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Acest text a fost inclus un an mai t\u00e2rziu \u00een colec\u0163ia “Poemele Dada Shinkichi”, o tip\u0103ritur\u0103 influent\u0103 care ajunge la num\u0103rul 4 \u00eentr-o singur\u0103 lun\u0103. Un fost profesor de limba englez\u0103, Tsuji devine cel mai important sem\u0103n\u0103tor al mi\u015fc\u0103rii Dada \u00een Japonia. El public\u0103 un Eseu: “Ne\u00een\u0163elegerea Dada” (1922) \u00een care subliniaz\u0103 importan\u0163a dadaismului pentru japonezi. Dada gone\u015fte mizeria uman\u0103 de din\u0103untru, \u0163intind s\u0103 elibereze omul de falsitate, capcane, megalomanie \u015fi vanitate prosteasc\u0103. Tot \u00een 1922 scoate o colec\u0163ie de eseuri sub titlul de “Tata Dada” (devotatul dadaist) iar \u00een 1923 \u00een tratatul “Deasupra literaturii” \u00eencearc\u0103 s\u0103 explice procesul care l-a determinat s\u0103 devin\u0103 dadaist. O faz\u0103 picant\u0103 o produce Tsuji care \u00een drum spre o conferin\u0163\u0103 numit\u0103 “Expresii Dada” programat\u0103 la Tokyo, se ceart\u0103 cu \u015foferul taxiului duc\u00e2nd la arestarea lui Takahashi, \u015fi el prezent. Conferin\u0163a a fost anulat\u0103, iar presa a descris cu suculen\u0163\u0103 incidentul.<\/p>\n
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O grupare anarhist\u0103 de st\u00e2nga fondeaz\u0103 \u00een ianuarie 1923 jurnalul Aka to Kuro (ro\u015fu \u015fi negru). Primul num\u0103r era deschis cu o provocare futurist\u0103 rus\u0103: “Ce este poezia? Ce este poetul? Noi declar\u0103m curajos: Poezia este o bomb\u0103!”. Un alt manifest declar\u0103: Existen\u0163a este Nega\u0163ie. Negarea este crea\u0163ie. Crea\u0163ia este un nimic. Takahashi se opune argument\u00e2nd c\u0103 ace\u015fti anarhi\u015fti nu sunt Dada. Ca rezultat ei se declar\u0103 Neo-Dada \u015fi o nou\u0103 mi\u015fcare cu acest nume este lansat\u0103 \u00een 1925. Futuri\u015ftii ru\u015fi Burliuk \u015fi Palmov expun \u00een Japonia prin anii 20-22. Ei introduc tehnicile colajului c\u00e2t \u015fi stilul de pictur\u0103 futurist rus. O major\u0103 figur\u0103 avangardist\u0103 a timpului este artistul Murayama Tomoyoshi.<\/p>\n
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\u00cen 1922 se mut\u0103 la Berlin. Galeria Der Sturm \u00eel expune \u00een martie 1922. Mai t\u00e2rziu va participa la prima conferin\u0163\u0103 constructivist-dada alturi de Van Doesburg, Richter, Hausmann \u015fi al\u0163i europeeni. La \u00eentoarcerea \u00een Japonia, Murayama expune 50 de desene executate la Berlin c\u00e2t \u015fi trei colaje v\u0103dit influen\u0163ate de Ivan Puni \u015fi Schwitters. Prin 1925 va defini Construc\u0163ionismul ca un r\u0103spuns etic mi\u015fc\u0103rii dada. Lucr\u0103rile lui atrag aten\u0163ia Asocia\u0163iei Artei Futuriste care i se al\u0103tur\u0103 \u00een mi\u015fcarea Mavo, un nume f\u0103r\u0103 \u00een\u0163eles, la fel ca \u015fi Dada. Prima expozi\u0163ie Mavo are loc \u00een Iulie 1923, Murayama aduce peste 100 de lucr\u0103ri. Un asamblaj provocativ “Lucrare cu floare \u015fi pantof” arat\u0103 ziare care \u00eenvelesc un pantof de dam\u0103 cu toc \u015fi flori diverse. Denigr\u00e2nd arta pur\u0103 Mavo era inten\u0163ionat\u0103 s\u0103 distrug\u0103 leg\u0103turile \u00eentre arte sau \u00eentre art\u0103 \u015fi via\u0163\u0103. Mavo mai oferea lecturi, seri muzicale, vitrine excentrice, design de carte, planuri arhitecturale etc.<\/p>\n
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O mare expozi\u0163ie de art\u0103 pe nume Nika respinge arta Mavo. Ca un r\u0103spuns arti\u015ftii Mavo organizeaz\u0103 o contra-expozi\u0163ie: “Lucr\u0103ri refuzate de Nika”. A dou\u0103 zi dup\u0103 deschidere un major cutremur love\u015fte ora\u015ful Tokyo. Guvernul declar\u0103 stare de asediu \u015fi \u00eencepe persecu\u0163ii ale aripii anarhiste de st\u00e2nga. Raidurile distrug cafenele \u015fi expozi\u0163ii. Un critic comenteaz\u0103 astfel: “Vom realiza de ce europenii dup\u0103 r\u0103zboi au abandonat tradi\u0163ia frumosului abordat\u0103 de mii de ani ca s\u0103 ia calea haosului \u015fi al confuziei. Dar Murayama nu se dezice de dadaism ci r\u0103m\u00e2ne legat de Schwitters \u015fi Doesburg, ba chiar va traduce c\u0103r\u0163i teoretice ca de exemplu” Paul Klee \u015fi Dada”. Mavo public\u0103 un mare fotomontaj ” Lungimea balelor capitaliste” \u00een care distorsiona voit femeile vestice preferate de mass-media.<\/p>\n
