Dada (/ˈdɑːdɑː/) or Dadaism was an international art movement that developed in the context of the Great War and Futurism first established in Zürich, Switzerland, and later quickly spread to Berlin, Paris, New York City and a variety of artistic centers in Europe and Asia. The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916. Ball is seen as the founder of the Dada movement. Key figures in the movement included Hugo Ball, Emmy Hennings, Jean Arp, Johannes Baader, Marcel Duchamp, Max Ernst, Elsa von Freytag-Loringhoven, George Grosz, Raoul Hausmann, John Heartfield, Hannah Höch, Richard Huelsenbeck, Francis Picabia, Man Ray, Hans Richter, Kurt Schwitters, Sophie Taeuber-Arp, Tristan Tzara, and Beatrice Wood, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, pop art, and Fluxus.
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👉 Dadaism in the context of Paul Eluard
Paul Éluard (French: [elɥar]), born Eugène Émile Paul Grindel ([ɡʁɛ̃dɛl]; 14 December 1895 – 18 November 1952), was a French poet and one of the founders of the Surrealist movement.
In 1916, he chose the name Paul Éluard, a matronymic borrowed from his maternal grandmother. He adhered to Dadaism and became one of the pillars of Surrealism by opening the way to artistic action politically committed to the Communist Party.
Dadaism in the context of Gabrièle Buffet-Picabia
Gabrièle Buffet-Picabia (often spelled Gabrielle Buffet-Picabia; née Buffet; 21 November 1881 – 7 December 1985) was a French art critic and writer affiliated with Dadaism. She was an organiser of the French resistance and the first wife of artist Francis Picabia.
Dadaism in the context of Ballet Mécanique
Ballet Mécanique (1923–24) is a Dadaist, post-Cubist art film conceived, written, and co-directed by the artist Fernand Léger and the filmmaker Dudley Murphy (with cinematographic input from Man Ray). It has a musical score by the American composer George Antheil. The film premiered in a silent version on 24 September 1924 at the Internationale Ausstellung neuer Theatertechnik (International Exposition for New Theater Technique) in Vienna presented by Frederick Kiesler. It is considered to be a major work of early experimental filmmaking.