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Apresentação Interdisciplinar - Dadaísmo

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Apresentação em pdf do interdisciplinar sobre o Dadaísmo, do curso de Design Digital, da UNIFIEO.

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Apresentação Interdisciplinar - Dadaísmo

  1. 1. I ntrodUcãoímovimento radical;ícontestação de valores;íutilização de revistas, manifestos e exposições.
  2. 2. ORIGemíinício em 1916, em Zurique (capital da Suíça);íSuíça: país neutro frente à Primeira Guerra Mundial;íhospedou artistas e intelectuais exilados.
  3. 3. íHugo Ball fundou o Cabaré Voltaire;ífinalidade: reunir artistas para protestar contra à Primeira Guerra Mundial e a sociedade burguesa capitalistaíTristan Tzara, Richard Huelsenbeck, Marcel Janco, Hans Arp e Hans Richter uniram-se a ele. íHugo Ball
  4. 4. íartistas não se sentiam aliviados por estarem protegidos;íindignação com a guerra;írepulsa para com o massacre.
  5. 5. ConteXT o HistóriCOíPrimeira Guerra Mundial;
  6. 6. ímotivo: interesses comerciais;íbatalhas: nas trincheiras;íDadá: resposta ao conflito;íEuropa: “de pernas para o ar”.
  7. 7. fazia sentido. Por que adeveria fazê-lo?
  8. 8. íaquilo que era denominado racional resultou na guerra;íarte racional não fazia sentido;íperspectiva, proporção, razão não faziam sentido.
  9. 9. eTI MoloGiaítermo “dadá”: não possui um real significado;íversão 1: cavalo-de-madeira;íversão 2: dá-dá = sim, sim (em romeno).
  10. 10. Cara CTerÍStiCasíchoque + acaso = nova arte;ímanifestação do inconsciente;ícombinações inesperadas de pensamentos, imagens e sons;ípoemas barulhistas, colagens, fotomontagens , assemblages e ready-mades.
  11. 11. eXpan sãO dADáífim da Primeira Guerra Mundial;ímigração para outros países;ípublicação de outro manifesto em 1918, por Tzara;íadesão do Dadá na França;íHuelsenbeck leva o movimento para Berlim.
  12. 12. ATENÇÃO com a ID E IA Ô N E AE R R
  13. 13. hA NS aRP í”O princípio do acaso, que abrange todos os princípios e é tão incompreensível para nós como as origens das quais nasce a vida, somente pode ser vivenciado se nos entregarmos inteiramente ao inconsciente. Afirmo quem obedece a este princípio cria vida pura.” (RICHTER, 1993, p.67).íHans Arp, Segundo a Lei do Acaso, 1917,Papel cortado colorido colado sobre papel colorido,33.2 x 25.9 cm. Museum of Modern Art (MoMA),Nova York.
  14. 14. MarCel DUChaMP í”O ready-made era a dedução lógica a que Duchamp havia chegado a partir da recusa dos empreendimentos comerciais com a arte, e da incerteza quanto a um sentido de vida, de modo geral. (...) “Escolhendo” este ou aquele objeto (...) ele era retirado do mundo morto das coisas insignificantes e colo- cado no reino vivo das obras de arte que deviam ser particularmente obser- vadas: o olhar fazia com que se tornas- sem arte! (RICHTER, 1993, p.115-116).íMarcel Duchamp, Ready-Made, A Fonte, Cerâmica,1917, 63 x 48 x 35 cm. Tate Modern, Londres.
