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Dada was an artistic and literary movement that began in Zrich, Switzerland. It arose as
a reaction to World War I and the nationalism that many thought had led to the war.
Influenced by other avant-garde movements - Cubism, Futurism, Constructivism,
and Expressionism - its output was wildly diverse, ranging from performance art to poetry,
photography, sculpture, painting, and collage. Dada's aesthetic, marked by its mockery of
materialistic and nationalistic attitudes, proved a powerful influence on artists in many
cities, including Berlin, Hanover, Paris, New York, and Cologne, all of which generated
their own groups. The movement dissipated with the establishment of Surrealism, but the
ideas it gave rise to have become the cornerstones of various catogeries of modern and
contemporary art.
Key Ideas
Dada was the first conceptual art movement where the focus of the artists was not on
crafting aesthetically pleasing objects but on making works that often upended bourgeois
sensibilities and that generated difficult questions about society, the role of the artist, and
the purpose of art.
So intent were members of Dada on opposing all norms of bourgeois culture that the
group was barely in favor of itself: "Dada is anti-Dada," they often cried. The group's
founding in the Cabaret Voltaire in Zrich was appropriate: the Cabaret was named after
the eighteenth century French satirist, Voltaire, whose novella Candide mocked the
idiocies of his society. As Hugo Ball, one of the founders of both the Cabaret and Dada
wrote, "This is our Candideagainst the times."
Artists like Hans Arp were intent on incorporating chance into the creation of works of art.
This went against all norms of traditional art production whereby a work was meticulously
planned and completed. The introduction of chance was a way for Dadaists to challenge
artistic norms and to question the role of the artist in the artistic process.
Dada artists are known for their use of readymade objects - everyday objects that could
be bought and presented as art with little manipulation by the artist. The use of the
readymade forced questions about artistic creativity and the very definition of art and its
purpose in society.
Other meaning
Dada or Dadaism was a form of artistic anarchy born out of disgust for the social, political and
cultural values of the time. It embraced elements of art, music, poetry, theatre, dance and politics.
Dada was not so much a style of art like Cubism or Fauvism; it was more a protest movement with
an anti-establishment manifesto.
During World War 1 many artists, writers and intellectuals who were opposed to the war
sought refuge from conscription in Switzerland. Zurich was a melting pot for these exiles
and it was there on February 5th, 1916 that the writer Hugo Ball and his partner Emmy
Hemmings opened the 'Cabaret Voltaire', a rendezvous for the more radical element of the
avant-garde. This venue was a cross between a night club and an arts centre where artists
would exhibit their work to a backdrop of experimental music, poetry, readings and dance.
Among the original contributors to the 'Cabaret Voltaire' were Jean (Hans) Arp, Tristan
Tzara, Marcel Janco and Richard Huelsenbeck. Their initial 'performances' were relatively
conventional but they became increasingly dissident and anarchic in response to the
carnage of World War 1. They saw the unremitting slaughter as the undeniable proof that
the nationalist authorities on both sides had failed society and that the system was corrupt.
United in their protest against the war and in their opposition to the establishment, 'they
banded together under the battle cry of DADA!!!!'
Although the Dadaists were united in their ideals, they had no unifying style. Between
1917-1920 the Dada group attracted many different types of artists including Raoul
Hausmann, Hannah Hch, Johannes Baader, Francis Picabia, Georg Grosz, John Heartfield,
Max Ernst, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter.
'ABCD' by Raoul Hausmann is a typical Dada collage which he described as a 'poster poem'.
It is a visual counterpart to the Dada 'sound-poems' that were heard at the 'Cabaret
Voltaire'. In 1916 Hugo Ball proclaimed, "I created a new species of verse, 'verse without
words', or sound poems....". However, it would be more generous to attribute their
inspiration to Filippo Tommaso Marinetti of the Italian Futurists and Hausmann
acknowledges this debt by including the letters 'VOCE', the Italian word for voice. The word
'MERZ', which appears on a ticket in the centre of the collage, refers to the art of Kurt
Schwitters who was a co-exhibiter with Hausmann in the early years of Dada. The Czech
banknote in the bottom left hand corner is a souvenir from their visit to Prague where they
performed a joint recital of Hausmann's sound poem, 'fmsbwtzupggiv-..?m'
When you first look at this work your eye is immediately drawn to its main theme: the letters
'ABCD' which are clamped in the teeth of a photographic self portrait. A spiralling
arrangement of ticket stubs and typographic elements frame the artist's head. It is difficult
to ignore the communicative power of the letters and numbers and you cannot help but
enter into a dialogue in an attempt to make sense of them. It's an impossible task but there
are just enough recognizable elements to keep your curiosity engaged. The text on the
'MERZ' ticket translates as 'Raoul Hausmann as Emotional Margarine', a sarcastic comment
on the Expressionists' painting technique.