Dada.
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916 atCabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his firstreadymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916 atCabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his firstreadymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.
Marcel Duchamp.
Marcel Duchamp (28 July 1887 – 2 October 1968) was a French, naturalized American painter, sculptor, chess player and writer whose work is associated with Dadaism and conceptual art, although careful about his use of the term Dada and direct association with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. ByWorld War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind
Marcel Duchamp (28 July 1887 – 2 October 1968) was a French, naturalized American painter, sculptor, chess player and writer whose work is associated with Dadaism and conceptual art, although careful about his use of the term Dada and direct association with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. ByWorld War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind
Ready mades.
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the Found object became art.
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the Found object became art.
Duchamp was not interested in what he called retinal art — art that was only visual — and sought other methods of expression. As an antidote to "retinal art" he began creating readymades at a time (1914) when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods.
First manefesto.
The first Surrealist manifesto was written by Breton and published in 1924 as a booklet (Editions du Sagittaire). The document defines Surrealism as:"Psychic automatism in its pure state, by which one proposes to express — verbally, by means of the written word, or in any other manner — the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern."The text includes numerous examples of the applications of Surrealism to poetry and literature, but makes it clear that its basic tenets can be applied to any circumstance of life; not merely restricted to the artistic realm. The importance of thedream as a reservoir of Surrealist inspiration is also highlighted. Breton also discusses his initial encounter with the surreal in a famous description of a hypnagogic state that he experienced in which a strange phrase inexplicably appeared in his mind: "There is a man cut in two by the window". This phrase echoes Breton's apprehension of Surrealism as the juxtaposition of "two distant realities" united to create a new one.The manifesto also refers to the numerous precursors of Surrealism that embodied the Surrealist spirit, including the Marquis de Sade, Charles Baudelaire, Arthur Rimbaud, Comte de Lautréamont,Raymond Roussel, and Dante. The works of several of his contemporaries in developing the Surrealist style in poetry are also quoted, including Philippe Soupault, Paul Éluard, Robert Desnos andLouis Aragon.The manifesto was written with a great deal of absurdist humor, demonstrating the influence of the Dada movement which preceded it.The text concludes by asserting that Surrealist activity follows no set plan or conventional pattern, and that Surrealists are ultimately nonconformists.The manifesto named the following, among others, as participants in the Surrealist movement: Louis Aragon, André Breton, Robert Desnos, Paul Éluard,Jacques Baron, Jacques-André Boiffard,Jean Carrive, René Crevel and Georges Malkine.
Second manefesto
In 1930 Breton asked Surrealists to assess their "degree of moral competence", and along with other theoretical refinements issued the Second manifeste du surréalisme. The manifesto excommunicated Surrealists reluctant to commit to collective action: Baron, Desnos, Boiffard, Michel Leiris, Raymond Queneau, Jacques Prévert and André Masson. A prière d'insérer (printed insert) published with the Manifesto's release was signed by those Surrealists who remained loyal to Breton and who have decided to participate in a new publication titled Surrealism at the Service of the Revolution. Participants, and thus loyal Surrealists, included Maxime Alexander,Louis Aragon, Joe Bousquet, Luis Buñuel,René Char, René Crevel, Salvador Dalí, Paul Eluard, Max Ernst, Marcel Fourrier, Camille Goemans, Paul Nougé, Benjamin Péret,Francis Ponge, Marco Ristitch, Georges Sadoul, Yves Tanguy, André Thirion,Tristan Tzara and Albert Valentin. Desnos and others thrown out by Breton moved to the periodical Documents, edited by Georges Bataille, whose anti-idealist materialism produced a hybrid Surrealism exposing the base instincts of humans
Salvador Domingo (11 May 1904 – 23 January 1989), known asSalvador Dalí was a prominent Spanish surrealist painter born in Figueres, Catalonia, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence ofRenaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descended from theMoors.Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.
A Trip to the Moon is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne's novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.
The film was an internationally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other film-makers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film's extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence on later film-makers and its artistic significance within the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognized by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.
A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th. The film remains the best-known of the hundreds of films made by Méliès, and the moment in which the capsule lands in the Moon's eye remains one of the most iconic and frequently referenced images in the history of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of the most influential films in cinema history.
BARRONESS
DADA TEXT
DADA COLLAGE
RROSE SELAVE
A Trip to the Moon is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne's novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.
The film was an internationally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other film-makers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film's extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence on later film-makers and its artistic significance within the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognized by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.
A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th. The film remains the best-known of the hundreds of films made by Méliès, and the moment in which the capsule lands in the Moon's eye remains one of the most iconic and frequently referenced images in the history of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of the most influential films in cinema history.
BARRONESS
DADA TEXT
DADA COLLAGE
RROSE SELAVE
