TAMAR PAICHADZE # 14
READY-MADE AND GEORGIAN CREATIVE INNOVATIONS
The fact that the world art-elite has been much attracted by Dadaistic philosophy, today may already been considered an axiom. Such multi-profile creative outbreaks and artistic installations were not common even to symbolism. Like every “Now-How” of the Modern, Dada evolved in France as well. As it appears, at that time amplitude of acuity of symbolic and, to a greater extent, futurist world outlook thinking declined, “Great Performance” by symbolists was going to its end, fire of futurist wars was fading out and to continue modernist current, they emerged to see the new image of transtandentious world; then they did not give names to themselves, but merely through disappointment, wrath, inconsistency, nihilism, eccentrism and technicism illustrated a new attempt aimed at artistic shaping of the existing urban environment. Paris did not host long these scrupulous moments stemming from modernism. Subsequently, it found a fertile soil in many countries and only later returned to Paris.
Starting from 1915, the creative epopee of Paris continued in New York where the audience seemed to be much more prudent and hot-tempered. It accepted the glove thrown by an emigrant artist as a challenge in a game and completely followed it. The school of New- York acquired certain scales shortly, European emigrants found their American fellow thinkers. Thus, according to certain trend in culturology, emergence of Dadaism should be attributed not to European but American space. This group knew nothing about European Dada and had even never heard this word before, as exactly at that time, this word in Europe began to denote radical avant-gardism.
American Dada, entitled as Ready-made, developed and progressed separately from the European one and its authors better became aware of Dadaistic radicalism when they arrived in Europe and gathered again in Paris. American art history has never regarded Ready-made as a negative event. Unlike Europe, it was understood as a form or artistic method and it has never been in conflict with public etiquette. In this view, aged, classical and along with this, modernist Europe turned out to be scandalous for Dadaism while America, famous for its contrasts, illusions and dreams, appeared to be acceptable and conceivable. European (French, Swiss, German) schools became more and more visibly distinguished by maximalistic and radical demonstrations of its Dadaistic viewpoints and they have always remained committed to radicalism and absurdity. After leaving America, Dadaism was there named as history of avant-garde, while formalistic searches and processes for realizing expressive means which continued in Europe, caused evolution of discovery of new modernist worlds. Since 1922, Europe had gradually started to leave the frames of “empasse”.
Dadaistic page of the history of literature has also inherited one late illustration - this was Dada in Georgia in 1922-1923. In Georgian Realism Dada was registered as a mere artistic-creative method, i.e. literature of method and unlike Europe, it has never acquired political character and has never had any claims to change social values. Furthermore, like other movements in literature, it was welcomed by longstanding soil of Georgian writing tradition, Georgian mentality and artistic thinking and at this background, every maximalistic trend, radicalism, absoluteness and orthodoxalism has undergone a kind of modification and acquired national-liberal coloring not only as the world point of view but also as an artistic method. As a result, in modern literary science the following opinion is becoming more and more profoundly introduced: in Georgian creative world, Symbolism, Futurism, Dada, Expressionism and Impressionism, they are all a working term defining artistic direction rather than a certain classical analogue reflecting development of these schools.