  15. 15. HanN ah HoCh í”A invenção da fotomontagem (...) feita de recortes de jornais e revistas adotou um caminho muito diferente das colagens dadás, como as de Max Ernst, que tendiam a uma desorganização poética da realidade. A foto- montagem, usando o material visual do mundo à sua volta, do ambiente familiar, tornou-se uma arma política incisiva e mordaz nas mãos dos dadaístas. (STANGOS, 1991, p.88).íHannah Höch, Dada Ernst, 1920, Fotomonta-gem, 18.6 x 16.6 cm, Israel Museum, Jerusalém.
  16. 16. R A S E IT UR E L
  17. 17. íHannah Höch, Dada Ernst, 1920, Fotomonta-gem, 18.6 x 16.6 cm, Israel Museum, Jerusalém.
  18. 18. íGoMa Design, Dada Ernst Engomada, 2012, Fotomontagem, 29,7 x 21cm, UNIFIEO.
  19. 19. íKurt Schwitters, Merz with Woman Sweating, 1920,Colagem, 6 1/8 x 4 7/8 inches, Solomon R. Guggen-heim Museum, Nova York
  20. 20. íGoMa Design, Cinemark Busuka, 2012, Colagem, 29,7 x 21 cm, UNIFIEO.
  21. 21. íRaoul Hausmann, Cabeça mecânica(O Espírito de Nossa Era), 1920, Assem-blage, 32,5 x 21 x 20 cm, Museé d’ArteModerne, Paris
  22. 22. íGoMa Design, Embriaguez Dadá,2012, Assemblage, 21 x 29,7cm, UNI-FIEO.
  23. 23. íMan Ray, Bronislava Nijinska, 1922
  24. 24. íGoMa Design, Amandava Gondimska, 2012
  25. 25. íMan Ray, Glass Tears, 1933
  26. 26. íGoMa Design, Brilliant Flowers Tears, 2012
  27. 27. íMan Ray, Marquise Casati, 1922
  28. 28. íGoMa Design, Vivianize Maiottasi, 2012
  29. 29. D O H AL IN PO T E M
  30. 30. Fim do dAdÁícompreensão e aceitação do público;ídesentendimento entre Tzara e Breton;íBreton se desvincula em 1924;íBreton publica o Manifesto Surrealista.
  31. 31. íAMARAL, Emília. Novas Palavras – Língua Portuguesa – Ensino Médio. São Paulo. FTD. 2005. p. 34.íCEREJA, William Roberto. Português: linguagens. São Paulo. Editora Atual. 2003. p. 372 – 373.íDE MICHELI, Mario. As Vanguardas Artísticas. São Paulo. Martins Fontes. 1991. p. 5 – 15.íGOMBRICH, Ernest H. A História da Arte. São Paulo. Círculo do Livro. 1972. p. 476 – 477.íLITTLE, Stephen. ...Ismos para entender a Arte. São Paulo. Editora Globo. 2010. p. 110 – 111.íMAIA, João Domingues. Português – Série Novo Ensino Médio – edição compacta. São Paulo, Editora Ática. 2004. p. 252.íMEGGS, Philip B. História do Design Gráfico. São Paulo. Cosac Naify. 2009. p. 325 – 335.íRICHTER, Hans. Dadá: arte e antiarte. São Paulo. Martins Fontes. 1993.íSTANGOS, Nikos. Conceitos da Arte Moderna. Rio de Janeiro: Jorge Zahar Editor. 1991. p. 81 – 89.í<arthistory.about.com/cs/arthistory10one/a/dada.htm> acesso em 12/03/2012.í<arthistory.net/artstyles/dada/dada1.html> acesso em 12/03/2012í<cefetsp.br/edu/eso/filosofia/cincolicoespsicanalise.html> acesso em 25/04/2012.í<criticanarede.com/lds_duchamp.html> acesso em 13/05/2012.í<dadart.com/Dadaism/dada/020-history-dada-movement.html> acesso em 12/03/2012.í<dadart.com/dadaism/dada/021-dada-zurich.html> acesso em 13/05/2012.í<dadart.com/dadaism/dada/022-dada-berlin.html> acesso em 13/05/2012í<educacao.uol.com.br/biografias/Marcel-Duchamp.jhtm> acesso em 13/05/2012í<itaucultural.org.br> acesso em 12/03/2012.í<stephen-wilton.suite101.com/how-the-city-of-zurich-became-a-small-haven-for-revolutionaries -a352414> acesso em 13/05/2012í<ubu.com> acesso em 24/04/2012.
  32. 32. G oMA íAmanda Aparecida Gondim Rocco íViviane Maiotto Aleixo íDDINA3

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