Dadaism began on the eve of the First World War out of the need for artists to oppose war and violence. This critical mass of creative people created an explosive movement that was a total opposition to the structure and frameworks of the society of that time.

Dadaism as an artistic movement particularly speaks to us today when, unfortunately, we see so many similarities with that time: conflicts around the world, the refugee crisis, appalling poverty. In today’s political climate, artists must find a way to creatively engage in order to oppose systems of violence, such as misogyny, wars, and the terror of profit. The only program of Dadaism was that there was no program, and it was precisely this bold stance that gave the movement power, which spread in all directions, freed from aesthetic and social constraints. On the other hand, it is possible that Dadaism’s refusal to have any program led to the movement never facing issues such as patriarchy.

The female artists of Dadaism created together with their colleagues and established some artistic concepts for the first time. It is necessary to search for different interpretations that will provide a more complete picture of the DADA movement and represent an interpretation of the movement based on a more relevant history in which female artists had an equally important role as male artists.