29 Facts About Dada

The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works that challenge accepted definitions of art.

Dada was an informal international movement, with participants in Europe and North America.

Dada represented the opposite of everything which art stood for.

Additionally, Dada attempted to reflect onto human perception and the chaotic nature of society.

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.

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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.

Dada was born out of negative reaction to the horrors of the First World War.

Dada rejected reason and logic, prizing nonsense, irrationality and intuition.

The origin of the name Dada is unclear; some believe that it is a nonsensical word.

At the outset of the 1920s the term Dada flourished in Europe with the help of Duchamp and Picabia, who had both returned from New York.

Dada emerged from a period of artistic and literary movements like Futurism, Cubism and Expressionism; centered mainly in Italy, France and Germany respectively, in those years.

However, unlike the earlier movements Dada was able to establish a broad base of support, giving rise to a movement that was international in scope.

Tzara wrote a second Dada manifesto, considered important Dada reading, which was published in 1918.

Dada was an active movement during years of political turmoil from 1916 when European countries were actively engaged in World War I, the conclusion of which, in 1918, set the stage for a new political order.

Some sources propose a Romanian origin, arguing that Dada was an offshoot of a vibrant artistic tradition that transposed to Switzerland when a group of Jewish modernist artists, including Tristan Tzara, Marcel Janco, and Arthur Segal settled in Zurich.

Dada bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist.

Dada is envisioned in contrast to art forms, such as Expressionism, that appeal to viewers' emotional states: "the exploitation of so-called echoes of the soul".

New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor.

Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu.

Aleksic used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.

Dada's design is primarily monochromatic, and features numerous sharp lines and alternating black and white stripes, in reference to the movement and, in particular, to chessboard and Go patterns.

Dada's channeled the same anti-war and anti-government in her works but brought out a feminist lens on the themes.

Dada's spent time writing poetry, creating Dada magazines, and acting and writing in plays.

Dada was not confined to the visual and literary arts; its influence reached into sound and music.

Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920.

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Dada is a named influence and reference of various anti-art and political and cultural movements, including the Situationist International and culture jamming groups like the Cacophony Society.

The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp, and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia, and Nelly van Doesburg.

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that laid the foundation for Surrealism.

Dada would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades".