Dadaism

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. Zürich, 1917.

Dada or Dadaism is a cultural movement that began in neutral Zürich, Switzerland, during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, aesthetics), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. Dada activities included public gatherings, demonstrations, and publication of art/literary journals. Passionate coverage of art, politics, and culture filled their publications. The movement influenced later styles, movements, and groups including Surrealism, Pop Art, and Fluxus.

Overview , Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum, Berlin.

Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the barbarism of that War, against the bourgeoisie 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. {{Citation|last=Richter|first=Hans|date=1965. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace [chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction".{{Citation]|title=George Grosz, His life and work|city = New York|publisher = Universe Books-->

According to its proponents, Dada was not art — it was "anti-art". It was anti-art in the sense that Dadaists protested against the contemporary academic and cultured values of art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics the Dadaists hoped to destroy traditional culture and aesthetics. Dada became an influential movement in modern art, a commentary on bourgeois order and the carnage Dadaists believed it wreaked.

A reviewer from the ARTnews stated at the time that "The 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, "in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."{{cite book| author = Fred S. Kleiner| coauthors = Christin J. Mamiya| title = Gardner's Art Through the Ages| edition = 12th edition| year = 2005| publisher = Wadsworth Publishing| pages = page 980-->

Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and Lost Generation, a savior, a monster, which would lay waste to everything in its path. was a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege."

History Origin of the word Dada 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 and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language (Engl. equivalent: yeah, yeah, as in a sarcastic or facetious yeah, right). Still others believe that a group of artists assembled in Zürich in 1916, wanting a name for their new movement, chose it at random by stabbing a French language-German language dictionary with a paper knife, and picking the name that the point landed upon. Dada in French is a child's word for hobby-horse. In French the colloquialism, c'est mon dada, means it's my hobby.

It has also been suggested that the word "dada" was chosen randomly from the Petit Larousse.

According to the Dada ideal, the movement would not be called Dadaism, much less designated an art-movement.

Zürich In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean/Hans Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber; along with others discussed art and put on performances in the Cabaret Voltaire (Zürich) expressing their disgust with the war and the interests that inspired it. By some accounts Dada coalesced on October 6 at the cabaret.

At the first public soiree at the cabaret on July 14, 1916, Ball recited the first manifesto (see wikisource:Dada Manifesto (1916, Hugo Ball)). Tzara, in 1918, wrote a wikisource:Dada Manifesto considered one of the most important of the Dada writings. Other manifestos followed.

Marcel Janco recalled, 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.

A single issue of Cabaret Voltaire was the first publication to come out of the movement.

After the cabaret closed down, activities moved to a new gallery, and Ball left Europe. 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 (Zürich) has by now re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.

Zürich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zürich and the final two from Paris.

When World War I ended in 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities.

Berlin The groups in Germany were not as strongly anti-art as other groups. Their activity and art was more politics and social, with corrosive art manifesto and propaganda, biting satire, large public demonstration (people) and overt political activities. It has been suggested that this is at least partially due to Berlin's proximity to the front, and that for an opposite effect, New York's geographic distance from the war spawned its more theoretically-driven, less political nature.

In February 1918, Richard Huelsenbeck gave his first Dada speech in Berlin, and produced a Dada manifesto later in the year. Hannah Höch and George Grosz used Dada to express post-World War I Communism sympathies. Grosz, together with John Heartfield, developed the wikt:technique of photomontage during this period. The artists published a series of short-lived political journals, and held the International Dada Fair in 1920.

The Berlin group saw much in-fighting; Kurt Schwitters and others were excluded from the group. Schwitters moved to Hanover where he developed his individual type of Dada, which he dubbed Kurt Schwitters.

The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football (Jedermann sein eigner Fussball), and Dada Almanach.

Cologne In Cologne (Köln), Max Ernst, Johannes Theodor Baargeld and Jean 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.{{Citation|last=Schaefer|first=Robert A.|date=September 7, 2006|title=Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC|periodical=Double Exposure|url=http://www.doubleexposure.com/DadaExhibit.shtml-->

New York by Marcel Duchamp, 1917, photograph by Alfred Stieglitz.

