The Dada style can definitely be called a harbinger of surrealism. Like many other styles, Dada arose as a reaction to the First World War. Then many people were forced to flee from military territories to neutral Switzerland. Left without a homeland and having lost their life guidelines, Dada artists began to preach anti-art in which there was no morality, no logic, no traditions. The essence of self-expression became provocation, as the only possible way existence. Feeling their own helplessness, they advised living only for today, denying tomorrow. Technically, the most common artistic technique became collage and its varieties.
- an avant-garde literary and artistic movement that originated during the First World War in neutral Switzerland, in Zurich (Cabaret Voltaire). The style existed from 1916 to 1922. The essence of Dadaism was a mockery of bourgeois culture and discrediting bourgeois morals. The anarchist initiative of an individual person, unconnected with anything, was put at the forefront. Everyday life and in art. 
"The Dadaist is the freest man in the world. globe" “He who lives for today lives forever.” “I am against any system. The most acceptable system is to have no system.” These were the main slogans of the Dadaists. The anarchist revolt against everything was a consequence of the indignation and social helplessness of bohemia in the face of the horrors of the imperialist war and its social consequences. 
The first figures of Dadaism were Tristan Tzara (poet, Romanian), Richard Gulsenbeck (poet, German), Hugo Ball (organizer of the Dadaists), Hans Arp (artist, German), Marcel Janko (artist, Romanian). All of them were thrown beyond the borders of their homeland by the war, and all of them were equally imbued with rabid hatred of the governments of their countries. At first, Dadaism arose as the art of cabaret, then it moved into literature and fine art. 
The term Dadaism was coined by the poet Tristan Tzara, who discovered the word “Dada” in a dictionary. In the language of the Kru Negro tribe it means the tail of a sacred cow; in some areas of Italy this is what the mother is called; this may be a designation for a children's wooden horse; double statement in Russian and Romanian. This word also means incoherent baby babble, which became the most successful expression of the essence of the entire movement. 
The activities of the Dadaists were carried out in a wide variety of forms. They organized shocking exhibitions, staged performances that shocked the bourgeois public, and held provocative festivals. Refugees in neutral Switzerland at first simply had fun, then showed angry and very cynical grimaces to the entire society to which they owed the war that tore them away from their homeland. They did the same thing that was done in their domestic cafes and cabarets, only the performances were much more edgy. 
In the fine arts, the most common form of creativity of the Dadaists was collage - a technical technique for creating a work from pieces of various materials: paper, fabric, etc. arranged in a certain way and glued onto a flat base (canvas, cardboard, paper). In Dadaism, three branches of development can be distinguished collage: Random collage (Zurich), Manifestation collage (Berlin) and Poetic collage (Cologne and Hannover). 
In Zurich, the Dadaists emphasized the randomness of collage, the arbitrariness of combining elements. For example, Hans Arp created his collages in random order pouring quadrangles of colored paper onto a sheet of cardboard and gluing them as they lay. Tristan Tzara proposed cutting a newspaper into words and blindly taking them out of a bag to make a poem (thus, the use of the collage principle is not the prerogative of only visual arts, but migrates to poetry). 
The collage of the Berlin Dadaists is multi-component, visually rich and often carries a pronounced political, protest charge. Collage makes it possible to express in visual form what would be prohibited by censorship if it were said in words. The Berlin collage actively uses fragments of photographs. The artists call themselves “photomontages,” drawing a parallel with industrial workers. 
The third direction - endowing collage with the properties of a poetic work - is realized in the Cologne works of Max Ernst, as well as in the Merz paintings of Kurt Schwitters, who worked in Hannover. Although the style of these artists is dissimilar, they are united by the fact that both understand collage as a phenomenon close to poetry, as a connection of two or more alien realities in an environment that is clearly unsuitable for them, with the emergence of a creative spark from their connection. 
Dadaism quickly came to a standstill and remained in history as a social symbol of its time. In the 1920s, French Dada merged with surrealism, and in Germany with expressionism. The main artists representing Dadaism are Hans Arp (Germany), Marcel Duchamp (France), Kurt Schwitters (Germany), Francis Picabia, Max Ernst (Germany), Man Ray (France), Marcel Janco (Romania), Hans Bellmer (Germany) ), Sophie Teuber-Arp (Switzerland). 
DADAISM(Dadaïsme) - modernist artistic movement of the late 1910s - early 1920s. It arose in 1916 in Switzerland (Zurich) among the artistic intelligentsia as a protest against the First World War and European civilization, in which the Dadaists saw its root cause. The founder was the Romanian poet Tristan Tzara (real name Samuel Rosenstock; 1896–1963), who gathered around him an international group that included his compatriot, writer, artist, architect Marcel Janco (1895–1973), sculptor, artist and poet from Alsace Hans Arp (1888–1966), German émigré writers Hugo Ball (1886–1927) and Richard Gülsenbeck (1892–1974), etc. Some of them then exported Dadaism to other countries. The term "Dadaism" comes from French word dada (“meaningless baby talk”); This was the name of the magazine they created, which went through seven editions (from 1917 to 1920). The new movement quickly spread beyond Switzerland; Dadaist groups arose in Berlin (R. Gulsenbeck, Georg Gross, Raoul Hausmann), Hanover (Kurt Schwitters), Cologne (H. Arp), Holland (Theo van Desburg), New York (Marcel Duchamp, Francis Picabia, Man Ray) ; magazines close to them in spirit, “Sic”, appeared in France (“Sic”) by P.A. Biro (1916) and “North-South” (“Nord-Sud”) by P. Reverdi (1917–1918).
In their anti-militarist rebellion, the Dadaists appealed to War letters Jacques Vache (1896–1919), who spoke about the hideous face of war; they circulated in manuscripts and were published only in 1920, after the suicide of their author. Among all the ostracized values of bourgeois society, art turned out to be the main target. The Dadaists denied all its laws, asserted the unconditional primacy of the irrational, unconscious and intuitive, and overthrew the rationalism that had become part of the flesh and blood. European culture. They found the roots of artistic rebellion in the symbolist farce of Alfred Jarry Yubu-king(1896). The Dadaists believed that in conditions of complete degradation and the imminent collapse of European civilization, their primary task was to accelerate this collapse by undermining its fundamental structures - the structures of thought and language. They called for destroying all the mechanisms of human speech (semantic, grammatical, phonetic) and starting from the very beginning, i.e. return to the initial moment of language formation, when it existed at the level of individual sounds (prelanguage). The group members devoted their meetings to collective creativity - the creation of “simultaneous noise” poetry (poesie simultannée bruitiste): without caring about logic, integrity, or the differences in languages, they arbitrarily connected words and phrases; This “creative act” also included shouting, playing the piano, whistling and beating the timpani. Individual experimentation was also practiced; in 1916 T. Tzara presented the results of his Dadaist experiments in The first heavenly journey of Mr. Antipirin(La Première Aventure celeste de M. Antipyrine), and in 1919 – in the collection Twenty-five poems(Vingt-cinq poèmes).
By creating linguistic chaos, the Dadaists doomed literature to self-destruction; Naturally, practically no works remained from them. This fit into their understanding of Dadaism: they saw it not so much as an artistic movement, but as a certain way of life.
The theoretical formulation of Dadaism occurred in 1918, when T. Tzara published the first Dada Manifesto (Manifesto Dada 1918); six more followed. In 1919, together with his like-minded people, he moved to France; thus the center of the Dadaist movement moved to Paris. The nihilistic pathos of the Dadaists, bordering on anarchism, attracted a large number of young French poets and artists, especially those who went through the war. T. Tzara began close collaboration with the editors of the magazine “Literature” Andre Breton, Louis Aragon and Philip Soupault, who were already laying the foundations of a new, surrealist school. Paul Eluard, Pierre Reverdy, Pablo Picasso, Amedeo Modigliani, Wassily Kandinsky and many others joined their union.
The activities of the Dadaists were carried out in a wide variety of forms. They organized shocking exhibitions and staged performances that shocked the bourgeois public, such as Gas heart(Coeur a gas) And bearded heart(Coeur a barbe) T. Tzara, held provocative “festivals”, often accompanied by brawls. The “Dada manifestation” in the Parisian House of Creativity in March 1920 turned out to be especially scandalous.
The leading position of the Dadaists in the circles of the rebellious intelligentsia did not last long. Gradually, leadership passed from T. Tzara to A. Breton, and by 1922 the Dadaists dissolved in a new movement - surrealism. An act of farewell to Dadaism was the collection Seven Dada manifestos(Sept manifestes Dada), published by T. Tzara in 1924.
Dadaism did not leave followers, except for the short-lived Lettre movement that arose after the Second World War (1946), which in its innovative impulse encroached not only on words, but also on syllables and letters (French lettre). Nevertheless, Dada played an important role in history artistic ideas. It was one of the moments of crisis in European culture in the first quarter of the twentieth century, a time of global reassessment of values and an intensive search for new paths in art.
