Hugo Ball
Cabaret Voltaire: recueil littéraire et artistique, Zurich: Hugo Ball, 1916
1. Dada-Abend (Musik. Tanz. Theorie. Manifeste. Verse. Bilder. Kostüme, Masken), Zurich: 14 July 1916. Program
Richard Huelsenbeck; Hans Arp
Phantastische Gebete, Zurich: Collection Dada, September 1916
Marcel Janco
1re. Exposition Dada, cubistes, art nègre: conférences sur l´Art faites par Tristan Tzara, Samedi le 13, 20, 27 jan., s.l. [Zurich?]: Galerie Corray, n.d. [January 1917?]. Poster
Marcel Janco; Hans Arp
Abend neuer Kunst, Zurich: Galerie Dada, n.d. [28 April 1917?]
Marcel Janco, Tristan Tzara
8 gravures sur bois par M. Janco et un poème par T. Tzara, s.l. [¿Zurich?]: s.n. [Collection Dada?], 1917
Tristan Tzara
Dada 3, Zurich: s.n., December 1918
Richard Huelsenbeck, Raoul Hausmann, Franz Jung
Club Dada (Prospekt des Verlags Freie Strasse), Berlin: Freie Strasse, 1918
John Heartfield, Raoul Hausmann, George Grosz
Der Dada 3, n.º 3, Berlin: Der Malik, April 1920
George Grosz
Gott mit uns, Berlin: Der Malik, June 1920. Portfolio
John Heartfield; George Grosz; Raoul Hausmann
Erste Internationale Dada-Messe: Kunsthandlung Dr. Otto Burchard, Berlin: Der Malik, July 1920
Tristan Tzara
MoUvEmEnt DADA, Paris: n.d. [1920?]. Letter
Kurt Schwitters
Die Kathedrale: 8 lithos von Kurt Schwitters, Hannover: Paul Steegmann, 1920
Tristan Tzara; Hans Arp
Cinéma calendrier du coeur abstrait: maisons, Paris: Au sans pareil, 1920
Hans Arp
Dadaists and constructivists with their families at the Congress Dada-Constructivist in Weimar, n.d. [September 1922?]
Kurt Schwitters, Theo Van Doesburg
Kleine Dada Soirée, 1923. Poster
Theo Van Doesburg
Mécano, n.º 4/5, Leiden: De Stijl, January 1923
Kurt Schwitters
Merzmatinee, s.l.: Zweemann, n.d. [1923?]. Invitation
Kurt Schwitters; El Lissitzky
Merz, numbers 8/9 and 11, Hannover: s.n., April-November 1924
Raoul Hausmann
fmsbwtözäu pggiv-..?mü, 1918/1949. Optofonetic poem, 24 x 31.8 cm
100 works of art and documents.
In early 1916, Europe was in the midst of the First World War. Artists, refugees, the exiled and deserters fleeing the conflict found refuge in the neutral country that was Switzerland. Against this backdrop, a group of creators, who put on daily performances at the Cabaret Voltaire, a small nightclub in the city, began to form. Thus began Dada and Dadaism, a movement understood as a way of life that rejected inherited traditions, beauty, eternal principles, logic and its laws, pre-established norms and abstract concepts, among others, and advocated the unbridled freedom of the individual, spontaneity and the fortuitous. From Cabaret Voltaire, Dada spread across Europe and the United States: Berlin, Cologne, Hannover, New York, Paris and so on. However, towards the end of the twenties, it began to lose the verve and vigour of its nascent years.
The legacy of Dada ideas is primarily preserved in the form of printed material. Via Archivo Lafuente’s Dada collection, one is able to journey through the history of the movement by means of extensive documentary materials composed of posters, manifestos, books, photographs and printed matter, among others, by the likes of Hans Arp, Max Ernst, George Grosz, Raoul Hausmann, Richard Huelsenbeck, Francis Picabia, Kurt Schwitters and Tristan Tzara, and an important collection of magazines: Maintenant, by Arthur Cravan; Dada, by Tristan Tzara; 291, 391 and Cannibale, by Francis Picabia; Der Dada, by Raoul Hausmann; Mécano, by Theo van Doesburg; and Merz, by Kurt Schwitters.
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