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Un alt artist, Sawa Seiho, produce publica\u0163ia”Construc\u0163ii” care folosea fragmente din ziare ruse\u015fti. Al treilea num\u0103r a fost confiscat de poli\u0163ie v\u0103dit enervat\u0103 de verva revistei. \u00cen1925 Mavo organizeaz\u0103 dou\u0103 expozi\u0163ie dadaiste Sanka, prima realizat\u0103 \u00eentr-un mare magazin universal, acolo asambleaz\u0103 obiectele zilnice\u00eentr-un spectacol anti-art\u0103. A doua Sanka \u015fi mai larg\u0103, expune o structur\u0103 numit\u0103 “Ma\u015fina mi\u015fc\u0103toare de v\u00e2ndut bilete”, o construc\u0163ie pe ro\u0163i din s\u00e2rm\u0103, Turnul Sanka (o veche ma\u015fin\u0103 de g\u0103tit) toate executate din materiale g\u0103site sau reciclate. Prost primit\u0103, a dou\u0103 Sanka marcheaz\u0103 sf\u00e2r\u015fitul mi\u015fc\u0103rii Mavo. Murayama se retrage ca s\u0103 scrie scenarii de teatru. F\u0103r\u0103 energia sa Mavo dispare. \u00cen 1924 g\u0103sim la Tokyo “Cafe Dada”, un stabiliment similar cu Cabaretul Voltaire din Zurich. Proprietari erau Tkahashi, Tsuji \u015fi al\u0163i amici. \u00centr-o publica\u0163ie datorat\u0103 lui Yoshiyuki Eisuke “V\u00e2nz\u0103ri de ru\u015fine \u015fi texte ur\u00e2te”, apar reclame pentru piesa “Cafe Dada”. \u00cen al cincelea num\u0103r al revistei piesa este integral tip\u0103rit\u0103, este vorba de o serie de dialoguri f\u0103r\u0103 sens. Regizorul anun\u0163\u0103: “Dadaismul nu este un afrodiziac ci o mic\u0103 atmosfer\u0103 a lumii dada \u00een care ra\u0163iunea \u015fi observa\u0163ia nu exist\u0103”.<\/p>\n
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\u00cen anul 1925, 11 scriitori \u015fi arti\u015fti fondeaz\u0103 grupul Neo-Dada cu scopul separa\u0163iei de curentul original, vestic. \u00cen alte provincii ideile sunt deformate, \u00een ora\u015ful Kobe, Fujita Tsuruo, emite existen\u0163a unui zeu-dada. Dup\u0103 1925 Murayama cu Masamu Yanase fondeaz\u0103 “Uniunea Japonez\u0103 a artei \u015fi literaturii proletare”.<\/p>\n
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Murayama sus\u0163ine c\u0103 Sanka a fost distrus\u0103 de anarhie \u015fi nihilism, \u015fi c\u0103 din acest moment arta s-a scindat \u00een dou\u0103 curente: cel al artei socialiste, \u00een contrast cu suprematismul. Dada r\u0103m\u00e2ne o mi\u015fcare anarhist\u0103 care pledeaz\u0103 libertatea artistic\u0103 personal\u0103, este rebel\u0103 burgheziei japoneze, institu\u0163iilor \u015fi tradi\u0163iilor \u0163epene. Prin scris, spectacole, dans \u015fi teatru mi\u015fcarea avea ca scop implicarea \u015fi transformarea societ\u0103\u0163ii japoneze.<\/p>\n","protected":false},"excerpt":{"rendered":"
de Adrian Grauenfels Uimitor, Japonia cea ermetic\u0103 \u015fi xenofob\u0103 \u00eembr\u0103\u0163i\u015feaz\u0103 DADA chiar dup\u0103 anul 1920 c\u00e2nd numeroase articole despre mi\u015fcarea Dada \u015fi rela\u0163ionarea ei cu Budismul precum \u015fi chemarea necondi\u0163ionat\u0103 la liberatate de expresie, sau revolt\u0103 contra tradi\u0163iilor rigide, apar \u00een presa Japonez\u0103. Jurnalele culturale exult\u0103. Takahashi Shinkichi, un t\u00e2n\u0103r poet, scrie: “La sf\u00e2r\u015fitul R\u0103zboiului […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1188,83],"tags":[87,1189,1124],"class_list":["post-11088","post","type-post","status-publish","format-standard","hentry","category-egophobia-45","category-experiment","tag-adrian-grauenfels","tag-egophobia-45","tag-experiment"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2SQ","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11088","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11088"}],"version-history":[{"count":1,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11088\/revisions"}],"predecessor-version":[{"id":11089,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11088\/revisions\/11089"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11088"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11088"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11088"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}