Chest or Dadaism is a European avant-garde art movement in the early 20th century, with its early centers in ZÃÆ'¼rich, Switzerland, in Cabaret Voltaire (circa 1916); New York Dada began around 1915, and after 1920 Dada developed in Paris. Developed as a reaction to World War I, the Dada movement consisted of artists who rejected the logic, reasoning and aesthetics of modern capitalist society, instead of expressing nonsense, irrationality, and anti-bourgeois protests in their works. The art of this movement extends visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists express their dissatisfaction with violence, war, and nationalism, and maintain political closeness with the radical left.
There is no consensus about the origin of the movement's name; a common story is that the German artist Richard Huelsenbeck plunged a knife randomly into the dictionary, where he landed on the "chest", the French term daily for a hobbyist horse. Others note that it shows the child's first words, arousing childishness and absurdity that appeal to the group. There are others who speculate that the word might be chosen to arouse the same meaning (or no meaning at all) in any language, reflecting the internationalism of the movement.
The Dada's root lies in the avant-garde pre-war. The term anti-art, a precursor to Dada, was invented by Marcel Duchamp around 1913 to characterize works that challenged accepted art definitions. Cubism and the development of collage and abstract art will inform the detachment of this movement from the constraints of reality and convention. The work of French poets, Futuris Italia, and German Expressionists will influence Dada's rejection of a strict correlation between words and meanings. Working like Ubu Roi (1896) by Alfred Jarry, and ballet Parade (1916-17) by Erik Satie will also be characterized as a proto-Dadais work. The Principles of the Chest movement were first collected in the Hedge Ball Manifesto in 1916.
The Dadaist movement includes public meetings, demonstrations, and publications of art/literary journals; passionate coverage of art, politics, and culture is a topic that is often discussed in various media. Key figures in the movement include Hugo Ball, Marcel Duchamp, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah HÃÆ'¶ch, Johannes Baader, Tristan Tzara, Francis Picabia, Huelsenbeck, George Grosz, John Heartfield, Man Ray, Beatrice Wood, Kurt Schwitters, Hans Richter, Max Ernst, and Elsa von Freytag-Loringhoven among others. This movement influenced later styles such as avant-garde and downtown music movement, and groups including Surrealism, pop music, pop art, and Fluxus.
Video Dada
Ikhtisar
Dada is an informal international movement, with participants in Europe and North America. The Beginning of Dada corresponds to the outbreak of World War I. For many participants, the movement was a protest against the nationalist and colonialist interests of the bourgeoisie, believed by many Dada as the root of war, and contrary to cultural and intellectual conformity-in art and more widely in society - related to war.
An avant-garde circle outside France knew about Paris's pre-war development. They have seen (or participated in) the Cubist exhibitions held at Galeries Dalmau, Barcelona (1912), Galerie Der Sturm in Berlin (1912), Arms Show in New York (1913), SVU MÃÆ'¡nes in Prague (1914), several Jack of Diamonds exhibition in Moscow and at De Moderne Kunstkring, Amsterdam (between 1911 and 1915). Futurism was developed in response to the work of various artists. Chest then combines this approach.
Many Dadaists believe that the 'mind' and 'logic' of bourgeois capitalist society have brought people into war. They declare their rejection of the ideology in an artistic expression that seems to reject logic and embrace disorder and irrationality. For example, George Grosz later recalled that his Dadaist art was meant to be a "protest against this mutually destructive world."
According to Hans Richter Dada is not an art: it's "anti-art." Dada represents the opposite of all the things that art stands for. Where art is concerned with traditional aesthetics, Dada ignores aesthetics. If the art to attract sensitivity, Dada is meant to be offensive.
As Hugo Ball states it, "For us, art is not itself a goal... but it is an opportunity for correct perception and criticism of the times we live."
A reviewer of American Art News stated at the time "The Philosophy of the Chest is the most thirsty, crippling and most destructive thing that ever comes from the human brain." Art historians describe Dada as, in large part, "a reaction to what many artists see as nothing more than a mad collective murder scene."
Years later, Dada's artists describe the movement as "a phenomenon that explodes in the midst of a postwar economic and moral crisis, a savior, a monster, who will waste everything in its path... [That] a systematic work destruction and demoralization... In the end it becomes nothing but acts of blasphemy. "
To quote Dona Budd's Arts Knowledge Language ,
Dada was born from a negative reaction to the horrors of the First World War. This international movement was started by a group of artists and poets associated with Cabaret Voltaire in ZÃÆ'¼rich. Dada rejects reason and logic, pits nonsense, irrationality and intuition. The origins of Dada's name are not clear; some believe that it is a word that does not make sense. Others argue that it comes from Romanian artist Tristan Tzara and Marcel Janco often uses the word "da, da," which means "yes, yes" in Romanian. Another theory says that the name "Dada" came during a group meeting when a paper knife attached to a French-German dictionary happened to point to a 'chest', the French word for 'horse hobby'.
This movement mainly involves visual arts, literature, poetry, artistic manifesto, art theory, theater, and graphic design, and centralizes its anti-war politics through the rejection of the standards applicable in art through the work of anti-art culture.
Maps Dada
History
ZÃÆ'¼rich
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and Hans Richter, along with others, discussed the art and put on a show at Cabaret Voltaire expressing their disgust with war and interest that inspired him.
Some sources state that Dada united on October 6 in Cabaret Voltaire. Other sources claim that Dada did not originate entirely in a ZÃÆ'¼rich literary salon but grew from an artistic tradition already alive in Eastern Europe, especially Romania, which was transferred to Switzerland when a group of Jewish modernist artists (Tzara, Janco, Arthur Segal, and others ) settled in ZÃÆ'¼rich. In the years before the art of World War I had risen in Bucharest and other Eastern European cities; it is possible that the Dada catalyst is the arrival at ZÃÆ'¼rich the artists such as Tzara and Janco.
After leaving Germany and Romania during the Great War, the artists found themselves in Switzerland, a country recognized for its neutrality. In this space of political neutrality they decided to use abstraction to counter the social, political, and cultural ideas of the time. The Dusun believes these ideas as a by-product of bourgeois society, a society so apathetic that it prefers to fight against itself rather than challenge the status quo.
Janco recalled, "We have lost faith in our culture, everything has to be destroyed.We will start again after tabula rasa." At Cabaret Voltaire we start with surprising common sense, public opinion, education, institutions, museums, good taste, in short, the whole order of things. "
The Cabaret closed its doors in early July and then in the first public soirÃÆ'Â e at Waag Hall on July 14, 1916, Ball read out the first manifesto. In 1917, Tzara wrote a second chest manifesto which was regarded as one of the most important Dada writings, published in 1918. Another Manifesto followed.
One edition of the Cabaret Voltaire magazine is the first publication out of motion.
After the cabaret closes, Dada's activities move to a new gallery, and Hugo Ball leaves for Bern. Tzara started an endless campaign to spread Dada's ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the leader of Dada and the chief strategist. The Cabaret Voltaire was reopened, and still in the same place on Spiegelgasse 1 in Niederdorf.
ZÃÆ'¼rich Dada, with Tzara at the helm, published a review of the art and literature of Dada beginning July 1917, with five editions of ZÃÆ'¼rich and the last two from Paris.
Other artists, such as AndrÃÆ'Â © Breton and Philippe Soupault, created the "literary group to help expand the influence of Dada."
After the battle of the First World War ended in the November 1918 truce, most of the Dadais ZÃÆ'¼rich returned to their home countries, and some started Dada's activities in other cities. The others, like the original Swiss, Sophie Taeuber, will remain in ZÃÆ'¼rich in the 1920s.
Berlin
"Berlin is a tightened city with a tight stomach, from a frenzied and overwhelming famine, where hidden anger transforms into an infinite amount of money, and a man's mind concentrates on the question of nakedness... Fear is inside bones of everyone "- Richard HÃÆ'¼lsenbeck
Groups in Germany are not very anti-art like any other group. Their activities and art are more political and social, with corrosive manifesto and propaganda, satire, public demonstrations, and overt political activity. Berlin's highly political and war-torn neighborhood had a dramatic impact on the ideas of the Berlin Dadais. In contrast, the geographical distance of New York from war gave birth to a more theoretical, less political nature.
In February 1918, when the Great War was nearing its peak, Huelsenbeck gave his first Dada speech in Berlin, and he produced the Dada manifesto at the end of the year. After the October Revolution in Russia, when it came out of the war, Hannah HÃÆ'¶ch and George Grosz used Dada to express communist sympathy. Grosz, along with John Heartfield, HÃÆ'¶ch and Hausmann developed photomontage techniques during this period.
After the war, the artists published a series of short-lived political magazines and held the First International Dada Fair, the biggest project conceived by the Berlin Dadais, in the summer of 1920. Also as a job by the main members of the Berlin Dada - Grosz, Raoul Hausmann, Hannah HÃÆ'¶ch, Johannes Baader, Huelsenbeck and Heartfield - this exhibition also includes the works of Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others. Overall, more than 200 works were exhibited, surrounded by burning slogans, some of which also ended up being written on the walls of the Nazi exhibition Entartete Kunst in 1937. Despite the high ticket prices, the exhibition lost money, only with one sale recorded.
The Berlin Group publishes periodicals such as Dada Club , Dada , Everyman His Own Soccer , and Dada Almanach .
Cologne
In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 focusing on anti-bourgeois sentiments and unreasonable. Cologne Early Spring Exhibition was set up in a pub, and requires participants to walk through the urinal while reading a raunchy poem by a woman in a communion dress. Police closed the exhibition on the grounds of obscenity, but reopened when the indictment was dropped.
New York
Like ZÃÆ'¼rich, New York City is 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. In 1916 the three became the center of radical anti-art activity in the United States. American Beatrice Wood, who had studied in France, soon joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, who escaped from conscription in France, was also in New York for a while. Most of their activities are centered in the Alfred Stieglitz gallery, 291, and the homes of Walter and Louise Arensberg.
The New Yorkers, though disorganized, call their activities Chest, but they do not issue a manifesto. They pose challenges for art and culture through publications such as The Blind Man, Rongwrong and New York Chests where they criticize the traditionalist base for > museum art. New York Dada has no disappointment towards the European Chest and is instead driven by a sense of irony and humor. In his book Adventure in art: an informal chapter on painters, vaudeville and poets Marsden Hartley incorporates an essay on "The Importance of Being 'Chest'".
During this time Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) such as bottle racks, and active in the Society of Independent Artists. In 1917 he handed the now famous Fountain, an urinal signed R. Mutt, to the Society of Independent Artists Exhibition but they rejected it. First of all objects of derision in the art community, Fountain has become almost canonized by some as one of the most recognizable works of modernist art. The world's art experts surveyed by the 2004 Turner Prize sponsor, Gin Gordon, voted him "the most influential work of modern art". As a recent scholarship document, this work is probably more collaborative than has been awarded credit for twentieth century art history. Duchamp pointed out in a 1917 letter to his sister that a female friend was involved centrally in the conception of this work. When he wrote: "One of my female friends who has adopted the pseudonym Richard Mutt sent me a porcelain urinal as a statue." This work is more in line with the aesthetics of Duchamp's friends and neighbors, Baroness Elsa von Freytag-Loringhoven, than Duchamp. In an attempt to "pay homage to the spirit of Dada" a performing artist named Pierre Pinoncelli made a crack in The Fountain's replica with a hammer in January 2006; he also urinated in 1993.
The Picabia trip binds New York, ZÃÆ'¼rich, and Paris groups together during the Dadaist period. For seven years he also published the Dada periodically at Barcelona, ​​New York City, Zürich, and Paris from 1917 to 1924.
In 1921, most of the original players moved to Paris where Dada had his last major incarnation.
Paris
The French avant-garde continues to follow Dada's activities in ZÃÆ'¼rich with regular communications from Tristan Tzara (whose name means "sad in the country," a name chosen to protest the treatment of Jews in his native Romania), exchanging letters, poems and magazines with Guillaume Apollinaire, AndrÃÆ' © Breton, Max Jacob, ClÃÆ'Â © ment Pansaers, and other French writers, critics and artists.
Paris has been the capital of world classical music since the advent of musical impressionism in the late 19th century. One of the practitioners, Erik Satie, collaborated with Picasso and Cocteau in ballads, a scandalous scandal called Parade . First done by Ballet Russes in 1917, it managed to create a scandal but in a different way than Stravinsky Le Sacre du printemps that had been done almost five years earlier. This is a ballet that clearly parodies itself, something that is a traditional ballet patron that will obviously have serious problems.
The chest in Paris soared in 1920 when many of the initiators gathered there. Inspired by Tzara, Paris Dada immediately issued manifestos, organized demonstrations, staged shows and produced a number of journals (the last two editions of Dada , Le Cannibale , and Littà © la rature displays Dada in several editions.)
The first introduction of Dada's artwork to the public of Paris was at the Salon des Ind © © © pendant in 1921. Jean Crotti exhibited works related to Dada including a work entitled, Explicative which bearing the word Taboo . In the same year, Tzara performed his Dadais game The Gas Heart to the howl of derision from the audience. When it was staged back in 1923 in a more professional production, the game triggered the theater riots (initiated by Andrà ©  © Breton) who heralded the split in the movement that produced Surrealism. Tzara's last attempt in the Dadaist drama was his "ironic tragedy" Cloth Handkerchief in 1924.
Dutch
In the Netherlands, the Dada movement is mainly centered around Theo van Doesburg, which is famous for establishing the De Stijl movement and magazines of the same name. Van Doesburg primarily focuses on poetry, and includes poems from many of the famous Dada authors at De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg and Thijs Rinsema (a cordwainer and artist at Drachten) became friends of Schwitters, and together they organized the so-called Dutch campaign of the Dada in 1923, in which van Doesburg promoted a leaflet on Dada ( titled
Van Doesburg wrote Dada's own poetry in De Stijl, though under a pseudonym, IK Bonset, who was revealed only after his death in 1931. 'Together' with IK Bonset, he also published the Dutch dada magazine's so-called magazine MÃÆ'  © cano (1922-3). Another Dutchman identified by K. Schippers in his study of the movement in the Netherlands was typographer Groningen HN Werkman, who was associated with van Doesburg and Schwitters while editing his own magazine, The Next Call (1923). -6). Two other artists mentioned by Schippers were born in Germany and eventually settled in the Netherlands. They are Otto van Rees, who has participated in the liminal exhibitions at Cafà © Voltaire in Zrich, and Paul Citroen.
Georgia
Although Dada himself was unknown in Georgia until at least 1920, from 1917 to 1921 a group of poets called themselves "Gel 41" (referring well to Tbilisi latitude, Georgia and to high fever temperature) organized along Dadais lines. The most important figure in this group is Iliazd, whose radical typography design visually echoes the publications of the Dadais. After his flight to Paris in 1921, he collaborated with Dadais in publications and events.
Yugoslavia
In Yugoslavia there was significant Dada activity between 1920 and 1922, run mainly by Dragan Aleksi? and included work by Mihailo S. Petrov, two brothers Zenitism Ljubomir Mici? and Branko Ve Poljanski. Aleksi? using the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.
Italy
The Dada movement in Italy, based in Mantua, was filled with dislike and failed to make a significant impact in the art world. It publishes magazines for a short time and holds exhibits in Rome, featuring paintings, quotes from Tristan Tzara, and original epigrams such as "True Dada is against Dada". The most important member of this group is Julius Evola, who later became a leading occult scholar, as well as right-wing philosopher and assistant Benito Mussolini.
Japanese
A prominent breasts group in Japan is Mavo, founded in July 1923 by Tomoyoshi Murayama and Yanase Masamu. Other notable artists are Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katsue Kitasono.
In the Tsuburaya Productions of the Ultra Series, the alien named Dada was designed after the Dada movement, with the word character first appearing in episode 28 of the 1966 tokusatsu series, Ultraman , and designed by the Toru character artist Narita. The Chest Design is primarily monochromatic, and features many sharp lines and alternating black and white lines, as a reference to movement. On May 19, 2016, in celebration of 100 years of Dadaism in Tokyo, Monster Ultra was invited to meet with Swiss Ambassador Urs Bucher.
Russian
Chest itself is relatively unknown in Russia; however, avant-garde art is widespread because of the Bolshevik revolutionary agenda. The Nichevoki, a literary group that shares Dadais's ideas reaches ugliness after one of its members suggested that Vladimir Mayakovsky should go to "Pampushka" (Pameatnik Pushkina - Pushkin monument) on "Tverbul" (Tverskoy Boulevard) to clean up the shoes of anyone who wants it, after Mayakovsky declared that he would clean up Russian literature.
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In the literature, Dadaism primarily focuses on poetry, especially the sound poem, created by Hugo Ball and often featured on stage. Dadais poetry is described as a poem that erases the concept of traditional poetry, including the structure, regularity, and interaction of the sound and meaning or meaning of the language itself. The belief is that the existing system in which information is articulated is said to deprive its language of dignity.
Therefore, the dismantling of language and poetic conventions is considered an attempt to restore language to its purest and most innocent form. "With this great poem, we want to throw away the language that makes journalism silent and impossible." One of the branches of this type of poetry is the simultaneous poetry, read by a group of speakers, who collectively produce a series of confused and confusing voices. Poetry is considered a manifestation of modern society such as advertising, technology, and conflict, among others. However, unlike movements such as expressionism, Dadaism appreciates the dynamics of modernity and urban life. The poetry produced by this genre does not regard the urban and futuristic world as chaotic as negative, human-eating or hell. Instead, there is a focus on how this serves as a new natural field that opens up new ideas for life and art.
Dadaism also blurs the line between literature and visual arts. One Dadaist technique, for example, proposes the use of physical materials in addition to words so that the newly created poem becomes the fruit of written ideas and physical artefacts such as newspapers. Marc Lowenthal, in I Am a Beautiful Monster: Poetry, Prose, and Provocation , writes:
The chest is the basis for abstract art and sound poetry, a starting point for the performing arts, an introduction to postmodernism, influences on pop art, antiartic celebrations for later adoption for anarcho-political use in the 1960s and movements that laid the foundations for Surrealism.
Chest is not limited to visual arts and literature; its influence reaches sound and music. Kurt Schwitters developed what he called sound poetry, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada's music displayed at the Dada Festival in Paris on May 26, 1920. Other composers such as Erwin Schulhoff, Hans Heusser and Alberto Savinio all wrote Dada music , while the members of Les Six collaborated with members of the Dada movement and did their work at Dada's meeting. Erik Satie also experimented with Dadais ideas during his career, though he was primarily associated with musical impresionism.
In the first Dada publication, Hugo Ball described "orchestra balalaika playing folk songs of fun." African music and jazz are commonplace in Dada meetings.
Musician Frank Zappa is a self-proclaimed Dadais after learning the movement:
In the early days, I did not even know what to call my life stuff. You can imagine my excitement when I find that someone in a distant land has the same idea - AND a good and short name for it.
Legacy
While broad-based, the movement was unstable. In 1924 in Paris, Dada merged into Surrealism, and artists have turned to other ideas and movements, including Surrealism, social realism, and other forms of modernism. Some theorists argue that Dada is actually the beginning of postmodern art.
Ahead of the dawn of the Second World War, many European Dadais emigrated to the United States. Some (Otto Freundlich, Walter Serner) died at the death camp under Adolf Hitler, who actively persecuted the kind of "degenerative art" he considered to represent Dada. The movement became less active because of post-war optimism led to the development of new movements in art and literature.
