DADA Film

The Last Cause


CONTEXT DER DADA

Dada was the antithesis of the Weimar “Grunderzeit”, the German prophecy of the apocalypse.

Dada, Brecht, Beuys, Fassbinder through the art-actions against the nostalgic approach to Weimar, are all recorded in the word/imago’s of the last hundred years.

The ruling strata of cabals with hard facts, hard times and “human technological progress”, 200 million deaths are the results of the hellish history. Dr Faustus’ chilling laughter at today’s political-cultural-material despair, the identity politics of trying to develop a new reality principle based on the new appeal of old values as new, class, nationalism and the very real global forms of oppression, unfold and expand the reproduction of all the past catastrophes. The Weimar was the “Grunderzeit” is which Dada proximity of living experience, understood clearly the collective suicide of the First World War, the loss and sufferings, the metaphysics of disaster and the hope of a new enlightenment; A Dada philosophy of survival against the machinery of technological knowledge armaments, weapons of past destruction and power.

The commodified chaos, the surveillance/control prisons. The societal source communicated by managers of elitist class sensibilities is the deadly poison of “normality”. No Dada détournements in the lands of hard heads, armoured “truths”.

The motifs of our global crypto-fascist spirit, banksters, dirty business, profits above people, brutalisation of our spirits, even the music and images make themselves into mirrors of evil, protesting the given order of things by the drones, of paralysing phobias of hate, racism and the melancholy of monkeys clambering up the tree of false futures, world annihilation, orchestrated by the neo-conservative ideological formations in the US and its surrogate structures.

Content, consciousness and discontent, changes at the push of a button, critics and cynicism, are as naïve of virtual false consciousness, constructing false realism, cunning multiple lies errors. Ideologies are the formal sequences, just as dumb as the “idea” of our times, it wants to critique and expose…

Dada was a “lone owl”, radical, raging and ironic. Der Dada was without illusions, localised in Berlin, Dada’s abundale of brilliantly acted and articulated cynicism, critiques, are crucially relevant today. The psychological control and fear systems are authentic totalitarian systems, whether it’s 1916 -2016n from Verdun to middle east. The worst is yet to come.

Der Dada Berlin

DDM revisits Berlin 1916/18. Reconstructing of perfect or nightmarish worlds, time shifting its socio-political Dadaist spectrum to today’s dystopian narrative, Der Dada is a visual documediated quest for meaning. A fresh intricate play on the words, the concrete first noun, the first verb read against the spirit of 1916 to 2016, life , times of the historical background of Raoul Hausmann and Hannah Höch.

The Dadaist ideology was an art orientation to situationally shatter and confront the actual and concrete forms of social life, that were incongruent with the Berlin Realpolitik.

Dada distorted the order of things starting with a Dada Art Aktion. The image and sound, the primary contradictions and fragmentations became the particular “language” to confront the ritualised guardians. Dada in Berlin was powerful and even today the “Dada subject” is still in process, the Dadaist discourse is not a distorted mirror image, as a result of historical events, it’s a hammer in the social-cultural anvil to shape and form meaning in and ignored gaps and empty spaces in the new paths of malleable reality, détournements transcendental values and private direct Aktions.

Dada Berlin was in alternate world terms, a breakthrough, a hammer and anvil that altered the perceptions of the consequences of scientific advance and social change.

The suffering masses, the oppressive governments, the world wars, final all technologies as weapons, the cruel and inhuman proof, of man’s ability to destroy populations in the name of dubious ideologies that are the ideological sources of today’s fashioning of our reality.

Hausmann and Höch were travellers in the inter zone enduring dreadful dangers and hardships, witnessing horrors, yet in the Dadaist experiences, discovering and revealing the tension of the ideologues currents and contradictions.     


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Founding Mission Statement

DadaDokumedia e.v. Frankfurt, Germany October 2012

DadaDokumedia is a full service independent development, production and directing platform dedicated to delivering unique art and cultural Dokumedia film and digital cinema packages.

The DDM family is a fast-developing network consisting primarily of producers, editors, directors, critics, writers and researchers, who pride themselves on their ability to attract original creative collaborations with an authentic voice.

The DDM platform will be a private/public partnership joint venturing in the EU and MENA, plus commercial communication funding infrastructures to develop, source and deliver new DDM media projects across a wide range of Dada historical genres and storytelling over the last 100 years (1916-2006).

DDM has a firm hand of the pulse of today’s communication media message and cultural mediums, recognising the current creative imperative that is driving the paradigm shift away from large studios, mainstream consumer/product infotainment.

This allows DDM as an independent digital platform to bridge the gap with a unique opportunity to fill the content vacuum.

Focussing through the Dada historical prism, to highlight various political social and cultural issues, working with innovative and creative network partners in Europe and MENA (Middle East and North Africa).

DDM with its creative approach, engaging material will be a new and important voice in independent new media. That will reach beyond the boundaries of tradition.

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Copyright © All rights. The Gatherer 2016-2017