Jean Arp or Hans Arp (16 September 1886 – 7 June 1966) was a German-French sculptor, painter, poet, and abstract artist in other media such as torn and pasted paper.
We do not wish to imitate nature, we do not wish to reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art.
Wij wezen allles wat kopie of beschrijving was af en lieten het elementaire en het spontane in volle vrijheid reageren. Omdat de plaatsing van de vlakken en de kleuren en de verhoudingen van deze vlakken louter op toeval schenen te berusten, verklaarde ik dat deze werken, zoals in de natuur, gerangschikt waren "volgens de wetten van het toeval", toeval dat voor mij alleen maar een beperkt onderdeel vormde van een onpeilbare reden van bestaan, van een orde die in zijn totaliteit ontoegankelijk was.
A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone. . . but it is an incomplete art which privileges the intellect to the detriment of the senses.
Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.
The essence of a sculpture must enter on tip-toe, as light as animal footprints on snow.
Dada was given the Venus of Milo a clyster and has allowed the Laocoön and his sons to rest awhile, after thousands of years of struggle with the good sausage Python. The philosophers are of less use to Dada than an old toothbrush, and it leaves them on the scrap heap for the great leaders of the world.
The vertical and the horizontal are the extreme signs available to man for touching the beyond and his inwardness.
the streams buck like rams in a tent whips crack and from the hills come the crookedly combed shadows of the shepherds. black eggs and fools' bells fall from the trees. thunder drums and kettledrums beat upon the ears of the donkeys. wings brush against flowers. fountains spring up in the eyes of the wild boar.
Zurich in 1915,. . . While the thunder of the batteries rumbled in the distance, we pasted, we recited, we versified, we sang with all our soul. We searched for an elementary art that would, we thought, save mankind from the madness of these times.
I use very little red. I use blue, yellow, a little green, but especially. . . black, white and grey. There is a certain need in me for communication with human beings. Black and white is writing.
While guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and find a new order of things that would restore the balance between heaven and hell.
DaDa is beautiful like the night, who cradles the young day in her arms.
Each one of these bodies (art-works Arp made) certainly signifies something, but it is only once there is nothing left for me to change that I begin to look for its meaning, that I give it a name.
The important thing about Dada, it seems to me, is that Dadaists despised what is commonly regarded as art, but put the whole universe on the lofty throne of art.
Art is a fruit that grows in man, like a fruit on a plant, or a child in its mother's womb.
The man who speaks and writes about art should refrain from censuring or pontificating. He will thus avoid doing anything foolish, for in the presence of primordial depth all art is but dream and nature.
Dada aimed to destroy the reasonable deceptions of man and recover the natural and unreasonable order.
As the thought comes to me to exorcise and transform this black with a white drawing, it has already become a surface. . . Now I have lost all fear, and begin to draw on the black surface.
I did exhibitions with the Surrealists (in Paris, in 1929) because their attitude revolted against 'art' and their attitude toward life itself was wise, as was Dada's.
We attempted perfection; we wanted an object to be without flaw, so we cut the papers with a razor, pasted them down meticulously, but it buckled and was ruined. . . that is why we decided to tear prewrinkled paper, so that in the finished work of art imperfection would be an integral part, as if at birth death were built in.