Abstract

Abstract The distinction between modernism and the avant-garde needs to be maintained: while modernism seeks the new in art, the avant-garde seeks the negation of art in parallel with social revolution. And while the relationship between revolutionary politics and revolutionary art is not reciprocal, they share a temporality precisely inasmuch as the avant-garde is dependent upon social revolution in order to bring about the circumstances in which art and life can both be transformed. This article looks at the formation of Dada in its proximity to social revolution and the parallel processes of withdrawal and negation they share.

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