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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.
In this manifesto, Ball begins by giving diverse definitions of the word "Dada" in multiple languages. He continues to introduce the movement's own definition of "Dada" by boldly asserting that "Dada is the heart of words." [2] Ball concludes his manifesto with a linguistic explosion that alternates between coherence and absurdity.
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 Zürich. Dada rejected reason and logic, prizing nonsense, irrationality, and intuition. The origin of the name Dada is unclear; some believe that it is a nonsense word.
Dada (sometimes called Dadaism) is a post-World War I cultural movement in visual art as well as literature (mainly poetry), theatre and graphic design.The movement was a protest of the barbarism of the war; its works were characterized by a deliberate irrationality and the rejection of the prevailing standards of art.
Arp was a founder-member of the first modern art alliance in Switzerland Moderne Bund in Lucerne in 1911, [2] participating in their exhibitions from 1911 to 1913. [3] In 1912 he went to Munich and called on Wassily Kandinsky, the influential Russian painter and art theorist.
DaDa is the eighth solo studio album by American rock singer Alice Cooper, released in September 1983, by Warner Bros. Records. DaDa would be Cooper's final studio album until his sober re-emergence in 1986 with the hard rock album Constrictor .
A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. [4] [5] In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. [4]
The early exponents of Dada had been drawn together in Switzerland, a neutral country in the war, and seeing their common cause, wanted to use their art as a form of moral and cultural protest—they saw shaking off the constraints of artistic language in the same way they saw their refusal of national boundaries.