Composing Anti-Art and Influences


Can you count how many international words are entering  our daily-life vocabulary? Is  innovation and globalisation to fast for our language to reimagine words like ‘soft-punk’ or ‘check-in’?

Words, to define music genres, food, clothing style and digital applications all refer back to english without valuable attempts from other indo-european languages to translate while maintaining the same fresh efficacy, but I wonder whether the origins of  words’ remixing as a practice for liberating creativity and generate something unique,  could make light on  why english words are occupying an privileged space in the basin of other idioms.

For analysing this phenomena I have to draw back from the Europen deconstructionist art movement  of Dada. In the DADA CLUB manifesto, the advent of a new anti-art is advocated as a way of communicating to the audience the infinite and the simultaneity of  modern existence (Richter et al., n.d.). The anti-art separates itself from aesthetics and becomes pure expressionism.  One technique which must are familiar with is the collage, it was introduced by the dadaist movement and have been applied to every form of their artistic production.

Anna Hoch-Collage


Hans Arp-Sculpture


 Gravestones I carry on my head.                                        From water-bearing mortal clay                                               I cast offending Adam out                                                             -To pass the time-twelve times a day.
Standing i light up to the hilt,                                                      I leap out through my mouth perforce                             And, carrying owls to Athens town,                              Harness myself before my horse.
Farewell a und-and katzen-hold.                                            In line with Times’ polarity                                                            I follow in disguise,lead-gazed,                                            The Spirit of hilarity.                                                  
I mingle camphor of my own                                                      In with the elder-pith  of Time,                                             And into all eternity                                                             Innards and upwards sitll I climb
(Hans Arp)

If art had to express reality to a fragmented audience then beauty and all the aspects of   stereotypical environments should have been disrupted and inhabited by hybrid figures, composed by images and concrete sounds. From the DADA CLUB two styles of poetry emerged, one’s BRUTIST and the other  SIMULTANEIST. Dadaists preferred the  letter rather than the word as a mean to evoke feelings, therefore their poetry is rich both in speech figures and in sound figures, with a combination of distant images and contrasting environment that create a pluribus context.

Dadaist associatiated concepts one against the other,  in order to enable the discourse to generate multiple interpretation of the artwork. This concept is reproduced in the literary style of William Burroghs. In the composed novel ‘The Soft Machine’, Burroghs enjoys himself dissectioning his own texts for mixing them with other texts belonging to popular culture’s TV,comics and science fiction, to represent the contradiction of his characters, often drug addicted or sucides, within the imaginary of the society of spectacle. With this cut-ups he created many association of concepts like ‘erogenous holes’ or ‘June subways’ and mixed the narrative with the things the characters see on the streets, like advertisement slogans and street names.

Now consider,  words like ‘Heavy-Metal’, Fusion Cusine, Rock-Chic, Facebook; aren’t these english words drawing from this tradition and imposing themselves on European system of language?


Richter, H., Britt, D., Haftmann, W. and White, M. (n.d.). Dada. 1st ed.

 Burroughs, W. and Harris, O. (n.d.). The soft machine. 1st ed.SongMeanings. (2017). 

David Bowie – Candidate (Demo) Lyrics | SongMeanings. [online] Available at: [Accessed 9 Mar. 2017].


Travelogue- Brabican Center



The psychogeographic theory, developed by Guy Debord in the late 50′ teach us that spaces provke thoughts and that thoughts create new spaces. the georgaphy of our life, is not objective, and can be explored sujectively. Debord proposes to detour our path out of the urbanistic constrictions and explore the city in an alternative way. The doutrnment is a techinique that want to explore the reflexivity of a subject following routes already designe by somebody else; it rebels to a static and objective reality while embracing the interior movement of the counciousness through space, boundless, floating, ‘deriving’.

In my travelogue, I present a series of photograph in an exagerated wide angle that aims at portaing the circular prospective of space that the human’s eyes perceive when looking around. In the Barbican center, I perceived how the past idea of industrial conformity within the community, is hiding itself from the present reality of the technocratic city life. By this binary I constructed a travelogue that aims at exploring the way a space is expereinced in groups, a tought that within the burtalist architecture of the Barbican center has also an historical link i.e. how politics where experienced and the functionality of the central square an of open spaces; on the other side I had no difficulty in finding solitary individuals, who enter this architechtonic example of mass culture, bringing with them their individualistic attitude which is influenced by the financial district outside.