Assessing contemporary movements such as Dadaism and ..
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In 1917, after a year of Dada evenings and Dada mayhem, Cabaret Voltaire was forced to close down, and the Dada group moved their activities to a new gallery on Zurich's Bahnhofstrasse. Shortly after the closing of the cabaret, Ball left Zurich and the Romanian poet Tzara took over Dada's direction. An ambitious and skilled promoter, Tzara began a relentless campaign to spread the ideas of Dada. As Huelsenbeck recalled, as Dada gained momentum, Tzara took on the role of a prophet by bombarding French and Italian artists and writers with letters about Dada activities. "In Tzara's hands," he declared, "Dadaism achieved great triumphs." Irreverent and wildly imaginative, Tzara was to emerge as Dada's potent leader and master strategist.
Punk is Dadaism | Ashleigh Berryman
In Berlin, Huelsenbeck met up with artists Johannes Baader, George Grosz, and Raoul Hausmann. While Huelsenbeck contributed greatly to the diffusion of Dadaist ideas through speeches and manifestos, it was Hausmann who ultimately emerged as one of Germany's most significant Dadaists. A painter, theorist, photographer, and poet, he became an aggressive promoter of Dada in Berlin. To establish his position, in June 1919 he began a short-lived yet powerful review that reflects the revolutionary tone of Berlin Dada. Contributions in the first issue by Baader, Hausmann, and Huelsenbeck declare the left-wing political agenda of Berlin Dada, while writings by Tzara and Picabia indicate the alliance between the Berlin group and other Dada centers.