Dada Knows Nothing Analysis

This essay will attempt to explore the confrontation between the movements, which appeared to be against the established definitions of art, and the idea of aesthetics in it. In order to define the main reasons and ways of having the influence on the notion of traditions, many so-called anti-art movements tried to challenge the whole subject of art to demonstrate new understanding and perception of it. To achieve this, these movements used unusual methods of entering a protest and investigating unfamiliar, sometimes, perhaps, odd techniques and media. They wanted to introduce new methods of expressing their own language and awareness of art. Moreover, they did. Thus, the following article, which is based on facts and quotations, is going to

1918: 138) - stated Tristan Tzara, one of the members of the Cabaret Voltaire and one of the founders of Dada. He claimed: “A work of art should not be beauty in itself, for beauty is dead; it should be neither gay nor sad, neither light nor dark to rejoice or torture the individual by serving him the cakes of sacred aureoles or the sweets of a vaulted race through the atmospheres. A work of art is never beautiful by decree, objectively and for all. […] I am against systems, the most acceptable system is on principle to have none.” (Tzara, T. 1918: 141) And that was the aim of Dada. Dadaists set a protest against interests of nationalist and capitalist society, they objected to all the canons of old art and wanted to replace them with a new art, which proclaimed to “[…] “construct, assemble” […]” (De L'écotais, E. 2002: 15) its works in such way that the artists considered themselves “as engineers”. […]” (De L'écotais, E. 2002: 15) Engineers of Anti-art. Those, who made a great impact on the whole art society and the approaches of perception of the illogical and preposterous art.

Another vivid example of provoking art movement was Arte Povera. The term was firstly used in 1967 by Germano Celant to describe works of a group of young Italian artists from that time. ‘Poor art’ – this is the name of Arte Povera. The artists used simple, natural and everyday materials to compare and explore the relationship between art and humans’ life and nature. “Arte Povera bridges the natural and the artificial, the urban and the rural…” (Christov-Bakargiev, C. 2005: