Description : The Dada movement, revered as perhaps the purest form of cultural subversion and provocation in 20th-century Europe, has been a victim of the readiness with which cultural historians have swallowed its own propaganda. Based on extensive close analysis of French-language Dada work in its original form, and offering English translations throughout, this major reappraisal looks at a broad range of media and topics - including poetry, film, philosophy, and quantum physics - in order to get beyond Dada's typecasting as avant-garde anti-hero. Work by women writers and other marginalized figures combines with that of canonical Dadaists to present Dada in a radically new set of guises: poetic and textually subtle; intellectually and philosophically meaningful; peaceable and quasi-Buddhist; and, perhaps most uncomfortably of all, conformist and reactionary.
Description : How Dada is to break its cultural accommodation and containment today necessitates thinking the historical instances through revised application of critical and theoretical models. The volumeDada Culture: Critical Texts on the Avant-Garde moves precisely by this motive, bringing together writings which insist upon the continuity of the early twentieth-century moment now at the start of the twenty-first. Engaging the complex and contradictory nature of Dada strategies, instanced in the linguistic gaming and performativity of the movement's initial formation, and subsequently isolating the specific from the general with essays focusing on Ball, Tzara, Serner, Hausmann, Dix, Heartfield, Schwitters, Baader, Cravan and the exemplary Duchamp, the political philosophy of the avant-garde is brought to bear upon our own contemporary struggle through critical theory to comprehend the cultural usefulness, relevance, validity and effective (or otherwise) oppositionality of Dada's infamous anti-stance.The volume is presented in sections that progressively point towards the expanding complexity of the contemporary engagement with Dada, as what is often exhaustive historical data is forced to rethink, realign and reconfigure itself in response to the analytical rigour and exercise of later twentieth-century animal anarchic thought, the testing and cultural placement of thoughts upon the virtual, and the eventual implications for the once blissfully unproblematic idea of expression. From the opening, provocative proposition that historically Dada may have been the falsest of all false paths, the volume rounds to dispute such condemnation as demarcation continues not only of Dada's embeddedness in western culture, but more precisely of the location of Dada culture. Ten critical essays – by Cornelius Partsch, John Wall, T. J. Demos, Anna Schaffner, Martin I. Gaughan, Curt Germundson, Stephen C. Foster, Dafydd Jones, Joel Freeman and David Cunningham – are supplemented by the critical bibliography prepared by Timothy Shipe, which documents the past decade of Dada scholarship, and in so doing provides a valuable resource for all those engaged in Dada studies today.
Description : Offering new critical approaches to Dada as quintessential part of the Avant-Garde, Dada and Existentialism: the Authenticity of Ambiguity reassesses the movement as a form of (proto-) Existentialist philosophy. Dada is often dismissed as an anti-art movement with a merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Moreover, neither was nonsensical or meaningless; both reveal a rich individualist ethics aimed at the amelioration of the individual and society. The first major comparative study of Dada and Existentialism, this text contributes new perspectives on Dada as movement, historical legacy, and field of study. Analysing Dada works through Existentialist literature across the themes of choice, alienation, responsibility, freedom and truth, the text posits that Dada and Existentialism both advocate the creation of a self that aims for authenticity through ambiguity.
Description : Essay from the year 2010 in the subject Art - Art Theory, General, grade: 8,5, University of Amsterdam (Cultural Analysis), course: Art as an Institute and its Critique, language: English, comment: Note entsprich etwa einer 1,5 in Deutschland. Cultural Analysis: Exchange student from University of Arts and Design, Karlsruhe, abstract: 1.Introduction The avant-garde intends the abolition of autonomous art by which it means that art is to be integrated into the praxis of life. At least this is what Peter Burger states in his groundbreaking book Theory of the Avant-garde. In the book Burger gives some examples that shall acknowledge and prove his theory, e.g. Rene Magritte or Marcel Duchamp. It is clear that such examples need to stay eclectic in order to fit the developed theory. In the following Burger's text will be put to the acid test by analysing some avant-garde works through the eyes of Peter Burger, and it shall be examined if specific, programmatic avant-gardist works go well with his theory. The manifestos by the (first) Dadaists in Zurich seem to be extremely useful for this attempt. Their "productions" haven't been canonised yet and have served as an example for further Dadaistic productions in Germany, the USA, the Netherlands, Romania, Georgia, Poland etc. They (excessively) produced manifestos and declared their ideals and plans. However, these declarations always remain a bit opaque as they avoid clear statements and explicitly write absurd. In their works the Dadas often make statements and shortly afterwards reject them again. Tristan Tzara's manifestos are great examples of this kind of text, therefore this paper focuses on his writings but will consider manifestos by Walter Serner, thoughts by Marcel Janco or Hugo Ball as well. Can Theory of the Avant-garde be a key to excerpt meaning from the Dadaistic text production, or do the manifestos go beyond Burger's theory, or even prove him wrong?"