Evgenia Krivushina
Dadaism can safely be called a harbinger of surrealism.
The Dada style originated as a response to the First World War. At that time, most people needed to flee from military territory to neutral territory in Switzerland. Dada artists, who were left without a homeland and lost their direction in life, began to preach anti-art, in which there is no logic, no traditions, no morality.
The essence of self-expression is provocation, as the only possible way of existence.
They advise living exclusively for today, denying tomorrow. The most famous artistic technique was collage and its variety.
Dadaism is an avant-garde literary and artistic movement that originated during the First World War in intermediate Switzerland, in Zurich (C. Voltaire). The style lasted from 1916 to 1922. The essence of Dadaism is a mockery of bourgeois creativity and the disgrace of bourgeois morals. The main thing was the anarchic initiative of an individual who is not bound by anything in everyday life and in art.
« Dadaist most free man on the globe."
“Those who live for today live forever.”
“I am against any system. The best system is to have no system.”
These are the main slogans of the Dadaists.
The first figures of Dadaism: Richard Gulsenbeck (poet, German), Hans Arp (artist, German), Tristan Tzara (poet, Romanian), Marcel Janko (artist, Romanian), Hugo Ball (Dada organizer). They were all thrown abroad from their homeland by the war and were imbued with a crazy disgust for the governments of their countries.
At first, Dadaism arose as the art of cabaret, but then it moved into painting and literature.
Dada artists
The term Dadaism itself was invented and proposed by the poet Tristan Tzara, who noticed the word “dada” in the dictionary. Its meaning in the language of the Negro tribe Kru is the tail of a sacred cow; in Italy, in some areas, this was what the mother was called; it can also mean a child's wooden horse; double statement in Russian and Romanian. This word also means the incoherent babble of a baby, which has become the most the best expression the essence of the whole direction.
Functioning of the Dadaists carried out in a wide variety of forms. They staged performances that shocked the bourgeois public, organized shocking exhibitions, and held provocative festivals. The refugees who were in neutral Switzerland at first were just having fun, and then showed angry and rather cynical grimaces to the whole society. They did the same thing that was done in their cabarets and cafés, only the performances were much more edgy.
In painting, the most common form of art of the Dadaists is collage - a technical technique of forming a work from pieces of various materials arranged and glued to a flat base (cardboard, canvas, paper).
In Dadaism, three branches of collage development can be identified: Manifestation collage (Berlin), Poetic collage (Cologne and Hanover) and Random collage (Zurich).
The Dadaists in Zurich emphasized the randomness of combining elements and the randomness of collage. For example, Hans Arp, when creating his collages, randomly poured quadrangles of colored paper onto a sheet of cardboard and glued them as they lay.
Collage of Berlin Dadaists has a multiple composition, is visually rich and most often carries a pronounced protest, political charge. Collage provides a chance to express in visual form what might be prohibited by censorship if it were said in words. Berlin collage actively uses fragments of photographs. The artists call themselves “photomontages,” thereby drawing a parallel with workers in industrial enterprises.
The third movement endowed collage with the properties of a poetic work. It was realized in the Cologne works of M. Ernst, as well as in the Merz paintings of K. Schwitters, who worked in Hanover. Although the artists' style is dissimilar, they are united by the fact that they both see collage as a phenomenon that is close to poetry, as the unification of two or more alien realities in an environment that is frankly inappropriate for them, with the emergence of a creative spark from their combination.
ABOUT It is quite difficult to explain what Dadaism is, because it mockingly eludes definition. This is, perhaps, the most successful mystification and provocation in the history of art, and therefore it is in no way possible for dissection and analysis. You catch her, and she breaks free, runs away, and in response, makes faces and sticks out her tongue, in a word, behaves extremely disrespectfully.
The Dadaists themselves helpfully slip in a lot of definitions, which, however, do not help in any way, but only confuse. “What is Dada is a non-Dada question. Dada cannot be understood, it must be experienced,” this chief theorist Dadaism Tristan Tzara. “It’s good that you can’t and probably shouldn’t understand Dada,” is the poet Richard Huelsenbeck. “What we call Dada is a game of a jester with a trifle, in which increasingly higher questions are involved,” another Dada poet, Hugo Ball.
