International, iconoclastic, inventive, born out of the institutionalised madness of the First World War, Dada erupted in cities throughout Europe and the USA, creating shock waves that offended polite society and destabilised the cultural and political status quo. In spite of its sporadic and ephemeral character, its rich and diverse legacy is still powerfully felt nearly a century later. Following on from Dada and Beyond Volume 1: Dada Discourses, the sixteen essays in this collection provide critical examinations of Dada, placing particular emphasis on the ongoing impact of its creative output. The chapters examine its pivotal figures as well as its more peripheral protagonists, their different geographic locations, and the extraordinary diversity of their practices that included poetry, painting, printmaking, dance, performance, theatre, textiles, readymades, photomontage and cinema. As the book's authors reveal, Dada not only anticipates Surrealism but also foreshadows an extraordinary array of more recent tendencies including action painting, conceptual art, outsider art, performance art, environmental and land art. In its privileging of chance and automatism, its rejection of formal artistic institutions, its subversive exploitation of mass media and its constant self-reconstitution and self-redefinition, Dada deserves to be seen as a cultural phenomenon that is still powerfully relevant in the twenty-first century.

国际性的、标志性的、创造性的、从第一次世界大战的制度化的疯狂中诞生的达达，在欧洲和美国的各个城市爆发，产生了冒犯礼貌社会的冲击波，破坏了文化和政治现状。尽管它具有零星和短暂的特点，但在近一个世纪后，人们仍能强烈地感受到它丰富而多样的遗产。继《达达与超越》第一卷：达达论述之后，本集的16篇文章对达达进行了批判性研究，特别强调了其创作成果的持续影响。这些章节研究了它的关键人物和更多的外围主角，他们的不同地理位置，以及他们的实践的非凡多样性，包括诗歌、绘画、版画、舞蹈、表演、戏剧、纺织品、现成品、照相术和电影。正如本书作者所揭示的，达达不仅预示着超现实主义，也预示着一系列非同寻常的近期倾向，包括行动绘画、概念艺术、局外人艺术、行为艺术、环境和土地艺术。在其对机会和自动主义的特权、对正式艺术机构的拒绝、对大众媒体的颠覆性利用以及其不断的自我重构和自我重新定义中，达达值得被视为一种文化现象，在二十一世纪仍然具有强大的相关性。