Dada and Constructivism are two of the artistic movements that have arisen as a feature in the
critical moments of history: World War I and the Russian Revolution. However, despite this similarity, often
they have been regarded by historians opposing movements, considering that the first focused on intuitive
thinking and transrational while Constructivism examined into the objective beauty and pure forms.
Dadaism emerged with the intent to destroy all codes and set in the art world systems. It is an
inartistic, antiliterary and antipoetic movement, questioning the existence of art, literature and poetry. It is
presented as a total ideology, as a way of life and as an absolute rejection of any tradition or previous
scheme. Dadaism goes in contradiction of the eternal beauty, the eternity of the principles, the laws of
logic, the immobility of thought and the universal. The Dadaists promoted change; individual freedom,
spontaneity, immediacy, randomness, contradiction, chaos defend against the order and imperfection.
Proclaimed anti-art of protest, shock, scandal, provocation, with the help of ironic-satiric means of
expression. They are based on the absurd and as worthless and introduce chaos into their scenes,
breaking the traditional art forms. They also served mount fragments and objects of daily waste.
According to the web page www.arthistoryarchive.com, the history behind the name merely resembles the
movement itself:
“The most widely accepted account of the movement’s naming concerns a meeting held in 1916
at Hugo Ball’s Cabaret (Café) Voltaire in Zürich, during which a paper knife inserted into a
French-German dictionary pointed to the word “dada.”… By the end of World War I, Dada was
very popular in the German cities Berlin, Cologne, and Hanover, expressing the view of many
Germans at the time that the war was folly. The artists included: Raoul Hausmann, John
Heartfield, Max Ernst, Kurt Schwitters, Otto Dix, and George Grosz (Dix and Grosz later became