Like Zürich, New York was a refuge for writers and artists from World War I. 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. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter Conrad 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 "s:The Importance of Being Dada".

During this time Duchamp began exhibiting "Readymades of Marcel Duchamp" (found objects) such as a bottle rack, and got involved with the Society of Independent Artists. In 1917 he submitted the now famous Fountain (Duchamp), a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the Fountain (Duchamp) has since become almost canonized by some. The committee presiding over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art." "Duchamp's urinal tops art survey", BBC News December 1, 2004. In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January of 2006; he also urinated on it in 1993.

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

By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (see Neo-Dada for later activity).

Paris The French avant-garde kept abreast of Dada activities in Zürich 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, and other French writers, critics and artists.

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 Littérature featured Dada in several editions.)

The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu.

The Netherlands In The Netherlands the Dada movement centered mainly around Theo van Doesburg, most well 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 became a friend 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 Huszàr demonstrated a mechanical dancing doll and Van Doesburg's wife, Nelly, 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 tragic death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano.

Georgia Although Dada itself was unknown in Georgia (country) until at least 1920, from 1917-1921 a group of poets called themselves "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 typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.

Poetry; music and sound Dada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwitters developed what he called sound poems and composers such as Erwin Schulhoff, Hans Heusser and Albert Savinio wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings.

In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." African music and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.

Legacy , in Ein Hod, IsraelWhile broad, 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.

By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to 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.

At the same time that the Zürich Dadaists made noise and spectacle at the Cabaret Voltaire (Zürich), Vladimir Lenin wrote his revolutionary plans for Russia in a nearby apartment. He was unappreciative of the artistic revolutionary activity near him. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters.

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. 2002 occupation by neo-Dadaists Prague Post The group included Leumund Cult, Ingo Giezendanner, Aiana Calugar, Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. The work of Lennie Lee and Dan 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 Dada retrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dada exhibition in collaboration with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris.

In 1996, WNEP Theater in Chicago began performing Soiree DADA, created by Joe Janes and Joel Jeske. The show, which included new Dada sound poetry, short plays and manifestos, continues to be performed in Chicago with occasional events in Los Angeles and New York.

Modern usage of the word Dada The satirical Church of the SubGenius pays homage to Dada in its use of the term "wikt:Bulldada", which has passed into common usage as a description for concepts and items that are unintentionally ironic.

The Brotherhood of Dada is a fictional gang in DC comics. They are devoted to all things absurd and bizarre.

The word Dada Core used to describe an underground music movement that originated in south western New York, as a reaction to the "sterile and stagnating" local music scene and overwrought ego of so called Indie rock bands. The genre's definitive act Japanese Lady Boy Massacre is well known for a wide range of musical styles.

Early practitioners For a more complete list of Dadaists, see List of Dadaists.

Guillaume Apollinaire — France
Hans Arp — Switzerland, France and Germany
Hugo Ball — Switzerland
Johannes Baader — Germany
John Heartfield — Germany
Arthur Cravan — United States
Jean Crotti — France
Theo van Doesburg — The Netherlands
Marcel Duchamp — France and United States
George Grosz — Germany
Max Ernst — Germany
Elsa von Freytag-Loringhoven — United States, Germany
Hannah Höch — Germany
Marsden Hartley — United States
Raoul Hausmann — Germany
Emmy Hennings — Switzerland
Richard Huelsenbeck — Switzerland and Germany
Marcel Iancu — Switzerland (born in Romania)
Clément Pansaers — Belgium
Francis Picabia — Switzerland, United States and France
Man Ray — United States and France
Hans Richter (artist) — Germany, Switzerland and United States
Kurt Schwitters — Germany
Sophie Taeuber-Arp — Switzerland
Tristan Tzara — Switzerland and France (born in Romania)
Beatrice Wood — United States and France
Ilia Zdanevich (Iliazd) — Georgia and France