Avant-garde art movement in the early 20th century
Dada
(
) or
Dadaism
was an
art movement
of the European
avant-garde
in the early 20th century, with early centres in Zurich, Switzerland, at the
Cabaret Voltaire
(in 1916), founded by
Hugo Ball
with his companion
Emmy Hennings
, and in Berlin in 1917.
[2]
[3]
New York Dada
began
c.
1915
,
[4]
[5]
and after 1920 Dada flourished in Paris. Dadaist activities lasted until the mid 1920s.
Developed in reaction to World War I, the Dada movement consisted of artists who rejected the
logic
,
reason
, and
aestheticism
of modern
capitalism
, instead expressing
nonsense
,
irrationality
, and
anti-bourgeois
protest in their works.
[6]
[7]
[8]
The art of the movement began primarily as performance
[9]
art, but eventually 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 politics
on the
left-wing
and
far-left politics
.
[10]
[11]
[12]
[13]
There is no consensus on the origin of the movement's name; a common story is that the artist
Richard Huelsenbeck
slid a
paper knife
randomly into a dictionary, where it landed on "dada", a French term for a
hobby horse
.
[14]
Others note it suggests the first words of a child, evoking a childishness and absurdity that appealed to the group. Still others speculate it might have been chosen to evoke a similar meaning (or no meaning at all) in any language, reflecting the movement's
internationalism
.
[15]
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 challenge accepted definitions of art.
[16]
Cubism
and the development of
collage
and
abstract art
would inform the movement's detachment from the constraints of reality and convention. The work of French poets, Italian
Futurists
, and
German Expressionists
would influence Dada's rejection of the correlation between words and meaning.
[17]
Works such as
Ubu Roi
(1896) by
Alfred Jarry
and the ballet
Parade
(1916?17) by
Erik Satie
would be characterized as proto-Dadaist works.
[18]
The Dada movement's principles were first collected in
Hugo Ball
's
Dada Manifesto
in 1916. Ball is seen as the founder of the Dada movement.
[19]
The Dadaist movement included public gatherings, demonstrations, and publication of art and
literary journals
. Passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key 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 Hoch
,
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 realisme
,
pop art
, and
Fluxus
.
[20]
Overview
[
edit
]
Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond with the outbreak of World 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 war.
[21]
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
Armory Show
in New York (1913),
SVU Manes
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.
[17]
[22]
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 reject logic and embrace
chaos
and
irrationality
.
[7]
[8]
For example,
George Grosz
later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction".
[7]
According to
Hans Richter
Dada was not art: it was "
anti-art
".
[21]
Dada represented the opposite 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 reflect 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, man's normal condition, is Dada. But the real Dadas are against Dada".
[23]
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 we live in."
[24]
A reviewer from the
American Art News
stated at the time that "Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever 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 as nothing more than an insane spectacle of collective homicide".
[25]
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic 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 end it became nothing but an act of sacrilege."
[25]
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 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
'.
[8]
The movement primarily involved
visual arts
,
literature
,
poetry
,
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 time, and "
New York Dada
" came to be seen as a post facto invention of Duchamp. At the outset 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's European chroniclers?primarily Richter, Tzara, and Huelsenbeck?would eventually become preoccupied with establishing the pre-eminence of Zurich and Berlin at the foundations of Dada, but it proved to be Duchamp who was most strategically brilliant in manipulating the genealogy of this avant-garde formation, deftly turning New York Dada from a late-comer into an originating force.
[26]
History
[
edit
]
Dada emerged from a period of artistic and literary movements like
Futurism
,
Cubism
and
Expressionism
; centered mainly in Italy, France and Germany respectively, in those years. However, unlike the earlier movements Dada was able to establish a broad base of support, giving rise to a movement that was international in scope. Its adherents were based in cities all over the world including New York, Zurich, Berlin, Paris and others. There were regional differences like an emphasis on literature in Zurich and political protest in Berlin.
Prominent Dadaists published manifestos, but the movement was loosely organized and there was no central hierarchy. On 14 July 1916, Ball originated the seminal
Dada Manifesto
.
Tzara
wrote a second Dada manifesto,
[28]
[29]
considered important Dada reading, which was published in 1918.
[30]
Tzara's manifesto articulated the concept of "Dadaist disgust"?the contradiction implicit in avant-garde works between the criticism and affirmation of modernist reality. In the Dadaist perspective modern art and culture are considered a type of
fetishization
where the objects of consumption (including organized systems of thought like philosophy and morality) are chosen, much like a preference for cake or cherries, to fill a void.
