The rearticulated dada fragment

A genuine Dadaism, like a corrosive enzyme, a hallmark of our times, lurks in every modern creative destiny that plays with fragments, breaks reigns and rules, destroys and restructures (more or less), aiming for a certain shock of incongruity. On a scale of nuances of the stylistic dominants applicable anistorically (classical-baroque-baroque-mannerist-romantic), Dadaism must be added, for its insidious posterity in the second half of the 20th century, as well as for the recovery of ancient cynics or apocalyptic manifestations like Savonarola. Even Theo van Doesburg, the founder of the neoplasticist magazine De Stijl, had the pseudonym I.K. Bonset, under which he published the Dadaist-constructivist magazine Mecano. This was in 1923, a significant year, as Tzara's Dada began to dissolve into Parisian surrealism, and in Hanover, Kurt Schwitters set out "to construct Dadaist" the "cathedral-column of erotic misery", the C.M.E. These are formulations that can be transposed to the present day, which appeared in De Stijl in 1923 in the article Wat is Dada? by Van Doesburg: (...)

Read the full text in issue 5 / 2011 of Arhitectura magazine.