And if the hunter-artist should get any feeling of remorse, he is killed by society. The old guard of art and society in its old hunter uniform is trying to kill any new idea by shooting the egg before it can crack and blossom. The iron bars and temple columns in double exposure with everyday traffic and a chessboard is a very clever way of illustrating that old culture hiding behind marble tends to become a prison of conformity and the bars relation to straight lines of the chessboard is an indication of arbitrary rules imposed on art and society that has to be washed away, as is done with the spray of water. Realizing that free thinking and artistic freedom is killed in childhood is illustrated by the decapitated dolls hanging below a window with a view to the possibility of overturning society´s perception of it self and its art. ![]() Your eyes have become saturated with artistic conformity and can only be renewed by changing what you look at. But the main message is still dadaist in the symbolism of the world having to be turned on its head to be purified and seen for what it is. ![]() Caligari" and it turns something ordinary on its head and creates a real sense of cubism and expressionist art. The tilted images of rooftops and chimneys are to me directly inspired by the German expressionist film "Dr. So wake up, society and the violence of the state has now merged into an unholy alliance. If you do not know who the gun is pointing at? It is probably you. To me this is clearly a dadaist reference to society´s blind acceptance and even cheering on the carnage of war, as long as they were not the ones who got killed in the trenches. They then elegantly step just out in safety when it is loaded, while you, the viewer, discovers, that it is actuality pointing and shooting at you. They discuss its use and kisses the cannonball as if it was their child. The bourgeoisie performs a dance of death with the canon. This film falls right on the transition between dadaism and surrealism, just as the title indicate, and it is, at least to me, of extreme artistic importance. What eventually evolved was a hardcore bunch of artists who stayed true to their impulses, but rather explored the psychology of it instead of using deliberately provocative means to stir the population in semi-political ways, with direct symbolism like the dadaists did. The dadaists agenda would naturally fade slowly and dissolved into mainstream, as society rather wanted to forget the war than process it. Art had become high society, instead of staying provocative and demanding of your morality and ability to stay individual and critical. ![]() Society and culture needed to get a slap in the face and be shaken in its foundation. Nothing good had come from conforming to authoritarian rules, but had instead led to a mass slaughter in the first world war. Dadaism was a deliberate attack on (old) culture and society. Among this conglomerate of confusion, none were more artistically contrarian, than the dadaists. And not least, the economic booms and busts of centralbank-controlled money creation and political turmoil in most of Europe. New artistic medias of film, music and photography was challenging and sidetracking old cultural medias of painting and sculpture. There was the anger from the carnage of the war. There was a pent up pre-war, society-inhibited, energy that was suddenly released after the war years. There are potentially many reasons why art exploded in the 1920´s.
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