[31]
The shock and scandal the movement inflamed was deliberate; Dadaist magazines were banned and their exhibits closed. Some of the artists even faced imprisonment. These provocations were part of the entertainment but, over time, audiences' expectations eventually outpaced the movement's capacity to deliver. As the artists' well-known "sarcastic laugh" started to come from the audience, the provocations of Dadaists began to lose their impact. Dada was an active movement 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 order.
Zurich
[
edit
]
There is some disagreement about where Dada originated. The movement is commonly accepted by most art historians and those who lived during this period to have identified with the
Cabaret Voltaire
(housed inside the
Hollandische Meierei
bar in Zurich) co-founded by poet and
cabaret
singer
Emmy Hennings
and
Hugo Ball
.
[33]
Some sources propose a Romanian origin, arguing that Dada was an offshoot of a vibrant artistic tradition that transposed to Switzerland when a group of Jewish
modernist
artists, including Tristan Tzara,
Marcel Janco
, and
Arthur Segal
settled in Zurich. Before World War I, similar art had already existed in Bucharest and other Eastern European cities; it is likely that Dada's catalyst was the arrival in Zurich of artists like Tzara and Janco.
[34]
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 by 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 disgust with the war and the interests that inspired it.
Having left Germany and Romania during
World War I
, the artists arrived in politically neutral Switzerland. They used abstraction to fight against the social, political, and cultural ideas of that time. They used
shock art
, provocation, and "
vaudevilleian
excess" to subvert the conventions they believed had caused the Great War.
[35]
The Dadaists believed those ideas to be a byproduct of bourgeois society that was so apathetic it would wage war against itself rather than challenge the
status quo
:
[36]
We had lost confidence in our culture. Everything had to be demolished. We would begin again after the
tabula rasa
. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.
Ball said that Janco's mask and costume designs, inspired by Romanian folk art, made "the horror of our time, the paralyzing background of events" visible.
[35]
According to Ball, performances were accompanied by a "balalaika orchestra playing delightful folk-songs." Often influenced by
African music
, arrhythmic drumming and jazz were common at Dada gatherings.
[38]
[39]
After 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 letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.
Zurich Dada, with Tzara at the helm, published the art and literature review
Dada
beginning in July 1917, with five editions from Zurich and the final two from Paris.
Other artists, such as
Andre Breton
and
Philippe Soupault
, created "literature groups to help extend the influence of Dada".
[40]
After the fighting of the First World War had ended in the armistice of November 1918, most of the Zurich 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 Zurich into the 1920s.
Berlin
[
edit
]
"Berlin was a city of tightened stomachers, of mounting, thundering hunger, where hidden rage was transformed into a boundless money lust, and men's minds were concentrating more and more on questions of naked existence... Fear was in everybody's bones" ? Richard Hulsenbeck
Raoul Hausmann
, who helped establish 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's conception of Dada, new techniques of creating art would open doors to explore new artistic impulses. Fragmented use of real world stimuli allowed an expression of reality that was radically different from other forms of art:
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 activity 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 environment 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.
[42]
According to
Hans Richter
, a Dadaist who was in Berlin yet “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 freedom 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 “turn their rebelliousness even against each other”.
[43]
In February 1918, while the Great War was approaching its climax, Huelsenbeck gave his first Dada speech in Berlin, and he produced a Dada manifesto later in the year. Following the
October Revolution
in
Russia
, by then out of the war,
Hannah Hoch
and
George Grosz
used Dada to express communist sympathies. Grosz, together with
John Heartfield
, Hoch and Hausmann developed the
technique
of
photomontage
during this period.
Johannes Baader
, the uninhibited Oberdada, was the “crowbar” of the Berlin movement's
direct action
according to
Hans Richter
and is credited with creating the first giant collages, according to
Raoul Hausmann
.
After the war, the artists published a series of short-lived political magazines and held the
First International Dada Fair
, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.
[44]
As well as work by the main members of Berlin Dada ? Grosz,
Raoul Hausmann
,
Hannah Hoch
,
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.
[44]
In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which 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.
[45]
The Berlin group published periodicals such as
Club 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-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a
communion
dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.
[46]
New York
[
edit
]
Like Zurich, New York City was a refuge for writers and artists from the First World War. Soon after 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-art
activities in the United States. American
Beatrice Wood
, who had been studying in France, soon joined them, along with
Elsa von Freytag-Loringhoven
.
