Dada
Dada
Dada
The beginnings of Dada correspond to the outbreak of World War I. For many participants, the
movement was a protest against the bourgeois 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.[12]
Avant-garde circles outside France knew of pre-war Parisian developments. 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 De Moderne Kunstkring, Amsterdam (between
1911 and 1915). Futurism developed in response to the work of various artists. Dada subsequently
combined these approaches.[10][13]
Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people
into war. They expressed their rejection of that ideology in artistic expression that appeared to
reject logic and embrace chaos and irrationality.[5][6] For example, George Grosz later recalled
that his Dadaist art was intended as a protest "against this world of mutual destruction."[5]
According to Hans Richter Dada was not art: it was "anti-art."[12] Dada represented the opposite
of everything which art stood for. Where art was concerned with traditional aesthetics, Dada
ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend.
As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true
perception and criticism of the times we live in."[14]
A reviewer from the American Art News stated at the time that "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, a "reaction to what many of these artists
saw as nothing more than an insane spectacle of collective homicide."[15]
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of
the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything
in its path... [It was] a systematic work of destruction and demoralization... In the end it became
nothing but an act of sacrilege."[15]