Dada Data

Sarah Hegenbart is Lecturer in Art History at Technical University Munich, Germany, and currently acting as a substitute for the professorship in art research with a focus on contemporary art at the Braunschweig University of Art. Prior to this, she worked as an Associate Lecturer at the Courtauld Institute, where she also undertook her doctoral research, and as Curator of Art at the Pembroke Art Gallery at the University of Oxford, UK.Mara-Johanna Kölmel is Associate Director of the exhibition platform peer to space Berlin, Germany. She obtained her PhD from Leuphana University Lüneburg and holds an MA in Art History from the Courtauld Institute. Mara has performed curatorial roles for Akademie Schloss Solitude, Kunsthalle Hamburg & the Biennale of Sydney.

• List of Illustrations Notes on Contributors AcknowledgementsIntroduction: From Dada Tricks to Post-Truth Politics, Mara-Johanna Kölmel (Leuphana University Lüneburg, Germany & The Courtauld Institute of Art, UK) and Sarah Hegenbart (Technical University Munich, Germany)1. FROM DADA TO DATA1.1. Dadadatadada: From Dada to Data and Back Again, Mara-Johanna Kölmel (Leuphana University Lüneburg, Germany & The Courtauld Institute of Art, UK)1.2. Clouds, Critique & Contradiction: Programming Dissent in Dada and Data Art, Meredith Hoy (Herberger Institute for Design and the Arts, Arizona State University, USA)1.3. The Legacy of the Berlin Dada Media Hoaxes in Contemporary Parafictive Acts, Rebecca Smith (Liverpool School of Art and Design, Liverpool John Moores University, UK)Visual Essay by Montage Mädels2. GLOBAL DADA2.1. Sheida Soleimani, Cyborg: Photomontage in an Expanding Network, Matthew Biro (University of Michigan, USA)2.2. Black Dada Data: Collage as a Tool of Resistance against White Supremacy Thinking in the DigitalAge, Sarah Hegenbart (Technical University Munich, Germany)2.3. Dada’s African South, Roger van Wyk (Independent Curator and Director of Educentric)2.4 Paula Rego: A Dada Attitude against Authority in the Post-War Period, Leonor de Oliveira (Universidade NOVA de Lisboa, Portugal)Visual Essay by donna Kukama3. BIG DADA DATA3.1. Big Dada, Big Data: Schwitters’s Merzbau, the Private and the Trash, Natalie Koerner (Royal Danish Academy of Fine Arts / University of Copenhagen, Denmark)3.2. Identity, Ecology, and the Arts in the Age of Big Data Mining, Roberto Simanowski (University of Basel, Switzerland)3.3 The Digital Revolution as Counter-Revolution, Joshua Simon (Pennsylvania Academy of Fine Arts, USA)Visual Essay by Kemang Wa Lehulere4. DADA x ALT-RIGHT. FAKING THE TRUTH4.1. Down the Rabbit Hole of The Alt-Right Complex: Artists Exploring Far Right Online Culture, Inke Arns (Curator and Artistic Director, Hartware MedienKunstVerein, Germany)4.2. Fashwave: The Alt-Right’s Aestheticization of Politics and Violence, Maik Fielitz (Institute for Peace Studies and Security Policy at the University of Hamburg, Germany) and Lisa Bogerts (Independent Researcher, Germany)4.3. Post-Internet Art and the Alt-Right Visual Culture, Vid Simoniti (University of Liverpool, UK)Visual Essay by IOCOSE5. DADA DATA TACTICS5.1. Pixel Pirates: Theft as Strategy in the Art of Joan Ross and Soda Jerk, Jaime Tsai (National Art School, Sydney, Australia)3.3. Precarious Data Aesthetics. An Exploration of Tactics, Tricksters and Idiocy in Data, Annet Dekker (Independent Researcher, Writer and Curator)5.3. The Multiple Narratives of Post-Truth Politics, Told through Picture, Jack Southern (University of Gloucestershire, City and Guilds of London Art School, UK)Index

Providing new ways of combatting the current and continued onslaught of right-wing aggression, Dada Data offers the potential for a way forward through a variety of curatorial, political and social interventions.