Dada art goes on striking. This chorus of pupils from the school of Segrate (Milan) underlines it. They are very sensitive and enthusiastic about the historical and technical teaching of their teacher Feuei Tola, a research artist who exhibited her works in personal and group shows, mainly in Italy and Spain. Almost 100 years ago Dadaism upset the art world. In fact, it appeared in Zurich, in 1916, with poetry and art performances, at the Voltaire cabaret.
Anti-art current because it turned – at least tendentially – against any form of object to contemplate. Marcel Duchamp conceived a “beauty of indifference” (far from emotions) against the well rooted “beauty of difference” (based on subjective taste and an aesthetic interest).
As these very young and lively “dadaists” confirm, the game and chance are the core of the performances by Kurt Schwitters, Jean/Hans Arp and the others. A smart, creative, brilliant game, as these guys have understood well. For their artistic trial, refer to the real way of working of the Dadaists. This, with regards to collage or the combinations; and also with regards to the essentially desecratory spirit.
Fortunately, they added their rapturous vision of things and life. They have been able to put their own. Insisting on Dada art, in this way, is always useful to today’s societies, asleep and consumerist, even before the Covid-19 disaster overlapped them.
The “dadaist” pupils: