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Dadaism is a multiple, anti-art movement resulting from the social and psychological dislocations of World War 1. As a movement Dadaism is important for freeing up artistic expression and forms, as well as for being a generating influence on surrealism. Throughout dada’s history there was many different meanings and forms that developed in the four main dada centres. Dada developed firstly in Zurich and New York in 1915 then long after spread to Germany where it had four different centres (Berlin, Hanover and Cologne), and then saw the ends of it in Paris. Even though not expressed in books and so on Dada influenced many other cities and areas. There are many reasons for the differences in the different centres of Dada.
The beginning of Dada all began in the Armory show in New York, which was prior to the movement in 1913. It introduced Modernism to the U.S.A. Marcel Duchamp’s NUDE DESCENDING A STAIRCASE (a cubist and futurism influenced piece) was a sensation. Duchamp was a key figure in the development of Dada. Dada helped give the benefit of the doubt to a totally different concept of art. The Dada movement officially began in 1915 and ended about in 1923.
The reason that Dada was an anti-art movement was that a few years prior to the war the Futurist artists of Italy glorified machines and futuristic ideas. The Dadaists believed that if art was apart of the culture and society that created war. Then art was just as much as a influence as anything else, this is why the Dadaist took such a strong anti-art attitude.
Duchamp considered Dada as ideas whereas Tristan Tzara thought of it more as a revolutionary act against the normal culture and politics of human existence. This explains the multiple ideas and paths that Dada took over its history. Dada had a great multiplicity of ideas and meanings not only varying in different cities but also within them. Dada is the attitude and the thoughts of the many different artists that made up the era and the movement. Most cities refer to Dada as a “attitude”.
Dada’s intention was to confuse, they often contradicted earlier statements and opinions made about the movement. One of the key purposes of dada was to free art from the dictates of society. Dadaism was a Cultural Revolution. The dada artists revolted and had hatred against the war, Dadaist hated the society that would carry out such a tragedy , they believed that the society they lived in was corrupt and the values they held were all wrong.
The Zurich Dada officially began with the first evenings as a Cabaret Voltaire in the neutral country of Zurich (Switzerland). A small theatre founded by Hugo Ball. Principally the Zurich Dadaists consisted of Hugo Ball (poet and founder of Dadaism), Hans (Jean) Arp (sculptor, poet), Tristan Tzara (writer, poet, philosopher) others also included Janco and Huelsenbeck.
The Zurich Dadaists were all horrified by the war, which they blamed on western civilisation. Zurich had distinguished differences from the other centres of Dada because it was made to express their REVOLT. They specifically organised anti-artistic events at the Cabret Voltaire, these events were principally directed against western art. Zurich Dada can be seen as the Anti-Art Dada movement.
Key features about the Zurich Dadaist was that they had automatic writing, abstract biomorphic sculpture, syllabic poetry, performances (often shouted) accompanied by the beating of Drums. A lot of work grew out of the use of “the laws of chance”, this technique originally began in Zurich. Zurich Dada was galvanised by the arrival of Tristan Tzara , he was a unique and charismatic individual who energised the growing group of writers, artists and independent thinkers the exact point of freeing art. Tristan Tzara wrote the Dada manifesto in 1918 it was a poetic and highly provocative statement of Dada’s aim and philosophy.
Zurich Dada did however produce new forms of graphics and new ideas in film making. It influenced modern forms of poetry, music, drama and painting. The foremost painter in the Zurich group was Jean Arp, known primarily for his painting he was also a poet of some ability and creativity. He later moved to Paris and became a sculptor. Arps forms retained their organic essence and in doing so he began the tradition which one branch of surrealism was to follow. This was the use of arbitrary and non-descriptive colour, these art forms influenced later artists such as Miro. Paul Klee was a early influence on Arp’s work.
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