The Charms Of Dada
Alfred Brendel writes: ‘Dada was not a fashion, a style, or a doctrine. It was more than a footnote to cultural history. We can better understand it as a condition, a spirit, a productive state of mind that has remained alive. Looking for core elements within the chaotic nonstructure of Dada, I would mention paradox, chance, abandon, protest, aggression, antinationalism, humor. To be sure, art was attacked and derided by a number of Dadaists. Yet the most impressive results of Dada’s activities seem to me to belong to the visual arts.’ Pictured is Francis Picabia‘s “The Lovers (After the Rain),” 1925.
