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Artificial Hells. Inauguration of the “1921 Dada Season”**

Artificial Hells. Inauguration of the “1921 Dada Season”** Artificial Hells. Inauguration of the “1921 Dada Season”* ANDRÉ BRETON Translated by Matthew S. Witkovsky 1. Visit to the church of Saint-Julien-le-Pauvre 2. Opening of the Max Ernst exhibition 3. The trial of Maurice Barrès I do not know who had the idea of the first Dada “event.” This idea certainly did not spring forth spontaneously, and its beginning must be sought in the evenings of the Cabaret Voltaire in Zurich. Those performances were still wholly literary in character. To explain the turn toward its current formulation, one needs to keep in mind certain connections. It was 1917. Zurich gathered together all elements of resistance or indifference from the fighting nations, among whom were primarily a large number of artists. The state of tension caused by the various kinds of secret actions undertaken in the city helped not a little to cement several friendships. The “Dada movement,” properly speaking, dates from this time. A veritable pact started it off, with clauses that shall be divulged later. Let us note for now that the Dadaists, unafraid to pledge their future, agreed to convene in Madrid in March 1921. I believe that only material difficulties kept them from realizing that http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Artificial Hells. Inauguration of the “1921 Dada Season”**

Breton, André; Witkovsky, Matthew S.
October , Volume Summer 2003 (105) – Jul 1, 2003
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Publisher
MIT Press
Copyright
© 2003 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/016228703769684227
Publisher site
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Abstract

Artificial Hells. Inauguration of the “1921 Dada Season”* ANDRÉ BRETON Translated by Matthew S. Witkovsky 1. Visit to the church of Saint-Julien-le-Pauvre 2. Opening of the Max Ernst exhibition 3. The trial of Maurice Barrès I do not know who had the idea of the first Dada “event.” This idea certainly did not spring forth spontaneously, and its beginning must be sought in the evenings of the Cabaret Voltaire in Zurich. Those performances were still wholly literary in character. To explain the turn toward its current formulation, one needs to keep in mind certain connections. It was 1917. Zurich gathered together all elements of resistance or indifference from the fighting nations, among whom were primarily a large number of artists. The state of tension caused by the various kinds of secret actions undertaken in the city helped not a little to cement several friendships. The “Dada movement,” properly speaking, dates from this time. A veritable pact started it off, with clauses that shall be divulged later. Let us note for now that the Dadaists, unafraid to pledge their future, agreed to convene in Madrid in March 1921. I believe that only material difficulties kept them from realizing that

Journal

October – MIT Press

Published: Jul 1, 2003

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