100 years ago, “Dada” was born in Zurich. It was the beginning of a global cultural revolution. We devote “Dada” an entire feature.
Neutral Switzerland is in World War haven for half of Europe , From everywhere people flock to Zurich – the noble Bahnhofstrasse, actually a luxury shopping street, is only called “Balkan street”. Among the refugees James Joyce and Vladimir Ilyich Lenin, but also a beggarly artist couple from Germany: Hugo Ball and Emmy Hennings. The city is at that time no cosmopolitan metropolis but verschnarcht provincial, migrants are hardly cordial welcome than today. “One lives in Zurich: In the countryside under morphine”, Hugo Ball writes about the small artists’ colony of exiles
We wanted to be more flexible than other movements.. Each determination was punched
Emmy Hennings and he eke out a vaudeville performances, it. As a soubrette, he at the piano Both have trouble with the authorities: it for casual prostitution, Hugo Ball, because it is reported under a false name in order to evade the draft. Ball, formerly artistic director at the Munich Kammerspiele, wears with plans for his own ensemble. He persuaded the host of dairy in Spiegelgasse in Niederdorf, the Entertainment and arts district on the right bank of the Limmat, to give him his room. On February 5, 1916, is “Künstlerkneipe Voltaire” opened
Among the first soiree, however one may still think of a crazed, wide-open evening -. Citizens Schreckschuss was slow in coming. Brav and mannered were first verses of Else Lasker-Schüler, Blaise Cendrars and Max Jacob, played by Franz Werfel and Jakob von Hoddis. Hugo Ball played works by Brahms and Debussy on the piano, Emmy Hennings sang songs of Aristide Bruant and Erich Mühsam “Revoluzzerlied”. The walls adorned music by Pablo Picasso, August Macke and Wassily Kandinsky.
Serious Mischief they begin to produce only when a few days later the medical student Richard Huelsenbeck from Berlin to Cabaret Voltaire pushes and calls to increase the rhythm – and the “Negro rhythm”. Because he wanted to “prefer to tumble the literature in the land” and so invented the bruitism as Dada beat. On March 30, 1916 Huelsenbeck brings along with the Romanians Tristan Tzara and Marcel Janco, a so-called Poème simultaneously for performance – a multilingual word-composition in German, French and English. That was the earthquake, from which one is now increased. Immediately you would teach the bourgeoisie fear.
The fact that the Cabaret Voltaire understood as an open living area, was alone in how the founding members had found each other. By means of a press release in the Neue Zürcher Zeitung had Hugo Ball “to invite the young Künstlerschaft Zurich” pronounced, “present themselves without regard to a particular direction with suggestions and contributions.” Today we would the viral pattern to the “Mouvement Dada” was founded and spread later throughout the world, should perhaps be called Flashmob. Already at its formation process were involved, which should be very powerful in later: random techniques, random principle
Hugo Balls prevented balancing essence that all flew the wild mix of dance, music and agitation around the ears.. “What we celebrate is a Buffonade and a requiem mass at the same time,” he decreed. And at the same time set the curator principle in the world, in order to balance the internal tensions. Because Dada wanted to be no more new art movement that is dedicated to the pure doctrine; it was not designed from the outset as a closed system, but as a multimedia network, the various currents of the time linked together. “We are breitspurig”, that was the new Simultaneitäts-Ideal. But the barrage of artistic innovation pressure zeitigte soon first signs of wear. Dada, which was art on the verge of a nervous breakdown – Tristan Tzara and Richard Huelsenbeck collapsed in the first year and had come to rest
Hugo ball but dreams of Gesamtkunstwerk as “living magazine”, simultaneity and pluralism should to. the site of linear thinking occur. The Dutch Dadaist Theo van Doesburg said: “Dada is not Dada art movement is a direction of life itself..” And in its “characteristic of Dadaism” it says, “. Not all in our time is Dada, only the Dadaists If the Dadaists would Dadaists, the Dadaists were no Dadaists.” will “be against this manifesto is, his Dadaist!”
