By Elizabeth Benjamin
Offering new serious methods to Dada as critical a part of the Avant-Garde, Dada and Existentialism: the Authenticity of Ambiguity reassesses the circulate as a sort of (proto-) Existentialist philosophy. Dada is frequently brushed off as an anti-art circulation with a simply harmful theoretical impetus. French Existentialism is usually condemned for its perceived quietist implications. besides the fact that, nearer research finds a preoccupation with philosophy within the former and with paintings within the latter. furthermore, neither used to be nonsensical or meaningless; either show a wealthy individualist ethics aimed toward the amelioration of the person and society.
The first significant comparative learn of Dada and Existentialism, this article contributes new views on Dada as stream, historic legacy, and box of research. Analysing Dada works via Existentialist literature around the topics of selection, alienation, accountability, freedom and fact, the textual content posits that Dada and Existentialism either suggest the construction of a self that goals for authenticity via ambiguity.
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Extra resources for Dada and Existentialism: The Authenticity of Ambiguity
In this respect Matisse remained within the realms of traditional portraiture; Taeuber broke away from it. The heads analysed here present an external mask that foregrounds a singular body part, in a partial, but independent, externalisation of the self. While it is unsurprising that the head should be selected for this role, it highlights the dialectic of head-as-thinking and face-as-representing. However, it is more likely within its Dada context that this is a parody of traditional Cartesian philosophy, as all of these head sculptures, as surfaces and as vessels, reject mimetic portraiture and contain nothing but the solid wood that makes up their material structure.
94). , 2005, p. 934). In this way, Taeuber’s work does not actively try to be any one medium, and in just one work, the artist embraces significant interdisciplinarity. While Hausmann arguably only dabbles in sculpture through his Mechanischer Kopf, the use of measuring instruments shows implicit integration of other disciplines, including mathematics, biology and phrenology. This fragmented method of composition can be considered a selective foregrounding of desirable (and even undesirable) aspects, resulting in a hybridity with a strong indication of personal value(s), as well as the underlying desire for choice.
This numeric nonsense might be said to act, beyond the aforementioned rejection of mimetic portraiture, as a wider refusal of the representation of the self as defined from without. 94). , 2005, p. 934). In this way, Taeuber’s work does not actively try to be any one medium, and in just one work, the artist embraces significant interdisciplinarity. While Hausmann arguably only dabbles in sculpture through his Mechanischer Kopf, the use of measuring instruments shows implicit integration of other disciplines, including mathematics, biology and phrenology.