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Dada: Arts
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For the Dadaists, publications served to distinguish and define Dada in the many cities it infiltrated and allowed its major figures to assert their power and position. As Dada took hold in cities throughout Europe, each manifestation was unique, reflecting the city's own artistic and social climates. Every incarnation of Dada spurred a proliferation of new journals and reviews that announced Dada activities, attracted new members, and further established a Dada program.
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The show is organized by cities, different artists having come to the same notion of Dada around the same time in different places. Tristan Tzara, Hans Richter, Hugo Ball, Emmy Hennings, Arp and his wife, Sophie Taeuber, settled in neutral Zurich. Ball, seeing corpses on the battlefield, had contemplated suicide. Marcel Janco said that he could still hear the bombardments in faraway Verdun while he slept.
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Contributions of Dada movment is fairly clear. The inclusion of sound in art, the incorporation of found objects in a work of art, and the concept of improvision as a performance options were all substantially important to not only the development of music, but more specifically the development of electronic music. Although Pierre Schaeffer claimed no knowledge of the Dada school. It is quite apprent that he was familiar with these philosophyies as he developed musique concrète. The idea of found objects in Dada art is remarkably similar to the sound objects of musique concrete and it is more than just coincidence that Schaeffer uses such a similar element. The ideas of improvision in the art, was a tremendous influence on the work of John Cage, which he would freely admit.
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The classic account of Dada is probably Hans Richter's Dada Art and Anti-Art, first published in German in Cologne in 1964 and widely reprinted and translated. Richter writes as an insider, himself a member of the original Zurich cénacle. "The life we led," he tells us in his Foreword, "our follies and our deeds of heroism, our provocations... 'polemical' and aggressive they may have been, were all part of a tireless quest for an anti-art, a new way of thinking, feeling and knowing."
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The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu.
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The Paris press was alternatively horrified and bewildered by Dada. Crowds became more and more violent in their reaction. The Dadaists themselves became drained of ideas and energy. Dada lost its most important element, its spontaneity, and there was a growing rift between Tzara and Breton. Breton, and many other sympathetic artists, could no longer do Dada, because to them it lead nowhere, creating chaos. Breton wanted "a new art, an art which would move in a constructive direction." What Breton worked towards in the early 1920s was Surrealisme , an art that would use much of Dada's method.
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