The chest is a named influence and reference of various anti-art and political and cultural movements, including Situationist International groups and jamming cultures such as the Cacophony Society. After breaking up in July 2012, an anarchist Chumbawamba pop band issued a statement comparing their own heritage with Dada's art movement.
At the same time as the Dadais ZÃÆ'¼rich make noise and spectacle in Cabaret Voltaire, Lenin planned his revolutionary plan for Russia in an apartment nearby. Tom Stoppard uses this coincidence as the premise for his work Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. The French writer Dominique Noguez envisioned Lenin as a member of Dada's group on his tongue-in-cheek LÃÆ'Â © nine Chest (1989).
The former Cabaret Voltaire building fell into disrepair until it was occupied from January to March 2002, by a group declaring themselves Neo-Dadais, led by Mark Divo. This group includes Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee, and Dan Jones. After their expulsion, the space was transformed into a museum dedicated to Dada's history. Lee and Jones's work remains on the walls of the new museum.
Some well-known retrospective has examined the influence of Dada on art and society. In 1967, a large chest retrospective was held in Paris. In 2006, the Museum of Modern Art in New York City held a Dada exhibition in partnership with the National Gallery of Art at Washington D.C. and Center 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 music repertoires including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.
Art techniques developed
Collage
The Dadais mimics the techniques developed during the cubist movement through the insertion of bits of paper, but extends their art to include items such as transport tickets, maps, plastic wrap, etc. To describe aspects of life, rather than representing the objects seen. as still alive.
Cut-up Techniques
The Cut-up technique is an extension of the collage into the words itself, Tristan Tzara describes this in the Chest Manifesto:
Photomontage
The Dadais - "monteurs" (mechanics) - use scissors and glue rather than brush and paint to express their view of modern life through images presented by the media. A variation on collage techniques, photomontage used actual or reproduction of real photographs printed on the media. In Cologne, Max Ernst used images from the First World War to illustrate messages of war destruction.
Assemblage
The collection is a three-dimensional variation of collage - the assembly of everyday objects to produce meaningful or meaningless pieces of work (relative to war) including objects of war and garbage. The objects are nailed, screwed or tied together in various modes. Bundles can be seen in a circle or can be hung on a wall.
Readymades
Marcel Duchamp began to see objects that his collection produced as art objects, which he called "readymades". He will add signatures and titles to some, turning them into works of art that he calls "readymade aided" or "readydades fixed". Duchamp writes: "One important characteristic is a short phrase that I sometimes write on 'ready to use' The sentence, instead of describing an object like a title, is meant to bring the audience's mind to another area more verbally.Sometimes I will add details of the presentation graphics to satisfy my desire for alliteration, will be called 'readymade aided.' "One example of Duchamp's readymade works is a backed-down urinal, signed" R. Mutt ", entitled Fountain >, and submitted to the Society of Independent Artists exhibition that year, though not shown.
Artist
See also
- Art Intervention
- The Chest Center for the World Revolution
- Dadaglobe
- ÃÆ' â € ° pater la bourgeois
- Happened
- Incoherents
- Surprise art
- Transgressive art
References
Bibliography
External links
- Companion's chest, bibliography, chronology, artist profile, venue, technique, acceptance
- Chest on Curlie (based on DMOZ)
- Chest, EncyclopÃÆ'Â|dia Britannica
- Chest Art
- International Chest Archive, University of Iowa, periodical publication Early chest, scanned online publication
- Dad, history, bibliography, documents, and news
- "Dadaisme - Art and Anti Art", artyfactory.com
- From Dada to Surrealism, reviews from The Guardian
- Dada's audio recording on LTM
- New York (magazine), Marcel Duchamp and Man Ray, April, 1921, BibliothÃÆ'¨que Kandinsky, Center Pompidou (online access)
Manifesto
- Hugo Ball's 1916 Dada Manifesto
- Text from Tristan Tzara in 1918 Chest Manifesto
- Excerpt from Tristan Tzara Dada Manifesto (1918) and Chapters on Chest (1922)
Source of the article : Wikipedia
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