How Dada is that?

Undoubtedly the use of masks and costumes. They are refreshing and amusing. For the Dadaists, masks and costumes were a way of playing with exaggeration whilst simultaneously experimenting with different identities. The play on language also has Dadaist traits: Conventional communication is rejected; instead, they grunt in interviews. The Dadaists, for instance, expressed their rejection by resorting to sound poems – in order to escape the language poisoned by the World War. Texts, in other words, that make their impact primarily through their sound. Furthermore, the whole thing comes across as rather chaotic and discordant, which is Dadaist. The comparison also arises simply because the duo themselves describe their music as ‘Mantra-rock Dada Pythago-Cubist’.

I would argue: because they are resisting a narrowing of thought and expression. Above all, Dada said ‘yes’ to the process, to creation, to experimentation, to new forms of coexistence, criticism and performance – and at the same time ‘no’ to war, nationalism and dehumanisation in general. It is important to create a space in which things can be reimagined and expressed in the first place.

I think people are hungry for art that surprises them and is ‘good’ humour – by which I mean: not sexist, not racist, and so on. Dada is fun too, but it isn’t ‘silly’ or nonsensical. Back then, it was also about coming to terms with the despair of the times and finding art forms that explored new ideas and brought people together.

Salome Hohl is an art historian, curator, art educator and, since 2020, director of the Cabaret Voltaire in Zurich. There, she curates exhibitions that often open up new perspectives on Dada and its protagonists or focus on specific aspects of the work, including exhibitions on Sophie Taeuber-Arp (with Mai-Thu Perret), Emma Jung (with Rebecca Ackroyd) and Monster Chetwynd. In addition, she has facilitated the first institutional exhibitions in Switzerland for artists such as Lee Scratch Perry, ektor garcia and Agnes Scherer, and promotes experimental, interdisciplinary formats such as the ‘Analytical Cabaret’ or ‘Scacchi Noise Night. The Ultimate Chess Noise Challenge’. She has also curated numerous soirées featuring literature, art, performance, music and theatre, as well as discussion series and lectures. Previously, she worked at the Kunst Halle Sankt Gallen, amongst other roles, and has lectured at various art colleges. She is also involved in various committees and associations.

Angine de Poitrine is a Canadian rock duo from Québec. The two musicians perform exclusively in masks under the pseudonyms Khn de Poitrine (guitar, bass, looping) and Klek de Poitrine (drums) – as self-proclaimed ‘grunting aliens’. The duo combines experimental rock with microtonality and performance art. The duo themselves describe their music as “mantra-rock dada pythago-cubist”. The concert dates can be found here.