Remarking on the “collective reception†accorded to Dada and Surrealist works, Bürger observes that “Breton and Tzara. Indeed, the central distinction between the art of “bourgeois autonomy†and the avant-garde, Bürger argues, is that whereas bourgeois production is “the act of an individual genius,†the avant-garde “responds with the radical negation of the category of individual creation.†And not only individual creation but reception as well. 1984), the emphasis of avant-garde studies has been on movements rather than individuals. From the Lenin of What is to be Done (1902), who referred to the Communist Party as the “politically conscious avant-garde of the entire working class,†to the Peter Bürger of the still seminal Theory of the Avant-Garde (1980, trans. And second, the emphasis on individuality (“the leading memberâ€) seems misplaced in the discussion of avant-gardes –the avant-garde being by accepted definition a congerie of group manifestations, of agonistic movements that set themselves against the status quo. First, the notion that a movement’s precursor goes on to become its “leading member†suggests that the man is somehow equivalent to the movement: Dada, c’est Duchamp. The last sentence in this otherwise unexceptional entry is odd on two counts. A precursor of what was to be called the Dada movement, and ultimately its leading member, was Marcel Duchamp, who in 1913 created his first ready-made (now lost) the “Bicycle Wheel,†consisting of a wheel mounted on the seat of a stool. the name was adopted at Hugo Ball’s Cabaret (Café) Voltaire, in Zurich, during one of the meetings held in 1916 by a group of young artists and war resisters that included Jean Arp, Richard Hülsenbeck, Tristan Tzara, Marcel Janco, and Emmy Hennings when a paper knife inserted into a French-German dictionary pointed to the word dada, this word was seized upon by the group as appropriate for their anti-aesthetic creations and protest activities, which were engendered by disgust for bourgeois values and despair over World War I. –John Cage, Interview, 1973 From a distance these things, these Movements take on a charm that they do not have close up–I assure you.†–Marcel Duchamp, Letter to Ettie Stettheimer, 1921 Ī recently produced Dada Website gives us the following definition of Dada:ĭada (French: ‘hobby-horse’), nihilistic movement in the arts that flourished primarily in Zurich, New York City, Berlin, Cologne, Paris, and Hannover, Ger. 23-44.Īt a Dada exhibition in Dusseldorf, I was impressed that though Schwitters and Picabia and the others had all become artists with the passing of time, Duchamp’s work remained unacceptable as art. Ana Luiza Andrade, MariaLucia de Barros Camargo, Raul Antelo (Santa Catarina: Editora Grifos, 199),pp. DADA WITHOUT DUCHAMP / DUCHAMP WITHOUT DADA: AVANT-GARDE TRADITION AND THE INDIVIDUAL TALENT Marjorie Perloff Stanford Humanities Review, 7.1 (1999): 48-78Trans into Portugese, in “Leituras do ciclo, ed.
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