When was justified by language murder, they must sedated
Your continued self-destruction: the Berlin colleagues seconded 1918 in its manifesto who were inwardly Flipped iconoclasm from the outset to Dadaism – the made things stressful. They wanted to be a more flexible movement than any other. Provisions were simply stamped. As artistic fragmentation bomb that explodes in all directions, it was hoped, the subversive explosive power of Dada would not be so easy to defuse. All previous art had compromised the Dadaists. Even their modern forms still served in her eyes as Sinngebungsplacebo, designed escapist illusory worlds and administered the bourgeoisie sedatives. The Dadaists worked “like a garbage disposal in rundown European ideas superstructure” said Peter Sloterdijk in his “Critique of Cynical Reason”. The relationship between art and non-art was fundamentally redefined, the culture will be reset to zero. Collage and automatic writing were to techniques of the abolished because now questionable artist hand -. Was a total rejection of the genius thoughts
Dada as a whole disruption of symbolic codes, Martin means Meier writes in his book “Dada A century movement. “which appears in these days. Höch’s collage “cut with a kitchen knife by the last Weimar Beer Belly Cultural Epoch in Germany” brings this interruption expressed pointedly. For what the Dada-revolutionaries united them was the belief that “everything works, only the man himself no longer.”
The breakdown of civilization of the Great War witnessed the Dadaists as intellectual bankruptcy of the West. If it is possible using the language to justify the killing, says Friedrich Glauser, then they must be immobilized in mindless Lautgedicht. With the means of nonsense, the Dada artists protested against the madness of war – and were not finding words and blunders of the war-wounded self gruesome Dadaist reality? In his book “The terrible children of the modern age” characterized Peter Sloterdijk Dadaism therefore “as school desertion”.
The primal scene of this attitude but Hugo Ball’s appearance as “magical bishop” and Pappkamerad June 23 1916. In a homemade Cubist costume made of cardboard, topped by a Schamanenhut, it is carried on stage and begins slowly and solemnly: “Gadji beri bimba / Glandridi Lauli lonni cadori / Gadjama bim beri glassala…” His performance is a train of Dada method emerge, which should be important in pop culture: an ironic identification with what one rejects actually parodic mimicry
Just a few days later reads Ball in Zürich’s guild house. Zur Waag the Dadaist manifesto opening. It’s climax and end point of the first incubation period of Dada. That same month, the Dada Papa pulls exhausted back into the Ticino. In just four months, he had the same invented several art forms that changed the 20th century forever: the performance as a farewell to the bourgeois representation theater, the sound poem as a reflection of the futility of war, and the Underground as anarchic counter-culture
<. h3> Without them there would be no Fluxus and no readymades, no punk and no new Wave
While you take in the spring of 1917 with the Galerie Dada in Sprüngli-house, now on the fashionable side of town, a new start, but in May versa Hugo ball Zurich forever the back. Occurred had there nothing less than the big bang of modernity. As with a centrifuge, the Dada virus was hurled into the whole world: Dada inspired the Paris Surrealists, like the Lettrists and Situationists in New York presented Marcel Duchamp, the first ready-made from. Without Dada would have the Vienna group never existed and not concrete poetry, not happening and action art, Fluxus and no no protest movement, but also no German New Wave, a Trio and so no ” da da da “, no club culture such as Studio 54 in New York and no Junge Wilde in painting. Dada had continued in punk and New Wave, it influenced Christoph Schlingensief as Blixa Bargeld – it entered the popular culture that it had anticipated. In all these currents Dada has constantly reinvented, thus remained for him the fate spared to become a museum.
The Zurich however great-Dadaists had burned in the fire duration permanent self-overtaxing. You who wanted to liquefy the existential Avantgarde all art dogmas shattered, at the impossibility of long-term set in the total objection. Tristan Tzara, the PR genius of the movement, knew early on how it could go on with the cheerful Dada Science: “Dada remains in the human context of weakness, but it is still shit, but we want to continue to shit in different colors.”
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