Dada was an informal
international movement, with participants in Europe and North
America . 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.
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. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction."
According to Hans Richter Dada was not art: it was "anti-art." 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 Hugho 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."
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."
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."
To quote Dona Budd's The Language of Art Knowledge,
The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works.
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. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction."
According to Hans Richter Dada was not art: it was "anti-art." 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 Hugho 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."
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."
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."
To quote Dona Budd's The Language of Art Knowledge,
“Dada was born out of negative
reaction to the horrors of World War I. This international movement was begun
by a group of artists and poets associated with the Cabaret Voltaire in Zurich
The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works.
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