Properly speaking, any product is Dadaist that is made without influence, unconcerned about public authorities and values as long as the representing object operates against illusions, from its own compulsion to propel forward the disintegration of the present world, obviously in a state of dissolution and metamorphosis, in order to topple the last hierarchical residues of thought and perception. The past is important and authoritative only insofar as its cult has to be fought against.Herzfelde, ‘Introduction’ from the catalogue of the Dada-Fair 1920.
What if the Dada movement had started in 2020, during lockdown? What would they have done? Is our modern milieux a timelier moment to resurrect the spirit and essence of Dada? We say yes!
What if 31 Disabled artists created interventions that appeared in 30 Plus Tate members’ venues on a particular date, 2nd July 2022 – the one hundred and second anniversary of the first international Dada art fair in Berlin, in 1920.
You may or may not know that the intervention has happened.
There will be an art film based on We are invisible/We are visible released after the event.
Nobody will be hurt.
Nothing will be damaged.
We will remain invisibly visible.
DASH has a long history of producing provocative interventions (M21 and the Awkward Bastards series). We are invisible / We are visible will continue this important thread of Dadaism, Absurdism and Surrealism into the 21st century. Dada is dead. Long live Dada!
Disability Art is the inheritor of the ethics and ideology of Dada. Both movements are born out of political situations of inequality and oppression. At this time, Disabled people are at the forefront of the impacts of so-called austerity. Poverty and exclusion are rife.
As George Grosz said ‘Can we tolerate this state of affairs without taking a stand against it?’. The 31 invisible artists include ‘established’ disabled artists and many of the next generation of younger artists.