An exhibition by the Doctoral School of the Hungarian University of Fine Arts, on the occasion of the centenary of Cabaret Voltaire, founded in Zürich in 1916.

16.12.2016 – 31.01.2017

“‘50 francs reward to the person who finds the best way to explain DADA to us,’ read the leaflet Dada soulève tout (Dada Stirs Up Everything), published in Paris in 1921 and signed by all prominent Dadaists. The leaflet is a typical Dada-paradox: anyone who actually responds to the call evidently does not grasp the teasing Dadaist gesture built into it and therefore has no real concept of what Dada is. Consequently, s/he who really understands Dada would not come forward with an answer—and indeed, we have no record of any respondents. However, with its inherent challenge, the task set by the leaflet is still tempting even today: if taken seriously, it is a rather difficult puzzle, made to be so by the Dadaists themselves.” These are the opening sentences of András Kappanyos’ online Dada Anthology that attempts to create a collaged unity out of textual excerpts and tries to define Dada while at the same time acknowledging the fundamentally contradictory nature of this task.

The group exhibition DLADLA100 carries on the tradition of this paradoxical attempt at definition. The works on view in the Barcsay Hall were selected from works submitted (or requested by the organizers) in the framework of an open call involving students and alumni of the University of Fine Arts’ Doctoral School. The Doctoral School Board announced the call to commemorate the centenary of the Cabaret Voltaire in Zürich, and was looking for artworks that represent the ongoing influence of Dada as an artistic movement, and its contemporary reinterpretations and possible criticisms.

The exhibited works present the legacy of Dada in various ways and on different levels, from an elaboration of certain aspects of Dada’s history, through a contemporary application of the motifs and artistic toolkit typical of Dadaism, to an interpretation of the literary and typographic characteristics of the movement.

The DLADLA100 exhibition is therefore similar to the Dada Anthology referred to above, but instead of a compilation of textual excerpts, it is an overview of contemporary artworks that provides a collage-like image of what Dada means for Hungarian DLA alumni and students in 2016.


BORSOS LŐRINC, BÖGÖS Loránd, Jivens O. BREEWENSES, Igor & Ivan BUHAROV, FAJGERNÉ DUDÁS Andrea, FERNEZELYI Márton & KAPPANYOS András & LEPSÉNYI Imre & SZEGEDY-MASZÁK Zoltán, HAÁSZ Katalin, HECKER Péter, IZSÁK Előd, KICSINY Balázs, KOLLER Margit, István KOVÁCS, KŐNIG Frigyes, K.U.T.A.Cs. (MÉCS Miklós & VÁNDOR Csaba) & VirágJudit Galeri (BOGYÓ Virág & FISCHER Judit), LACZKÓ Juli, PETERNÁK Anna, Katerina ŠEVIĆ & Tehnika Schweiz (LÁSZLÓ Gergely & RÁKOSI Péter), SZELLEY Lellé, SZILÁGYI Kornél & VÁNDOR Csaba, SZTRUHÁR Zsuzsa, TANGL Edit, TASNÁDI József




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