Dadaists

After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.

After the fighting of the First World War had ended in the armistice of November 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities.

After the war, the artists published a series of short-lived political magazines and held the First International Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.

Duchamp and several Dadaists are also associated with Surrealism, the movement that dominated European painting in the 1920s and 1930s.

In retrospect, various authors describe Tzara's Dadaist shows and street performances as " happenings ", with a word employed by post-Dadaists and Situationists, which was coined in the 1950s.

In the 1940s, Richard Huelsenbeck alleged that his former colleague had always been separated from other Dadaists by his failure to appreciate the legacy of " German humanism ", and that, compared to his German colleagues, he was "a barbarian".

Like the surrealists and dadaists, they not only satirically attacked society but also the very structure of film – a counter-cinema that deconstructs narrative and traditional processes.

Photomontage The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media.

The Dadaists protested with anti-art gatherings, performances, writings and art works.

The intensely political and war-torn environment of Berlin had a dramatic impact on the ideas of Berlin Dadaists.

This caused an uproar amongst the Dadaists, and led Duchamp to resign from the board of the Independent Artists.

Tzara, who attended the Congress only as a means to subvert it, Richter, p.187 responded to the accusations the same month, arguing that Huelsenbeck's note was fabricated and that Schad had not been one of the original Dadaists.