José Ramón Alcalá


dadaland collective is a group randomly formed by international artists of different generations but with common interests in the heat of online social networks, which takes as a point of departure some creative, artistic and philosophical attitudes of the historical Dada group, and, by extension, of the Surrealists. But, as we do in the 21st century and exactly 100 years after they exploded creatively, our "little cabaret" is now the infinite Net.

Like our predecessors, we try to stir the consciences of our contemporaries, but we do so in the online setting of social networks. Our real actions are publicly displayed in the cyber Cabaret Voltaire of our Facebook chat in the Internet age.

Some of our colleagues have baptized this self-proclaimed attitude, "cyberpunk". Cyberpunk is the heir of the heroic of the 90s of the last century, and both claim to be the only (and most recent) artistic movements of the international avant-garde of the current Postinternet period. dadaland collective happens performatively in the epochal time, recognizing the importance and influence of the original Dada without wishing to replicate it in any way, but like its predecessor relying on the laws of chance.

The artistic attitude that its members adopt (and that unites us as a collective) entails a social and political rebellion, guided and modeled by a playful critique, made from the different online audiovisual languages of artistic practices in social networks. Practical (or theoretical-practical) individual proposals, which serve as agglutination for the development of our general proposal that we now offer for our first exhibition SPEAK!, is composed of an amalgam and liquid (more viscous) than the virtual space that contains it. It is therefore a "programmatic" attitude (with or without an explicit Manifesto).

This cyberpunk art is nothing but the artistic and cultural expression, real and spontaneous, of the generation of Postinternet and Millennial individuals, offering guidelines on their characteristics and connecting us to the framework of our online group. It is like a powerful feeling that becomes part of the contemporary artistic movements, pretended and pretentiously postmodern, and in which harmoniously coexist (or not) the stolen images, the collective memes, the self-generated sound like the creaking of the Herzian waves of online social networks, improvised compositions generated by open source software in real time, the textual language that listens to the prophecy of William S. Burroughs "language is a virus...", emoticons giving a minimalist form (which signals traffic) to our millennial sentiments, the history of an art illegally copied and again prostituted in the great Internet canvas, the non-aesthetic geek as a visual flag, the collage of the whole world swallowed up by Internet and where "creation survives in fragments under the ruins of a world for which we can no longer find expression "(W. Weidle, The Immortality of the Muses ), the self-representations that use the mirror-screen as a setting for the online pose and gaze because "I like you; your eyes are full of language "(Anne Sexton), the amateur selfie that conquers, one and a million times more every second, new territories of power from the "this I am" photographic to the "here I am" post digital.

SPEAK! is therefore "words, language, communication, information, letters, voice, dialects, linguistics, sounds, people", whose frequency is modulated individually by the members of dadaland collective, sweat-soaked for the daily effort of the electronic conversation in our neighborhood yard of Facebook, schoolyard, monastic cloister, academic agora or street bar terrace. Everything that does not unite us, everything in which we disagree, links us individually as a collective in the luminescent sea of the Internet.

José R. Alcalá, dadaland collective, 2019