A sweeping retrospective at the Centre Pompidou surveys the work of the Romanian-born artist who founded the avant-garde Letterism movement in 1940s France.
Unlike its Western iteration, Dadaism in early twentieth century Russia was closely allied to political revolution.
By infusing decadence and whimsy into snacking, these food products invite an unexpected visual experience to the typically mindless midday nosh.
Dada Africa is an exhibition that exhumes the collision between the Dadaists’ preconceived notions of Africa and actual African cultural artifacts.
As part of the Dada centennial celebrations, Ugly Duckling Presse has published a 1000-copy, boxed-set, limited-edition facsimile of the two editions of The Blind Man, called The Blind Man: New York Dada, 1917.
Launched in 2015, Dadaclub.online made high-quality scans of three dozen Dada works available for reinterpretation by new media artists. Now, 27 of the resulting remixes are on view in Paris.
‘Dada Presentism: An Essay on Art and History’ is an exposé of the conflict between conscious and unconscious forces.
The exhibition is shallow, portraying the movement through familiar pieces and presentations that provided but a façade of its “simultaneity of contradictions.”
The spectacle can be found on every screen that you look at. It is the advertisements plastered on the subway and the pop-up ads that appear in your browser.
The centenary of Dada is almost upon us. If the movement had an identifiable beginning, it was certainly at the Cabaret Voltaire in Zurich in 1916, where Richard Huelsenbeck, Hugo Ball, Emmy Hennings, Tristan Tzara, Marcel Janco, Hans Arp and others gathered for events that have come down to us in detached bits of information and cloudy rumors more than anything else.
For a 1953 Dada exhibition, Marcel Duchamp designed a one-page catalogue meant to be crumpled up and tossed in the trash.
A collection of Anglo-European avant-garde and modernist magazines dating to the late 19th and early 20th centuries has been compiled by Monoskop.