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 Mánes in Prague (1914), several Jack of Diamonds exhibitions in Moscow and at , Amsterdam (between 1911 and 1915).
The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works that challenge accepted definitions of art.
For more information on Dadaism's influence upon Russian avant-garde art, see the book Russian Dada 1914–1924. ==Poetry== Dadists used shock, nihilism, negativity, paradox, randomness, subconscious forces and antinomianism to subvert established traditions in the aftermath of the Great War.
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 Mánes in Prague (1914), several Jack of Diamonds exhibitions in Moscow and at , Amsterdam (between 1911 and 1915).
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.
Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray.
Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990) Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994. Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005. Archives Dada / Chronique, Paris, Hazan, 2005. Dada, catalogue d'exposition, Centre Pompidou, 2005. Durozoi, Gérard.
on 6 February 1916, in the Café de la Terrasse in Zürich.
The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916. The Dadaist movement included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media.
On 14 July 1916, Ball originated the seminal manifesto.
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. ===Zürich=== There is some disagreement about where Dada originated.
By 1916 the three of them became the center of radical anti-art activities in the United States.
Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014).
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.
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.
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." The piece is in line with the scatological aesthetics of Duchamp's neighbour, the Baroness Elsa von Freytag-Loringhoven.
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.
These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and Paul Citroen. ===Georgia=== Though Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines.
Bergius, Hanne Dada Triumphs! Dada Berlin, 1917–1923.
Tzara wrote a second Dada manifesto, considered important Dada reading, which was published in 1918.
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. ===Zürich=== There is some disagreement about where Dada originated.
Fear was in everybody's bones" – Richard Hülsenbeck 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.
1915, and after 1920 Dada flourished in Paris.
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 capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works.
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.
Others, such as the Swiss native Sophie Taeuber, would remain in Zürich into the 1920s. ===Berlin=== "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...
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.
They also established a political party, the Central Council of Dada for the World Revolution. ===Cologne=== In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments.
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.
These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and Paul Citroen. ===Georgia=== Though Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines.
After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. ===Yugoslavia=== In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski.
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.
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.
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.
These were Otto van Rees, who had taken part in the liminal exhibitions at the Café Voltaire in Zürich, and Paul Citroen. ===Georgia=== Though Dada itself was unknown in Georgia until at least 1920, from 1917 until 1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines.
After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. ===Yugoslavia=== In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski.
After his flight to Paris in 1921, he collaborated with Dadaists on publications and events. ===Yugoslavia=== In Yugoslavia, alongside the new art movement Zenitism, there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksić and including work by Mihailo S. Petrov, Ljubomir Micić and Branko Ve Poljanski.
When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the split within the movement that was to produce Surrealism.
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. ===Japan=== A prominent Dada group in Japan was Mavo, founded in July 1923 by Tomoyoshi Murayama, and Yanase Masamu later joined by Tatsuo Okada.
Tzara's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924. ===Netherlands=== 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.
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.
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.
Dada: Art and Anti-Art (London: Thames and Hudson, 1965) Sanouillet, Michel.
Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005 Sanouillet, Michel.
Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katué 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.
In 1967, a large Dada retrospective was held in Paris.
Querido, 1974 Schneede, Uwe M.
Europäische Kunstausstellung, Catalogue, Vol.III, Berlin: Dietrich Reimer Verlag, 1977.
George Grosz, His life and work (New York: Universe Books, 1979) Verdier, Aurélie.
Gießen: Anabas-Verlag 1989.
Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990) Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994. Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005. Archives Dada / Chronique, Paris, Hazan, 2005. Dada, catalogue d'exposition, Centre Pompidou, 2005. Durozoi, Gérard.
Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990) Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994. Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005. Archives Dada / Chronique, Paris, Hazan, 2005. Dada, catalogue d'exposition, Centre Pompidou, 2005. Durozoi, Gérard.
Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles, 1991) Jones, Dafydd.
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, Zürich and Paris groups together during the Dadaist period.
New Haven: Yale University Press, 1993. Lemoine, Serge.
Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005 Sanouillet, Michel.
Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990) Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994. Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005. Archives Dada / Chronique, Paris, Hazan, 2005. Dada, catalogue d'exposition, Centre Pompidou, 2005. Durozoi, Gérard.
Baltimore and London: The Johns Hopkins UP, 1994.
Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996) Bergius, Hanne Dada in Europa – Dokumente und Werke (co-ed.
French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine 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.
by Stephen Foster, New Haven, Connecticut, Thomson/Gale 2003.
Art world experts polled by the sponsors of the 2004 Turner Prize, Gordon's gin, voted it "the most influential work of modern art".
Journal du mouvement Dada 1915–1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990) Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994. Dada : La révolte de l'art, Paris, Gallimard / Centre Pompidou, collection "Découvertes Gallimard" (nº 476), 2005. Archives Dada / Chronique, Paris, Hazan, 2005. Dada, catalogue d'exposition, Centre Pompidou, 2005. Durozoi, Gérard.
Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005 Hoffman, Irene.
Dada libertin & libertaire, Paris, L'insolite, 2005. Melzer, Annabelle.
Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005 Sanouillet, Michel.
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, Zürich and Paris groups together during the Dadaist period.
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.
Dada Culture (New York and Amsterdam: Rodopi Verlag, 2006) Lavin, Maud.
Minneapolis: University of Minnesota Press, 2009.
Dada in Paris, Cambridge, Massachusetts, The MIT Press, 2009 Schippers, K.
"Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art." (University of Minnesota Press, 2010) Richter, Hans.
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. At the same time that the Zürich Dadaists were making noise and spectacle at the Cabaret Voltaire, Lenin was planning his revolutionary plans for Russia in a nearby apartment.
Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014).
Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Ryerson and Burnham Libraries, The Art Institute of Chicago. Hopkins, David, A Companion to Dada and Surrealism, Volume 10 of Blackwell Companions to Art History, John Wiley & Sons, May 2, 2016, Huelsenbeck, Richard.
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