Founded in May 2013, Conceptual Fine Arts is an on-line magazine dedicated to discussing contemporary issues in the visual arts, exploring and commenting on its cultural, social and economic facets. We delve into the various aspects of traditional and contemporary art independently, but with a common belief that the present is informed by the past and the past remains open to understanding. Since May 2016 Conceptual Fine Arts is entirely supported by a body of patrons.
Piero Bisello | Maria do Carmo M. P. de Pontes | Stamatia Dimitrakopoulos | Marta Galli | Zihan Kassam | Paul Laster | Gianluca Poldi | Carlo Prada
research and translations
Collezione Lucien Bilinelli
Collezione Marco Rezzonico
Collezione Roberto Spada
Conceptual Fine Arts is independent from art galleries and auction houses. The magazine is made possible by the kind support of its patrons.
Even economists admit it: mathematics has turned economy into a dogma, thus indisputable. It is no coincidence that the recent Nobel laureates in economics are not economists but mathematicians. This process has produced a major effect, which is in the sight of all: the fail of the society’s ambition for egalitarianism.
A struggle to undermine this dictatorship of finance is therefore needed and we believe that a starting point could be found in what the Dadaists did during the First World War. That movement of brilliant artists had decided to destroy a society which had devoted itself to self-destruction. With the aim of destroying the society, Dadaists had put in their target the very foundation of it: the language.
Dada has destroyed the past, the tradition, and everything that had produced the war. But it would be a mistake to think that Dada hasn’t built anything. The endless possibilities opened up by Tristan Tzara, Marcel Duchamp, Kurt Schwitters, Picabia and other Dadaists have inspired the birth of new art, which is still alive.
Nowadays in the art scene, many observers are disappointed by the provocations and the excessive experimentation, by hermeticism and self-contained art. So they call for a return to order, therefore, to tradition. But the return to order is not what our society needs today. What we ought to achieve is instead a new awareness of the world, which can only be attained if we query the certainties of the present. Thus, looking into the future, as well as into the past, without being afraid of novelty.
On December 25, 1963, Tristan Tzara, who is to be considered the true speculative mind behind the Dada movement, died in Paris. Remembering him today is to assert that to get out of the war we need a new art. “A priori, in other words with its eyes closed, Dada places before action and above all: Doubt. DADA doubts everything. Dada is an armadillo. Everything is Dada, too. Beware of Dada” (Tristan Tzara in “Dada manifesto on feeble love and bitter love”,12th december 1920).
As Dada marches it continuously destroys, not in extension but in itself. From all these disgusts, may I add, it draws no conclusion, no pride, no benefit. It has even stopped combating anything, in the realization that it’s no use, that all this doesn’t matter. What interests a Dadaist is his own mode of life. But here we approach the great secret.
Dada is a state of mind. That is why it transforms itself according to races and events. Dada applies itself to everything, and yet it is nothing, it is the point where the yes and the no and all the opposites meet, not solemnly in the castles of human philosophies, but very simply at street corners, like dogs and grasshoppers.
Like everything in life, Dada is useless.
Dada is without pretension, as life should be. Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all the spaces that reason has not been able to fill with words or conventions.
Tristan Tzara, from “Dada manifesto”, 1918.