Description : Dada formed in 1916, embedded in a world of rational appearances that belied a raging confusion - in the middle of the First World War, in the neutral centre of a warring continent, fundamentally at the heart of Western art. This book sets out new coordinates in revision of a formation that Western art history routinely exhausts through its characterisation as a 'revolutionary movement' of anarchic cultural dissent, and does so in order to contest the perpetuated assumptions about Dada that underlie the popular myth. Dada is difficult and the response to it is not easy, and what emerge from the theoretical readings developed here are profoundly rational bases to the Dada non-sense that pitted itself against its civilised age, critically and implicitly to propose that Dada courses as vitally today as it did in 1916. The Zurich Dada formation initiated deliberate and strategic cultural engagements that struggled then, as they do now, to cohere in any sense as a 'movement', extreme in their ranges as diametrically hostile oppositionalities. Dada may be given art historically as identifiable along a trajectory of sustained ruptures and seizures, but it confounds all attempts at defined or definitive readings. This book duly offers not a history of Dada in Zurich but theoretical engagements of the emergencies and now the residue of the years 1916-19 - from 'lautgedichte' to laughter, masks to manifestos, chance to chiasmata - rounding to the 'permanent' Dada by which the formation ultimately breaks the containment and deep peace of art historical chronology.
Description : This book is the first to make the case that women's changing role in European andAmerican society was critical to Dada. Debates about birth control and suffrage, a declining malepopulation and expanding female workforce, the emergence of the New Woman, and Freudianism wereamong the forces that contributed to the dadaist enterprise.Among the female dadaists discussed arethe German émigré Baroness Elsa von Freytag-Loringhoven; Berlin dadaist Hannah Höch; expatriate poetand artist Mina Loy; the "Queen of Greenwich Village," Clara Tice; Margaret Anderson and Jane Heap,the lesbian couple who ran the Little Review; and Beatrice Wood, who died in 1998 at the age of 105.The book also addresses issues of colonialist racism, cross-dressing and dandyism, and the genderingof the machine.
Description : During World War I, an international group of young artists and writers fled to Zurich, in neutral Switzerland. In reaction to the horror of the war and the onslaught of new technology, as well as to the suffocating aesthetic of futurism and cubism, these artists began to create a new kind of art - art that was antilogical, anti-aesthetic, anarchistic, confrontional, shocking. Performing and exhibiting at the famous Cafe Voltaire, these artists called the new art "Dada." Dada: The Coordinates of Cultural of Cultural Politics, the first in the eight-volume series Crisis and the Arts: The History of Dada, provides parameters for the historical and sociological context of Dada. In a collection of essays from internationally respected scholars, Dada's manifestations in visual arts, theater, the media, and literature, as well as the correspondence between Dadas and their various manifestos, are explored to present a nuanced examination of the movement. In addition, the volume addresses the relevancy of an extensive study of Dada to present-day concerns.
Description : Including 12 illustrated essays, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles.
Description : Dada and Surrealism were two revolutionary art movements which emerged in response to the events and ideas of the early twentieth century. Dada, characterized by found objects and works made according to the laws of chance, was anarchic and anti-art. In part a reaction to the senseless destruction of World War I, it questioned all accepted values. Surrealism, in contrast, was a more defined movement which evolved in the 1920s as artists and writers took up Freud's concept of the unconscious to undermine traditional conventions. By use of such techniques as automatism, artists sought to represent in concrete terms the imagery of dream and fantasy. In this clear and lively account, Matthew Gale explores the work of a wide range of artists - from Marcel Duchamp and Raoul Hausmann to Max Ernst, René Magritte and Salvador Dali - and uses paintings, collages, sculptures, assemblages, photographs, photomontages, film stills and graphics to illustrate the rich variety of Dada and Surrealist art. This essential introductory book is the first to reproduce many of these works in colour.