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Yves Klein (April 28, 1928 – June 6, 1962) (see Neo-Dada) Hans Leybold (April 2, 1892 – September 8, 1914) Filippo Tommaso Marinetti (December 22, 1876 – December 2, 1944) Agnes Elizabeth Ernst Meyer (1887 – 1970) Pranas Morkūnas (October 9, 1900 – December 28, 1941) Clément Pansaers (May 1, 1885, – October 31, 1922)
Masunobu Yoshimura (吉村 益信, Yoshimura Masunobu, May 22, 1932–March 15, 2011), was a Japanese visual and conceptual artist associated with the Neo-Dada movement. In 1960, he was the founder and leader of the short-lived but influential artistic collective Neo-Dada Organizers, which had as members several young artists who would later become well-known, including Genpei Akasegawa ...
Neo-Dada Organizers was formed at a time when Japan was rapidly modernizing after the destruction of World War II.The group positioned themselves in opposition to all established art forms and institutions, especially the strains of humanism and socialist realism that dominated Japanese art circles in the 1950s, [5] but also the recent tendency toward wholesale importation of foreign art ...
The Los Angeles Free Music Society (LAFMS) is a loose underground collective of experimental avant-rock artist-musicians formed in 1973. Described as a "lightning rod for art-damage, weird-music lovers everywhere," LAFMS was formed by Chip Chapman, Joe Potts, Rick Potts and Tom Recchion.
Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm , and appropriation . [ 1 ]
A new cabaret has since opened in the building, with an extensive programme of events such as, Hugo Ball: Fuga saeculi, in 2008, curated by Bazon Brock and included a performance of Gabriella Daris's corporeal poem LopLop: WORD or WOman biRD (an homage to Max Ernst's namesake collage from 1921) [11] [12] as well as a film projection by Werner ...
The exhibition is widely discussed and examined in the context of the 85 New Wave Movement in China, and Xiamen Dada as a “quite unique group” [3] in the Movement. . Critiques also explicitly link the exhibition with political movements like the Cultural Revolution and the May Fourth Movement when commenting on the exhibition as a spiritual extension of reflections and critiques on Chinese c
The creations of Duchamp, Picabia, Man Ray, and others between the Armory Show in 1913 and 1917 eluded the term Dada at the time, and "New York Dada" came to be seen as a post facto invention of Duchamp. 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.