“You will often hear that Dada is a state of mind. You may be gay, sad, afflicted, joyous, melancholy or Dada. Without being literary, you can be romantic, you can be dreamy, weary, eccentric, a businessman, skinny, transfigured, vain, amiable or Dada… Dada is here, there and a little everywhere, such as it is, with its faults, with its personal differences and distinctions which it accepts and views with indifference.”

— Tristan Tzara

1920s, Lecture on Dada', 1922

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Tristan Tzara 19

Romanian and French avant-garde poet, essayist and performa… 1896–1963

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“Dada is not at all modern. It is more in the nature of a return to an almost Buddhist religion of indifference. Dada covers things with an artificial gentleness, a snow of butterflies released from the head of a prestidigitator. Dada is immobility and does not comprehend the passions.”

Tristan Tzara (1896–1963) Romanian and French avant-garde poet, essayist and performance artist

1920s, Lecture on Dada', 1922

“Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting. Dada knows the correct measure that should be given to art: with subtle, perfidious methods, Dada introduces it into daily life. And vice versa. In art, Dada reduces everything to an initial simplicity, growing always more relative. It mingles its caprices with the chaotic wind of creation and the barbaric dances of savage tribes. It wants logic reduced to a personal minimum.”

Tristan Tzara (1896–1963) Romanian and French avant-garde poet, essayist and performance artist

1920s, Lecture on Dada', 1922

“Critics frequently cry 'Dada' after attending one of my concerts or hearing one of my lectures. Others bemoan my interest in w:Zen. One of the liveliest lectures I ever heard was given by Nancy Wilson Ross at the Cornish School in Seattle. It was called Zen Buddhism and Dada. It is possible to make a connection between the two, but neither Dada nor Zen is a fixed tangible. They change; and in quite different ways in different places and times, they invigorate action. What was Dada in the 1920's is now, with the exception of the work of Marcel Duchamp, just art. What I do, I do not wish blamed on Zen, though without my engagement with Zen... I doubt whether I would have done what I have done... I often point out that Dada nowadays has in it a space, an emptiness, that it formerly lacked. What nowadays, America mid-twentieth century, is Zen?”

John Cage (1912–1992) American avant-garde composer

Quote in 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, x/SILENCE
1960s

“We Dadaists are often told that we are incoherent, but into this word people try to put an insult that it is rather hard for me to fathom. Everything is incoherent… There is no logic… The acts of life have no beginning and no end. Everything happens in a completely idiotic way. That is why everything is alike. Simplicity is called Dada. Any attempt to conciliate an inexplicable momentary state with logic strikes me as a boring kind of game… Like everything in life, Dada is useless… Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all of the spaces that reason has not been able to fill with words or conventions.”

Tristan Tzara (1896–1963) Romanian and French avant-garde poet, essayist and performance artist

1920s, Lecture on Dada', 1922

“There is a difference between sitting quietly in Switzerland [Dada in Zurich] and bedding down on a vulcano, as we did in Berlin.”

Richard Huelsenbeck (1892–1974) German poet

quote from his later memories on Dada; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 4
Huelsenbeck left in 1917 neutral Swiss (Zurich) for war-torn German Berlin]

“.. there is a real Dada strain in the minds of the New York School of abstract painters that has emerged in the last decade.”

Robert Motherwell (1915–1991) American artist

The Dada Painters and Poets, Schultz, Wittenborn, New York 1951, p. xiii
1950s

“My name is Schwitters, Kurt Schwitters... I'm a painter and I nail my pictures... I'd like to be accepted into the Dada Club”

Kurt Schwitters (1887–1948) German artist

Quote in his letter to Hans Richter, c. 1916; as quoted in 'Hannover-Dada' by Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, commissioned by w:Rudi Fuchs, director of the Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 151
1910s

“In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters…. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 40, note 16

“In the good times of Dada, we detested polished works, the distracted air of spiritual struggle, the titans, and we rejected them with all out being.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 307

“Dada is a farce, a legend, a state of myth. A badly behaved myth whose subterranean survival and capricious manifestation upset everyone... The aesthetic of absolute negativity has been changed into methodical doubt, thanks to which it will finally be able to incarnate new signs... After the NO and the ZERO, there is a third position for the myth; the anti-art gesture of Marcel Duchamp has been charged with positive energy. The Dada spirit identifies itself with a method of appropriation of exterior reality of the modern world... The ready-made is no longer the height of negativity or of polemic, but the basis element of a new expressive repertoire. Such is the New Realism: a direct means for getting one's feet back on the ground but at 40 degree above Dada zero.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 41, note 30

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