The most amazing thing is that all this is true. After all, Dadaism was not a purely artistic movement, some kind of separate direction of art. Rather, he expressed a state of mind, a general attitude towards modern world , which determined the entire lifestyle of its adherents and was only partially embodied in paintings , collages, poems, plays. Moreover, the Dadaists transferred their hatred of the world to art, which is why they often did not want to call it art., which further confused the matter. It is very difficult to draw the line between art and non-art in Dadaism.
“It was not an artistic movement in the generally accepted sense, it was a hurricane that broke out over the world of art, like war broke out over nations. He came without warning from the heavy overhanging sky and left behind a new day in which the accumulated energy, the liberated dada, manifested itself in new forms, new materials, new ideas, new areas, new people - and in which they turned to new people.” This is what one of the participants in the movement, the artist Hans Richter, wrote in 1964 in the book “Dada: Art and Anti-Art.”
It is no coincidence that Richter mentions the war, because if there had not been the First World War, there would have been no Dadaism. In our historical memory Second World War completely eclipsed the First, but for contemporaries the catastrophe was terrible and had a truly universal scale. Collapsed the whole world, arranged, it seemed, so rationally and logically, moral guidelines were shaken, the insane numbers of deaths could not fit into my head - the battle of Verdun alone claimed more than 700 thousand lives! These are ten Borodino battles! The confusion at that time, turning into aggressive rejection such world, it is easy to feel today by re-reading “On western front
without change" Remarque.
And if logic and reason led the world to disaster, then shouldn’t logic and reason be sent away? The paradoxically logical negation of logic became the essence of Dadaism, which loved and even relished paradoxes. D
The movement was born in 1916 in Zurich, in neutral Switzerland, an oasis of peace and tranquility in the midst of war-torn Europe. This city was called the “capital of exile”; numerous emigrants came here who left their countries for ideological reasons or simply tried to avoid mobilization and the horrors of war.
And at Spiegelgasse 1, that is, almost opposite Lenin’s apartment, on February 5, 1916, the literary and artistic “Cabaret Voltaire” opened and completely absurdist nightly performances began with singing, music, dancing and poetry recitation.
The walls were hung with works by Picasso and Arp. On stage, dancers wearing abstract masks and costumes designed by architecture student Marcel Janco performed cubist dances. Sang the "Chorus of Revolutionaries". The balalaika orchestra thundered. Tzara and Arp publicly created “spontaneous works” by tearing up pieces of paper and putting them randomly into collages, or just as randomly arranging texts from newspapers cut into individual words.
Sometimes poems were read simultaneously in three languages to the accompaniment of noise music, and sometimes Hugo Ball appeared on stage, dressed in a tube made of blue shiny cardboard with a tall metal cylinder on his head (1) , and recited the endless sound verses he had invented:
(1) Hugo Ball in a homemade suit.
"Cabaret Voltaire".
1916. Zurich
gaji beri bimba glandridi laula lonny kadori
gajama gram berida bimbala glandri galassassa laulitalomini
gaji beri bin blassa glassala laula lonny cadorso sassala bim
Gajama tuffm and tsimtsalla binban gligla vovolimai bin
Thus, from the very beginning, Dadaism began to combine its three constant components: protest, absurdity and grotesque irony.
Only the word “Dadaism” itself, or more precisely “Dada”, appeared a little later. There are several mutually exclusive versions about its origin, which is quite in the spirit of Dada itself. The short “dada” does not mean anything specific, but at the same time in Russian and Romanian (Tzara and Janco were Romanians) it expresses double agreement, and in the French dictionary Larousse is interpreted as a children’s wooden horse. The first Dadaists liked this strange set of meanings, and they continued to tease the honest people under the new sign of their own brand. Of course, the public reacted accordingly. Tzara described the evenings at Cabaret Voltaire as follows: “The confusion resumed: cubist dance, costumes from Janko, each person with his own big drum on the head, hubbub... a gymnastic poem, a concert of vowels, a noise poem, a chemical combination of ideas in a static poem... Even more shouts, big drum
And if logic and reason led the world to disaster, then shouldn’t logic and reason be sent away? The paradoxically logical negation of logic became the essence of Dadaism, which loved and even relished paradoxes. The hellists quickly created a sensation in Zurich and began to gather a large audience, as spectators were attracted by the absurdly scandalous atmosphere. In this you can see a prototype of the multitude future stories, when a rebellious movement in art begins to gain popularity, as a result it turns into fashion brand, and then into common goods. For example, before the eyes of recent generations, such a fate befell the classic european rock, hippie subculture, and in our country the author's song and the Soviet underground.
