Surrealism Vs Dadaism | Cubism Vs Dadaism
Contemporary Art Vs Dadaism | Who-Ha Dada Vs Surrealism
Most people have the belief that Paris was the place that Dadaism and Surrealism developed when it is the case that both forms of art originated a totally different time periods and as a result of different social connections. It was during World War 1 that the Dada art form established itself as a result of the feeling of betrayal and of the differing social, political and racial classes. It was formed by young people that were totally against the mainstream that allowed this to happen so began to promote themselves that they were anti mainstream art and hostile to all its standard forms. These outcasts were based in Zurich and were against using or creating art for arts sake in its conventional for, rather opting to create a message regardless of how their art was perceived. A long way from being against the essential thought of art, the Dada craftsmen endeavoured to discover better approaches to make new artist expressions in another ways, later developing into forms of media, performance, art and more as there were no boundaries that could be broken or taboos that would be used.
In reality Dada art was against mainstream so it proved difficult if not impossible to, by definition, have pioneers as how can you have pioneers in an art for that was self-described as being ‘anti art’. There were many advocates of the art form but not one that could be called the voice of Dadaism as how could Dadaism be defined – and if it was would it not become just another contemporary art from? One of the reasons for this was that an anti-art movement had no specific direction, style or technique. The only unifying feature between members was the goal of the protest as well as being considered as ‘anti-art’ – aside from this the movement itself had no unifying features, no cohesive styles ant it essentially consisted of artists which exemplified the motto ‘ every individual for themselves’. Dada specialists scattered crosswise over Europe after the Great War finished. None of the numerous focuses of Dada had a pioneer and Dada, maybe therefore, broke down after a couple of years into different directions like surrealism and cubism. Surrealism had a pioneer that originated from the dada art in the form of André Breton.
It was workable for Surrealism to be driven basically in light of the fact that the gathering was independent in Paris rather than being separated by not only different cities, but also entire continents.. Breton was to some degree heavy handed for a pioneer of a cutting edge development, removing individuals who disappointed him or went against the ideals he held fast, however he held the gathering together for a quarter century, a rather surprisingly long life-span in comparison to other movements.
Surrealism rose in the 10 years of peace and flourishing after the war. The injuries left over by the War were either overlooked—as in the disregard of the surviving veterans—or celebrated—as in the erections of numerous monuments. Surrealism is basically a cerebral retreat of survivors who would prefer not to think back to the past. The Surrealist artists, authors, and visual craftsmen stage a mental retreat from reality, either past or present, and look for what the late artist, Guillaume Apollinaire, called “sur-reality,” or an realist perspective that was both outside and beyond perceived reality. The backward way of Surrealism could be seen as healing, supplanting a forceful and public voice with a private investigation into the unconscious. Dada was reality-based and clearly political. Surrealism had moved far from an oppositional position towards a more theoretical position.
Sigmund Freud believe thoughts and personality were divided into cognizant and unconscious thoughts that gave humans their identity, their inner self their ego and their super-ego. Surrealists believe that with liberal expressionism of ones individual vision creates a nauseas art-for where a surrealists believe that their art typifies Sigmund Frueds theories of thoughts and consciousness in their work. Typically surrealist art will be trying to find order in the human consciousness whereas dada finds disorder.
It is debatable whether Dada or Surrealism can be the better art form but it is undeniable that to a greater degree Dada artists were more imaginative than Surrealists that were bound by Freuds thinking in an art for. Many Dada artist are proficient in other art forms but it is only through Dada art that they can have complete freedom of expression as anything is accepted. Some great artists that painted exceptionally but escaped in Dada art are Paul Delvaus, Salvador Dali and Rene Magritte who all pained exceptionally in accepted forms but whilst doing so sacrificed their authenticity by limiting themselves to customary art forms and designs.
That being said, both developments work with Chance. Dada’s utilization of chance was radical, a complete giving over of the craftsman to the oxymoronic “laws” of chance. Whether it is tossing bits of paper to create an abstract composition by chance or collecting irregular word and reconvening them as verse, Dada specialists were anarchic when it came to surrendering the inventive manner of thinking for procedure itself. Conversely, Surrealist craftsmen conveyed a mixed bag of delights, from programmed written work or the flawless cadaver, they therefore approached chance from another position.
The Surrealist artists looked for another method for composing “automatically,” without consciousness and another method for discovering new pictures or thoughts that would happen within the creativity of collective groups. The Dada photomontage may have utilized the system of putting one haphazardly discovered picture by another, yet the expectation was to undermine significance. Surrealism looks for new significance, another importance, a startling importance, a sur-genuine significance – Surrealism needs life to mean something. Also, here is the pivotal contrast between Dada and Surrealism. For Dada, life has no significance, no reason, no reason, and no rationale. For Surrealism, life has significance; one needs to locate its rationale by opening visual and verbal codes discharged in the councils of the oblivious personality where one finds Freud’s “uncanny.”