Arthur Cravan
, fleeing conscription in France, was also in New York for a time. 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 their activities
Dada,
but they did not issue manifestos. They issued challenges to art and culture through publications such as
The Blind 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 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 found or purchased and declared art) such as a bottle rack, and was active 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 by some
[47]
as one of the most recognizable modernist works of sculpture. Art world experts polled by the sponsors of the 2004
Turner Prize
, Gordon's gin, voted it "the most influential work of modern art".
[47]
[48]
As recent scholarship documents, the work is still controversial. Duchamp indicated in a 1917 letter to his sister that a female 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."
[49]
The piece is in line with the scatological aesthetics of Duchamp's neighbour, the
Baroness Elsa von Freytag-Loringhoven
.
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 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 also published 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 had experienced its last major incarnation.
Paris
[
edit
]
The 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
,
Andre Breton
,
Max Jacob
,
Clement Pansaers
, 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 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, it succeeded in creating a scandal but in a different way than Stravinsky's
Le Sacre du printemps
had done almost five 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 by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of
Dada
,
Le Cannibale
, and
Litterature
featured Dada in several editions.)
[51]
The first introduction of Dada artwork to the Parisian public was at the
Salon des Independants
in 1921.
Jean Crotti
exhibited works associated with Dada including a 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 audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by
Andre Breton
) that heralded the split within 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
movement 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 as
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 Huszar
demonstrated a mechanical dancing doll and Nelly van Doesburg (Theo's wife), played
avant-garde
compositions on piano.
Van Doesburg wrote Dada poetry himself in
De Stijl
, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived
Dutch
Dada magazine called
Mecano
(1922?23). Another Dutchman identified by
K. Schippers
in his study of the movement in the Netherlands
[52]
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?6). Two more artists mentioned by 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 Cafe Voltaire in Zurich, 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 Le Degre 41", or "Le Degre Quarante et Un" (English, "The 41st Degree") (referring both to the latitude of
Tbilisi
, Georgia and to the Celsius temperature of a high 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.
[53]
[54]
After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. For example, when
Tristan Tzara
was banned from holding seminars in
Theatre Michel
in 1923,
Iliazd
booked the venue on his behalf for the performance, "
The Bearded Heart Soiree
", and designed the flyer.
[55]
Yugoslavia
[
edit
]
In
Yugoslavia
, alongside the new art movement
Zenitism
, there was significant Dada activity between 1920 and 1922, run mainly by
Dragan Aleksi?
and including work by Mihailo S. Petrov, Ljubomir Mici? and Branko Ve Poljanski.
[56]
Aleksi? used the term "Yougo-Dada" and is known to have been in contact with
Raoul Hausmann
,
Kurt Schwitters
, and
Tristan Tzara
.
[57]
[58]
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 as "True Dada is against Dada". One member of this group was
Julius Evola
, who went on to become an eminent scholar of
occultism
, as well as a right-wing philosopher.
[59]
Japan
[
edit
]
A prominent Dada group in Japan was
Mavo
, founded in July 1923 by
Tomoyoshi Murayama
, and
Yanase Masamu
later joined by
Tatsuo Okada
. Other prominent artists were
Jun Tsuji
,
Eisuke Yoshiyuki
,
Shinkichi Takahashi
and
Katue Kitasono
.
In
Tsuburaya Productions
's
Ultra Series
, an alien named Dada was inspired by the Dadaism movement, with said character first appearing in episode 28 of the 1966
tokusatsu
series,
Ultraman
, its design by character artist
Toru Narita
. Dada's design 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 celebration to the 100 year anniversary of Dadaism in Tokyo, the Ultra Monster was invited to meet the Swiss Ambassador Urs Bucher.
[60]
[61]
Butoh
, the Japanese dance-form originating in 1959, 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 in his career by Dadaism".
[62]
Russia
[
edit
]
Dada in itself was relatively unknown in Russia, however, avant-garde art was widespread due to the
Bolsheviks
' revolutionary agenda. The
Nichevoki
[
ru
]
, a literary group sharing Dadaist ideals
[63]
achieved infamy after one 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.
[63]
For more information on Dadaism's influence upon
Russian avant-garde
art, see the book
Russian Dada 1914?1924
.
