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Dadaism

Introduction to the artistic movement of Dadaism:

Dadaism arises with the intention of destroying all the codes and systems established in the art world. It is an anti-artistic, anti-literary and antipoetic movement that questions the existence of art, literature, and poetry. It is presented as a total ideology, as a way of living and as an absolute rejection of any previous tradition or scheme.

It is against eternal beauty, against the eternity of principles, against the laws of logic, against the immobility of thought and against the universal. Dadaists promote change, the freedom of the individual, spontaneity, the immediate, the random, contradiction, they defend chaos against order and imperfection against perfection.

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They proclaim the anti-art of protest, of shock, of scandal, of provocation, with the help of ironic-satyric means of expression. They base themselves on the absurd and the worthless and introduce chaos into their scenes, breaking with traditional art forms. They also used the assembly of fragments and everyday waste objects.

The origin of the term Dadaism is confusing. The most accepted version says that by opening a random dictionary the word given, meaning toy horse, appeared and was adopted by the group.

The dada movement was born in a singing café in Zurich in 1916, where poems were recited. This city had become, since the outbreak of the First World War, a refuge for emigrants from all over Europe who wanted to escape the war. Representatives of various schools such as German Expressionism, Italian Futurism and French Cubism met there. This gives Dadaism the particularity of not being a movement of rebellion against a previous school but questioning the concept of art before the First World War.

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Hugo Ball, theatre director, and his wife conceived the project of creating a literary café that would welcome all these exiled artists, the Cabaret Voltaire, which opened its doors on February 1, 1916. Tristan Tzara (poet, leader, and founder of the movement), Jean Arp, Marcel Janko, Hans Richter, and Richard Huelsenbeck, among others, gathered there.

The diffusion of Dadaism was due to the publication of the magazine Dada, which thanks to it, his ideas spread to Berlin, Cologne, Paris and New York.

Jean Arp

He made reliefs, collages, and embroideries where he combines the techniques of automatism and dreamlike images, developing a very personal iconography of organic forms that he himself called biomorphic sculpture.

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One day, when he looked at a drawing that had broken into many little pieces and was thrown to the ground because he didn't like it, he realized that the disposition that had given them the fall reflected much better the plastic novelty that he was trying to obtain. He gathered the fragments and glued them together, juxtaposing them in the form dictated by chance.

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Block: terrestrial form is a construction made of cut and painted wood that presents elemental forms grouped following the impulse of chance.

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Pez y bigoted (Fish and Moustache) is a humorous work created on a base of cut and painted wood that combines a certain childishness in the forms and spontaneity of chance.

Raul Hausmann

His most important contribution is the photomontage, which consists of the montage, without a defined plan, of cuttings from photographs, newspapers, and drawings, with the intention of obtaining a plastically new work that would assume a political, moral or poetic message.

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In El crítico de art (The Art Critic) he offers the vision of an art expert and represents him toothless and with a shoe on his head to denounce the emptiness and uselessness of his thoughts.

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Kurt Schwitter

He created assemblages of cardboard, wood, wire, and broken objects, as well as collages with various objects, bus tickets, cheese wrappers, worn soles, cigarette butts, etc.

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At home, he produced a work he called Merz-Säule. It was a sculpture made of lumps and concavities with every day finds or with objects taken from visitors such as locks of hair or cut nails, and which had the property of growing as if it were a living organism. Each day he added something to it and it grew so much that it occupied two floors.

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Max Ernst

Max Ernst, along with Baargeld, organized an exhibition that forced the public to pass through urinals, while a girl dressed for the first communion recited obscene poems.

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In the middle of the room was a large block of wood that held an ax hooked to a chain and invited the public to destroy that object with axes. Collages of various artists hung on the walls, the contents of which caused discomfort among the spectators. The exhibition was forbidden.

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The First World War also brought to New York groups of refugee artists such as Duchamp or Picabia, who together with Americans such as Man Ray give life to the people of New York.

Marcel Duchamp

Its main contribution is the ready-made, which consists of taking an object out of its context to place it in the artistic field. Only by giving them titles and signing them conferred on the objects the category of work of art.

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In 1913 he conceived a work from a bicycle wheel placed on a kitchen stool. In 1915 he presented a urinal made of earthenware turned upside down and entitled it, Fontaine.

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Man Ray

He made a group of works that he called "objects of my affection". Among them is Cadeau, which consists of a plate from whose base some nails come out, or the work called La puericulture II, which is a cylindrical bronze base with a green hand protruding from the upper part.

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The given movement builds the propitious environment for the emergence of other great currents, such as Surrealism, and proposes a new definition of art by breaking with traditional schemes by integrating objects from the everyday environment within the means of plastic expression.

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Thank you for reading 😊

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