But the Dadaists, apparently, did not think about this, but simply continued to have fun, bully the audience and misbehave, so to speak, “for the love of art.” The war soon ended, many left Zurich, and new associations quickly emerged in Cologne, Berlin, Paris and New York. There is no need to go into them here comparative analysis, let's just say that the Berlin Dadaists quickly became politicized and joined the fierce critics of the Weimar Republic (2) , while everyone else pointedly stayed away from politics.
(2) H. Höch. Incision kitchen knife latest dadaism
Weimar-era beer consumption in Germany. 1920.
New National Gallery, Berlin
Naturally, in their denial of traditional values, the Dadaists did not spare art, loudly declaring its death (3) .
The discoverer of Pirosmani’s work, writer and artist Ilya Zdanevich, who collaborated with the Dadaists in Paris, wrote: “Art died a long time ago. My mediocre creativity is a beard growing on the face of a corpse. Dadaists are feasting worms, that’s our main difference.”
(3) Georg Gross (right) and John Heartfield Inscription on the poster:
1920
“Art is dead. Long live Tatlin’s new machine art.” Unlike the Futurists, the Dadaists did not devote themselves only to the fight against the classics, but went further: All their tasks were fundamentally anti
artistic. In particular, this is why it is so difficult to highlight the common features that characterize Dadaism specifically as an artistic movement. The formula “protest-absurd-irony” worked here too. For fine art to become Dadaist, it had to appear radically anti-aesthetic and completely break ties with tradition. Therefore, the Dadaists did not recognize
traditional painting 1924–1925 on canvas, and any quotation in their works had a tinge of disdainful sarcasm, if not outright mockery.
Instead of oil and canvas, collages were widely used, including using a wide variety of foreign (for traditional painting) materials (4) , and primitive reliefs from planar parts (5) .
But no matter what the Dadaists did and no matter what materials they used, the spirit of some kind of everyday absurdity was always felt in their works. 1916.
(5) H. Arp. Dada relief. Art Museum
, Basel (6) For example, Kurt Schwitters called his work “A pig sneezes in the direction of the heart”
, which is absurd in itself. But when the viewer discovered a pig in the picture, from whose nostril a line was carefully drawn in the direction of the red heart, then the nonsense seemed to become legitimate, acquired some kind of, again absurd, right to exist. Like, well, yes, you see... here is a pig, and here it is sneezing in the direction of the heart. Isn't it convincing?
(6) K. Schwitters. The pig sneezes towards the heart.
1919. Sprengel Museum, Hannover 1917.
(7) M. Duchamp. Hat hanger. National Museum
contemporary art, Paris In New York, the Dadaists quickly found mutual language (7) with Marcel Duchamp, the great provocateur and master of spectacular artistic gesture, who has just demonstrated his famous urinal called "Fountain" (see "Art" No. 24/2006). (8) .
Duchamp's ready-mades, finished objects exhibited in a museum exhibition, are still perceived as a trademark of Dadaism.
And the real quintessence of Dadaist nonsense was “The Gift” by Man Ray, created at the same time in New York(8) M. Ray. Present.
1921. Private collection F contributed to an early death - absurdity and naked denial, even witty, will not get you far. Dadaism is exhausted. Many of his adherents subsequently participated in the surrealist movement, which turned out to be far more creative and durable.
However, despite the very short history of its official existence, Dadaism turned out to be very influential artistic or, if you like, their tasks were fundamentally artistic movement.
The same Richter, summing up the results, which now look intermediate, in 1964, wrote: “Even though all the techniques used by Dada come from other sources and that the positive achievements of Dada remain relatively inaccurate and elusive, it still remains true that the artistic concept of Dadaism was something completely new. From this time onwards it acted as a leaven. Dada was a virus of freedom, rebellious, anarchic and highly infectious.”
Yes, a lot has fermented on this leaven, and there are echoes of Dadaism in contemporary art can't be counted. Remember our publication “Protection and self-defense courses against things”? (See “Art” No. 12/2005.) All these pitting chairs and toilets, self-defense courses against things, regulating the urinary activity of dogs - what is this if not pure Dadaism in the stuffy Soviet atmosphere of the early 1980s? What about Russian absurd poetry? Crazy happenings and performances?
Already at the beginning this century British researcher Amy Dempsey summed up the latest results: “Of the heritage of Dadaism, the most widespread were its love of freedom, irreverence for authority and a penchant for experimentation. The understanding of art as an idea, the assertion that art can be made from nothing, the refusal to accept social and artistic morality at face value, changed art irrevocably.”
The world wars have died down, and we hope that for good. But the world remains crazy and, it seems, is even getting more and more crazy. And how would you like to save it? mental health, if not with the help of healthy cynicism? This is why the triad “protest–absurd–irony” remains and will remain in demand. And Dadaism is forever alive... excuse me, relevant.
TRISTAN TZARA
DADA SONG
|
this song by dadaist count heavy autonomous lift for this water is always needed |
this song by dadaist husband unexpectedly don't cool it water needs circles |
motorcyclist song snakes in gloves and underwear and scandal brains on the wrong foot |
Translation A. PARINA
Dadaism
Direction
Dadaism, or Dada - avant-garde movement in literature, fine arts, theater and cinema. It originated during the First World War in neutral Switzerland, in Zurich (Cabaret Voltaire). Existed from 1916 to 1922.
In the 1920s, French Dada merged with Surrealism, and in Germany with Expressionism. Some art theorists believe that postmodernism originates from Dadaism.
The founder of the movement, poet Tristan Tzara, discovered the word “dada” in the dictionary. “In the language of the Negro tribe of Kru,” wrote Tzara in a manifesto of 1918, “it means the tail of a sacred cow, in some areas of Italy this is what they call a mother, it can be a designation for a child’s wooden horse, a wet nurse, a double statement in Russian and Romanian. It could also be a reproduction of incoherent baby babble. In any case, it was something completely meaningless, which from now on became the most successful name for the entire movement.”
Dadaism arose as a reaction to the consequences of the First World War, the cruelty of which, according to Dadaists, emphasized the meaninglessness of existence. Rationalism and logic were declared to be one of the main culprits in devastating wars and conflicts. The main idea of Dadaism was the consistent destruction of any aesthetics. The Dadaists proclaimed: “The Dadaists are nothing, nothing, nothing, undoubtedly they will achieve nothing, nothing, nothing.”
The main principles of Dada were irrationality, denial of recognized canons and standards in art, cynicism, disappointment and lack of system. It is believed that Dadaism was the predecessor of surrealism, which largely determined its ideology and methods. The founders of Dadaism most often include the poets Hugo Ball, Richard Huelsenbeck, Tristan Tzaru and the artists Hans Arp, Max Ernst and Marcel Janco, who met in neutral Switzerland. According to Huelsenbeck, "all of them were thrown beyond the borders of their homeland by the war and all of them were equally imbued with a rabid hatred of the governments of their countries."
The immediate forerunner of Dadaism, which anticipated its main features almost forty years ago, was the Parisian “school of fumism” led by the writer Alphonse Allais and the artist Arthur Sapek. Many of the antics of the fumists, as well as their “painting” and musical works seem to be exact quotes from the Dadaists, although they were created at the turn of the 1880s.
Dadaism had an anti-war and anti-bourgeois orientation, adjoining the radical left political movements of anarchism and communism.
IN Soviet Russia An echo of Dadaism was the group “Nichevoki”, which existed in 1920-1922 in Moscow and Rostov-on-Don. She published the “Manifesto from Nichevok”, “Decree on Nichevok Poetry” and the manifesto “Long Live the Last International of Dada of the World”.
In the fine arts, the most common form of creativity of the Dadaists was collage - a technical technique for creating a work from pieces of various materials: paper, fabric, etc. arranged in a certain way and glued onto a flat base (canvas, cardboard, paper). In Dadaism, three branches of development can be distinguished collage: Zurich “random” collage, Berlin manifestation collage and Cologne-Hanover poetic collage.
In Zurich, the Dadaists emphasized the randomness of collage, the arbitrariness of combining elements. For example, Hans Arp created his collages by randomly pouring quadrangles of colored paper onto a sheet of cardboard and gluing them as they lay. Tristan Tzara proposed cutting a newspaper into words and blindly taking them out of a bag to compose a poem (thus, the use of the collage principle is not the prerogative of only fine art, but migrates to poetry). About chance in poetic works Arpa literary critic Klaus Schumann wrote: “It [chance] releases forces that are deliberately used anti-artistically and should mainly reduce ad absurdum everything that is usually associated with art: aesthetic form, laws of composition, size and style.” “Created according to the laws of chance,” Arp’s collages are formally stingy, gravitate towards abstraction and are meaningfully closed to the process of their creation.
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