[63]
Women of Dada
[
edit
]
Often overlooked when discussing the history and foundations of Dada, it is necessary to shed light on the female artists who created and inspired art and artists alike. These women were often times in platonic or romantic relationships with the male Dadaists mentioned above but are rarely written past the relative ties. However, each artist made vital contributions to the movement. 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 Hoch
[
edit
]
Hannah Hoch
of Berlin is considered to be the only female Dadaist in Berlin at the time of the movement.
[64]
During this time, she was in a relationship with
Raoul Hausmann
who also was a Dada artist. She channeled the same anti-war and anti-government (
Weimar Republic
) 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.
[64]
Sophie Taeuber-Arp
[
edit
]
Sophie Taeuber-Arp
was a Swiss artist, teacher, and dancer who produced various 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-born Mina Loy was known for being active in the literary sector of the New York Dada scene. She spent time writing poetry, creating Dada magazines, and acting and writing in plays. She contributed writing to Dada journal
The Blind Man
and
Marcel Duchamp
's
Rongwrong
.
Poetry
[
edit
]
Dadaists used shock,
nihilism
, negativity,
paradox
,
randomness
,
subconscious
forces and
antinomianism
to subvert established traditions in the aftermath of the Great War. Tzara's 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 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.
[65]
In literary arts Dadaists focused on poetry, particularly the so-called sound poetry invented by
Hugo Ball
. Dadaist poems attacked traditional conceptions of poetry, including structure, order, as well as 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 language to its purest and most innocent form: "With these sound poem, we wanted to dispense with a language which journalism had made desolate and impossible."
Simultaneous poems (or
poemes simultanes
) were recited by a group of speakers who, collectively, produced a chaotic and confusing set of voices. These poems are considered manifestations of modernity including advertising, technology, and conflict. Unlike movements such as Expressionism, Dadaism did not take 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 art.
[67]
Music
[
edit
]
Dada was not confined 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 avant-garde composers based in New York?among them Edgard Varese, Stefan Wolpe, John Cage, and Morton Feldman.
[68]
Kurt Schwitters
developed what he called
sound poems
, while
Francis Picabia
and
Georges Ribemont-Dessaignes
composed Dada music performed at the Festival Dada in Paris on 26 May 1920.
[69]
Other composers such as
Erwin Schulhoff
, Hans Heusser and
Alberto Savinio
all wrote
Dada music
,
[70]
while members of
Les Six
collaborated with members of the Dada movement and had their works performed at Dada gatherings.
Erik Satie
also dabbled with Dadaist ideas during his career.
[69]
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 beginning of
postmodern art
.
[71]
By the dawn of the
Second World 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 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 Society
. Upon breaking up in July 2012,
anarchist
pop band
Chumbawamba
issued a statement which compared their own legacy with that of the Dada art movement.
[72]
At the same time that the Zurich Dadaists were making noise and spectacle at the
Cabaret Voltaire
,
Lenin
was planning his revolutionary plans for Russia in a nearby apartment.
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 as a member of the Dada group in his tongue-in-cheek
Lenine Dada
(1989).
The former building of the Cabaret Voltaire fell into disrepair until it was occupied from January to March 2002, by a group proclaiming themselves
Neo-Dadaists
, led by
Mark Divo
.
[73]
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 society. 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 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 such as Tzara, Picabia, Schwitters, Arp, and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.
[74]
Musician
Frank Zappa
was a self-proclaimed Dadaist after learning of the movement:
In the early days, I didn't even know what to call the stuff my life was made of. You can imagine my delight when I discovered that someone in a distant land had the same idea?AND a nice, short name for it.
[75]
David Bowie adapted William S. Burrough's cut-up technique for writing lyrics and Kurt Cobain also admittedly used this method for many of his Nirvana lyrics, including "In Bloom".
[76]
Art techniques developed
[
edit
]
Dadaism also blurred the line between 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 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
.
[77]
Collage
[
edit
]
The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life. They also invented the “chance
collage
" technique, involving dropping torn scraps of paper onto a larger sheet and then pasting the pieces wherever they landed.
Cut-up technique
[
edit
]
Cut-up technique
is an extension of collage to words themselves,
Tristan Tzara
describes this in the Dada Manifesto:
[78]
TO MAKE A DADAIST POEM
Take a newspaper.
Take some scissors.
Choose from this paper an article of the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that makes up this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are ? an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.
Photomontage
[
edit
]
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 real photographs printed in the press. In Cologne,
Max Ernst
used images from the First World War to illustrate messages of the destruction of war.
[79]
Although the Berlin photomontages were assembled, like engines, the (non)relationships among the disparate elements were more rhetorical than real.
[80]
Assemblage
[
edit
]
The
assemblages
were three-dimensional variations of the collage ? the assembly of everyday objects to produce meaningful 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 a wall.
[81]
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 short sentence which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.
'
"
[82]
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 year, though it was not displayed.
Many young artists in America embraced the theories and ideas espoused by Duchamp. Robert Rauschenberg in particular was very influenced by Dadaism and tended to use found objects in his collages as a means of dissolving the boundary between high and low culture.
[83]
Artists
[
edit
]
- Dragan Aleksi?
(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), Germany, Switzerland
- Andre Breton
(1896?1966), France
- John Covert
(1882?1960), US
- 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 Eluard
(1895?1952), France
- Max Ernst
(1891?1976), Germany, US
- Julius Evola
(1898?1974), Italy
- George Grosz
(1893?1959), Germany, France, US
- Raoul Hausmann
(1886?1971), Germany
- John Heartfield
(1891?1968), Germany, USSR, Czechoslovakia, UK
- Hannah Hoch
(1889?1978), Germany
- Richard Huelsenbeck
(1892?1974), Germany
- Georges Hugnet
(1906?1974), France
- Marcel Janco
(1895?1984), Romania, Israel
- Elsa von Freytag-Loringhoven
(1874?1927), Germany, US
- Clement Pansaers
(1885?1922), Belgium
- Francis Picabia
(1879?1953), France
- Man 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 also
[
edit
]
References
[
edit
]
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Sources
Further reading
[
edit
]
- 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 Citroen, Paul Dermee, 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's Fantastic Prayers, & Walter Serner's Last 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)
- Bergius, Hanne
Dada in Europa ? Dokumente und Werke
(co-ed. Eberhard Roters), in:
Tendenzen der zwanziger Jahre
. 15. Europaische Kunstausstellung, Catalogue, Vol.III, Berlin: Dietrich Reimer Verlag, 1977.
ISBN
978-3-496-01000-5
- Bergius, Hanne
Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen
. Gießen: Anabas-Verlag 1989.
ISBN
978-3-870-38141-7
- 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
Crisis and the Arts: the History of Dada
, ed. by Stephen Foster, New Haven, Connecticut, Thomson/Gale 2003.
ISBN
978-0-816173-55-6
.
- Jones, Dafydd W.
Dada 1916 In Theory: Practices of Critical Resistance
(Liverpool: Liverpool University Press, 2014).
ISBN
978-1-781-380-208
- 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, Geneve, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990)
- Dada & les dadaismes
, Paris, Gallimard, Folio Essais, n° 257, 1994.
- Dada : La revolte de l'art
, Paris, Gallimard / Centre Pompidou, collection "
Decouvertes Gallimard
" (nº 476), 2005.
- Archives Dada / Chronique
, Paris, Hazan, 2005.
- Dada, catalogue d'exposition
, Centre Pompidou, 2005.
- Durozoi, Gerard.
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
Archived
2011-05-13 at the
Wayback Machine
, 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 2, 2016,
ISBN
1118476182
- Huelsenbeck, Richard.
Memoirs of a Dada Drummer
, (University of California Press: Berkeley and Los Angeles, 1991)
- Jones, Dafydd.
Dada Culture
(New York and Amsterdam: Rodopi Verlag, 2006)
- Lavin, Maud.
Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch
. 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 a 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, Aurelie.
L'ABCdaire de Dada
, Paris, Flammarion, 2005.
Filmography
[
edit
]
- 1968:
Germany-DADA: An Alphabet of German DADAism
on
YouTube
, Documentary by Universal Education, Presented By Kartes Video Communications, 56 Minutes
- 1971:
DADA 'Archives du XXe siecle'
on YouTube, Une emission produite par Jean Jose Marchand, realisee par Philippe Collin et Hubert Knapp, Ce documentaire a ete diffuse pour la premiere 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 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 (magazine), Marcel Duchamp and Man Ray, April, 1921
Archived
2022-05-19 at the
Wayback Machine
, Bibliotheque Kandinsky, Centre Pompidou (access online)
- Kunsthaus Zurich
, one of the world's largest Dada collections
- "A Brief History of Dada"
,
Smithsonian Magazine
- Introduction to Dada
,
Khan Academy
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
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