada", several distinguishing characteristics of the Dada movement there 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 world", who would "plough their rebelliousness even confronting each other".^[38]

In February 1918, while the Great War was approaching its climax, Huelsenbeck gave his outset Dada oral communication in Berlin, and he produced a Dada manifesto afterwards in the twelvemonth. Post-obit the October Revolution in Russia, by then out of the war, Hannah Höch and George Grosz used Dada to express communist sympathies. Grosz, together with John Heartfield, Höch and Hausmann developed the technique of photomontage during this period. Johannes Baader, the uninhibited Oberdada, was the "crowbar" of the Berlin motion'southward straight action according to Hans Richter and is credited with creating the first giant collages, according to Raoul Hausmann.

Later on the war, the artists published a serial of short-lived political magazines and held the First International Dada Off-white, 'the greatest projection withal conceived past the Berlin Dadaists', in the summer of 1920.^[39] Likewise equally piece of work past the main members of Berlin Dada – Grosz, Raoul Hausmann, Hannah Höch, Johannes Baader, Huelsenbeck and Heartfield – the exhibition also included the piece of 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 also ended upward written on the walls of the Nazi'south Entartete Kunst exhibition in 1937. Despite loftier ticket prices, the exhibition lost coin, with only one recorded sale.^[40]

The Berlin group published periodicals such equally Club Dada, Der Dada, Everyman His Own Football, and Dada Almanach. They also established a political party, the Cardinal Quango 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-bourgeois sentiments. Cologne'due south Early Leap Exhibition was ready upwards in a pub, and required that participants walk past urinals while existence read lewd poetry by a woman in a communion wearing apparel. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.^[41]

New York [edit]

Like Zürich, New York City was a refuge for writers and artists from the Offset World War. Soon subsequently arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-fine art activities in the United States. American Beatrice Wood, who had been studying in French republic, soon joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, fleeing conscription in French republic, was also in New York for a fourth dimension. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter and Louise Arensberg.

The New Yorkers, though not specially organized, chosen their activities Dada, but they did not result manifestos. They issued challenges to art and civilisation through publications such as The Bullheaded Man, 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 instead driven by a sense of irony and humour. 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 fourth dimension Duchamp began exhibiting "readymades" (everyday objects found or purchased and alleged fine art) such equally a canteen rack, and was agile in the Society of Independent 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 within the arts community, the Fountain has since become almost canonized past some^[42] every bit i of the most recognizable modernist works of sculpture. Fine art world experts polled by the sponsors of the 2004 Turner Prize, Gordon'southward gin, voted it "the most influential work of modernistic art".^[42] ^[43] As recent scholarship documents, the work is even so controversial. Duchamp indicated in a 1917 letter to his sister that a female person friend was centrally involved in the conception of this work: "One 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's neighbour, the Baroness Elsa von Freytag-Loringhoven.^[45] In an attempt to "pay homage to the spirit of Dada" a operation artist named Pierre Pinoncelli fabricated a crack in a replica of The Fountain with a hammer in January 2006; he besides urinated on it in 1993.

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

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

Paris [edit]

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

Man Ray, c. 1921–22, Dessin (Drawing), published on page 43 of Der Sturm, Book 13, Number 3, five March 1922

The French advanced kept abreast of Dada activities in Zürich with regular communications from Tristan Tzara (whose pseudonym ways "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged messages, 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 world since the appearance 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. Beginning performed past the Ballets Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's Le Sacre du printemps had done almost v years earlier. This was a ballet that was clearly parodying 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 past Tzara, Paris Dada before long issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)^[46]

The starting time 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 piece of work entitled, Explicatif bearing the word Tabu. In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the audition. When information technology was re-staged in 1923 in a more professional product, the play provoked a theatre anarchism (initiated by André Breton) that heralded the carve up within the movement that was to produce Surrealism. Tzara'southward last effort at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.

Netherlands [edit]

In holland the Dada movement centered mainly around Theo van Doesburg, best known for establishing the De Stijl movement and magazine of the same proper name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg and Thijs Rinsema [nl] (a cordwainer and creative person in Drachten) became friends of Schwitters, and together they organized the and then-chosen 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'due south wife), played advanced compositions on piano.

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

Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed subsequently his death in 1931. 'Together' with I.K. Bonset, he likewise published a curt-lived Dutch Dada mag called Mécano (1922–iii). Another Dutchman identified by G. Schippers in his study of the move in 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 Next Call (1923–six). Two more artists mentioned by Schippers were German-built-in and eventually settled in holland. 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 to the lowest degree 1920, from 1917 until 1921 a grouping of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the Celsius temperature of a loftier fever [equal to 105.8 Fahrenheit]) organized along Dadaist lines. The most important figure in this group was Iliazd (Ilia Zdanevich), whose radical typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when Tristan Tzara was banned from belongings seminars in Théâtre Michel in 1923, Iliazd booked the venue on his behalf for the operation, "The Bearded Heart Soirée", and designed the flyer.^[48]

Yugoslavia [edit]

In Yugoslavia, aslope the new art movement Zenitism, there was significant Dada action between 1920 and 1922, run mainly past 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.^[l] ^[51]

Italy [edit]

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

Japan [edit]

A prominent Dada group in Nippon was Mavo, founded in July 1923 by Tomoyoshi Murayama, and Yanase Masamu after 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 pattern draws inspiration from the art motion.

In Tsuburaya Productions's Ultra Serial, an alien named Dada was inspired by the Dadaism movement, with said character start appearing in episode 28 of the 1966 tokusatsu series, Ultraman, its blueprint by character artist Toru Narita. Dada's blueprint is primarily monochromatic, and features numerous precipitous lines and alternate black and white stripes, in reference to the motility and, in particular, to chessboard and Get patterns. On May 19, 2016, in celebration to the 100 year ceremony of Dadaism in Tokyo, the Ultra Monster was invited to meet the Swiss Administrator Urs Bucher.^[53] ^[54]

Butoh, the Japanese dance-form originating in 1959, tin can be considered to have direct connections to the spirit of the Dada movement, as Tatsumi Hijikata, one of Butoh's founders, "was influenced early on in his career by Dadaism".^[55]

Russia [edit]

Dada in itself was relatively unknown in Russia, however, avant-garde art was widespread due to the Bolshevik's revolutionary agenda. The Nichevoki [ru], a literary group sharing Dadaist ethics^[56] accomplished infamy afterward 1 of its members suggested that Vladimir Mayakovsky should go 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 data on Dadaism'southward influence upon Russian avant-garde art, meet the volume Russian Dada 1914–1924.^[57]

Women of Dada [edit]

Oft overlooked when discussing the history and foundations of Dada, information technology is necessary to shed low-cal on the female artists who created and inspired art and artists alike. These women were oftentimes times in platonic or romantic relationships with the male Dadaists mentioned above but are rarely written past the relative ties. Yet, each artist made 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 Wood, Clara Tice, and Ella Bergmann-Michel.

Hannah Höch [edit]

Hannah Höch of Berlin is considered to be the merely female Dadaist in Berlin at the time of the movement.^[58] During this fourth dimension, she was in a human relationship with Raoul Hausmann who also was a Dada artist. She channeled the same anti-war and anti-government (Weimar Commonwealth) in her works but brought out a feminist lens on the themes. With her works primarily of collage and photomontage, she often used precise placement or detailed titles to callout the misogynistic ways she and other women were treated.^[59]

Sophie Taeuber-Arp [edit]

Sophie Taeuber-Arp was a Swiss artist, teacher, 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. As such, she worked with choreographer Rudolf von Laban and was written by Tristan Tarza for her dancing skills.

Mina Loy [edit]

London-built-in Mina Loy was known for beingness active in the literary sector of the New York Dada scene. She spent time writing verse, creating Dada magazines, and interim and writing in plays. She contributed writing to Dada journal The Bullheaded Man and Marchel Duchamp'southward Rongwrong.

Poetry [edit]

Dadaglobe solicitation grade alphabetic character signed by Francis Picabia, Tristan Tzara, Georges Ribemont-Dessaignes, and Walter Serner, c. week of Nov viii, 1920. This instance was sent from Paris to Alfred Vagts in Munich.

Dadists used shock, nihilism, negativity, paradox, randomness, subconscious forces and antinomianism to subvert established traditions in the aftermath of the Great State of war. Tzara'south 1920 manifesto proposed cutting words from a newspaper and randomly selecting fragments to write poetry, a process in which the synchronous universe itself becomes an agile agent in creating the art. A poem written using this technique would exist a "fruit" of the words that were clipped from the article.^[lx]

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

Simultaneous poems (or poèmes simultanés) were recited by a grouping of speakers who, collectively, produced a chaotic and confusing set of voices. These poems are considered manifestations of modernity including advertising, technology, and conflict. Different movements such as Expressionism, Dadaism did not take a negative view of modernity and the urban life. The cluttered urban and futuristic earth is considered natural terrain that opens up new ideas for life and art.^[62]

Music [edit]

Dada was not confined to the visual and literary arts; its influence reached into audio and music. These movements exerted a pervasive influence on 20th-century music, especially on mid-century avant-garde composers based in New York—among them Edgard Varèse, Stefan Wolpe, John Muzzle, 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 every bit Erwin Schulhoff, Hans Heusser and Alberto Savinio all wrote Dada music,^[65] while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. Erik Satie likewise 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 argue that Dada was actually the commencement of postmodern fine art.^[66]

By the dawn of the Second Globe War, many of the European Dadaists had emigrated to the United states of america. 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 post-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 Lodge. Upon breaking upwards in July 2012, agitator pop band Chumbawamba issued a statement which compared their own legacy with that of the Dada art movement.^[67]

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

The former building of the Cabaret Voltaire fell into busted until information technology was occupied from January to March 2002, by a group proclaiming themselves Neo-Dadaists, led by Mark Divo.^[68] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee, and Dan Jones. After their eviction, the space 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 art and gild. In 1967, a large Dada retrospective was held in Paris. In 2006, the Museum of Modern Art in New York City mounted a Dada exhibition in partnership with the National Gallery of Fine art in Washington D.C. and the Heart 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 afterwards learning of the motility:

In the early days, I didn't fifty-fifty know what to call the stuff my life was made of. You tin can imagine my delight when I discovered that someone in a afar state had the same thought—AND a dainty, brusk name for it.^[70]

David Bowie adapted William S. Burrough'south cutting-upward technique for writing lyrics and Kurt Cobain as well admittedly used this method for many of his Nirvana lyrics, including "In Bloom".^[71]

Fine art techniques developed [edit]

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

Dada is the background to abstract fine 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 laid the foundation for Surrealism.^[72]

Collage [edit]

The Dadaists imitated the techniques adult during the cubist movement through the pasting of cut pieces of newspaper items, simply extended their fine art to embrace items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as notwithstanding life. They likewise invented the "chance collage" technique, involving dropping torn scraps of paper onto a larger sheet and then pasting the pieces wherever they landed.

Cut-upwardly technique [edit]

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

TO MAKE A DADAIST POEM
Accept a paper.
Have some scissors.
Choose from this paper an article of the length y'all desire to make your poem.
Cutting out the article.
Adjacent carefully cut out each of the words that makes upward this article and put them all in a bag.
Milkshake gently.
Next have out each cutting one afterward the other.
Re-create conscientiously in the club in which they left the bag.
The poem will resemble you.
And at that place you are – an infinitely original author of charming sensibility, fifty-fifty though unappreciated by the vulgar herd.

Photomontage [edit]

Raoul Hausmann, ABCD (self-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 past the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst used images from the Commencement Earth War to illustrate messages of the destruction of state of war.^[74] Although the Berlin photomontages were assembled, similar engines, the (non)relationships among the disparate elements were more rhetorical than existent.^[75]

Assemblage [edit]

The assemblages were three-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the state of 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 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 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 judgement which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to deport the mind of the spectator towards other regions more exact. Sometimes I would add a graphic detail of presentation which in order to satisfy my peckish for alliterations, would be called 'readymade aided.'"^[77] One 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 Society of Independent Artists exhibition that twelvemonth, though it was non displayed.

Many immature artists in America embraced the theories and ideas espoused past Duchamp. Robert Rauschenberg in particular was very influenced by Dadaism and tended to use found objects in his collages equally a means of dissolving the boundary between 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) Frg
Hugo Ball (1886–1927), Federal republic of germany, Switzerland
André Breton (1896–1966), France
John Covert (painter) (1882–1960), Usa
Jean Crotti (1878–1958), France
Otto Dix (1891–1969), Germany
Theo van Doesburg (1883–1931) Netherlands
Marcel Duchamp (1887–1968), France
Suzanne Duchamp (1889–1963), France
Paul Éluard (1895–1952), France
Max Ernst (1891–1976), Frg, United states of america
Julius Evola (1898–1974), Italy
George Grosz (1893–1959), Federal republic of germany, France, The states
Raoul Hausmann (1886–1971), Germany
John Heartfield (1891–1968), Deutschland, USSR, Czechoslovakia, Britain
Hannah Höch (1889–1978), Deutschland
Richard Huelsenbeck (1892–1974), Germany
Georges Hugnet (1906–1974), French republic
Marcel Janco (1895–1984), Romania, State of israel
Elsa von Freytag-Loringhoven (1874–1927), Germany, US
Clément Pansaers (1885–1922), Kingdom of belgium
Francis Picabia (1879–1953), France
Man Ray (1890–1976), France, United states
Georges Ribemont-Dessaignes (1884–1974), French republic
Hans Richter, Deutschland, Switzerland
Juliette Roche Gleizes (1884–1980), French republic
Kurt Schwitters (1887–1948), Deutschland
Walter Serner (1889–1942), Republic of austria
Philippe Soupault (1897–1990), France
Tristan Tzara (1896–1963), Romania, France
Beatrice Woods (1893–1998), US

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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.

Filmography [edit]

1968: Federal republic of germany-DADA: An Alphabet of German DADAism on YouTube, Documentary by Universal Education, Presented By Kartes Video Communications, 56 Minutes
1971: DADA 'Athenaeum 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 by Marina Rumjanzewa [de], Schweizer Radio und Fernsehen (Sternstunde Kunst [de] ), 52 Minutes (in German)
2016 Dada Art Movement History – "Dada on Tour" on YouTube, Bruno Art Group in collaboration with Cabaret Voltaire & Art Stage Singapore 2016, 27 minutes

External links [edit]

Wikimedia Eatables 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 Annal, University of Iowa, early Dada periodicals, online scans of publications
Dadart, history, bibliography, documents, and news
Dada sound recordings at LTM
New York dada (mag), Marcel Duchamp and Homo Ray, April, 1921, Bibliothèque Kandinsky, Middle Pompidou (access online)
Kunsthaus Zürich, one of the world'southward largest Dada collections
"A Cursory History of Dada", Smithsonian Magazine
Introduction to Dada, Khan Academy Fine art 1010
National Gallery of 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's 1916 Dada Manifesto
Text of Tristan Tzara'southward 1918 Dada Manifesto
Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)
7 Dada Manifestos by Tristan Tzara

daiglecose1953.blogspot.com

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