Dada and Surrealism

Jonathan Marquardt

Dada and Surrealism

Surrealism and Dada, despite they're occasional aesthetic similarities, the definition of original art according to each movement's Manifesto varies greatly. The first point of variation is intent, the reasoning behind a piece of art is much more important than it's physical representation, weather it be a poem, painting, or song. The second variable is presentation; the presentation of an artistic creation of sorts needs a venue. Because art is completely subjective, the space in witch it is displayed drastically changes the way the art is received. The third variable is historical context, Dada came into existence long before surrealism, so the definition of original art would be different for a Surrealist artist because by the time they emerged Dada had run it's course.

According to Tristan Tzara, Dada is the embodiment of nothing (page 385). The art that came out of the Dada movement was completely void of any meaning; it conveys total randomness and chaos. A true Dadaist does not create art, because art is something, and they stand firmly for nothing. A true Dada artist is a dead Dada artist; death is the ultimate embodiment of nothing. The artists responsible for the Dada movement strived to overthrow the lingering remains of futurism to make way for new form of art. The Surrealists however, did not want to get rid of the past; they simply wanted to introduce a new way of creating and perceiving art. Unlike the Dadaists who believed art is nothing, Surrealists felt that art should juxtapose images and themes from reality with ones from dreams. Andre Breton says in the surrealist manifesto that surrealism is based on the belief of a superior reality; in witch dreams and reality coexist simultaneously (page 61). This is powerfully apparent in the works of Salvador Dali, his painting entitled The Persistence of Time is well known for it's depiction of melting clocks in the desert.The surrealist artists conceptually integrated the most recent discoveries regarding the human psyche thematically in they're work. They were fascinated by the mind, and all of its darker repressed urges, such as mankind's subliminal gravitation towards unrestrained sexual fantasies and violence.

The presentation of Dada art was by nature totally chaotic. The earliest incarnation of Dada was in the form of a nonsensical cabaret act that eventually erupted into a worldwide phenomenon. Dada galleries were littered with random objects, defaced renaissance art, and abstract paintings. Even the act of suicide was considered art. One fascinating characteristic of Dada art is the total deadpan seriousness of the presentation. People would go on stage dressed in obnoxious costumes and sing songs completely comprised of gibberish without smiling once. One of the most famous Dada works