"Appearing at a point of acute cultural crisis, the Dadas ... were among the first to expose the underlying assumptions around which society has been structured as fictions sponsored by powerful special interests."
"Cologne DADA was formed after the war when young Rhinelanders from [diverse] backgrounds came together... Whether or not they had fought in World War I, all those assoiated... believed that the war had been a failed cause. They differed in their politically liberal ideologies, but they all wanted a freer, more democratic society that would permit them to experiment with art."
"Even if it seemed that the artistic revolution was fought on another front line than the political one, that it did not engage in social change, it nevertheless was related to our revolution, by turning against stale conventions and by shattering norms, which had, for a long time, shown to be governed by power." -- Peter Weiss.
"Art that doesn't appeal to the child as well as the adult is not art." -- Franz Sewert.
"Rather than anti-art, these works were anti-the-well-understood-conventions-of-the-way-the-world-is-seen-in-older-art."
-- Stephen C. Foster, DADA: THE COORDINATES OF CULTURAL POLITICS.
"When the Europeans entered World War One, the first war they had fought on their own soil in more than forty years, they viewed the war as a grand adventure. ... Parents ... thought of their sons astride horses galloping in rousing heroic charges, but romantic adventure was not to be found in World War I's muddy trenches. Soldiers were trained in nineteenth-century modes of battle but met the full force of twentieth-century weaponry. As the war continued, the effects of these weapons were made horribly plain..." -- Stephen C. Foster, DADA: THE COORDINATES OF CULTURAL POLITICS.
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