Abstract In 2016, the art world celebrated the Dada centenary with festivities all over the globe; the interest in the European avant-garde movement appears stronger than ever. As long as six years ago, the exhibition “Dada South? Experimentation, Radicalism and Resistance” took place in the Iziko South African National Gallery in Cape Town and made a significant contribution to the discourse on Dada in the global context. “Dada South?” opened up an intriguing position in a highly topical discourse. The show engaged in central issues of the current discussions on global art practice and opened the view to the North-South axis of Dadaist practice. The exhibition considered Dada’s legacies in relation to performance, counter-rational strategies, collectivity, deconstruction, and resistance in South African art practice and discursively engaged in the discussion of a global understanding of art and art history. However, the show was barely noticed in the international context. Especially regarding the current interest in Dada, and in the context of the discourse on global art and exhibition practice, “Dada South?” must be brought into focus. In this paper, the exhibition design and objective are analysed and the significance of the exhibition in the global context is addressed.

中文翻译：

---

“达达南？实验、激进主义和抵抗”：从南非的角度看达达的遗产

摘要 2016年，艺术界在全球各地庆祝达达一百周年；对欧洲前卫运动的兴趣似乎比以往任何时候都强烈。早在六年前，展览“达达南？“实验、激进主义和抵抗”在开普敦的 Iziko 南非国家美术馆举行，并为全球语境中关于达达的讨论做出了重大贡献。“达达南？” 在高度话题性的话语中开辟了一个有趣的位置。该展览涉及当前全球艺术实践讨论的核心问题，并为达达主义实践的南北轴打开了视野。展览考虑了达达在表演、反理性策略、集体、解构、和南非艺术实践中的阻力，并散漫地参与对艺术和艺术史的全球理解的讨论。然而，该节目在国际范围内几乎没有引起注意。特别是关于当前对达达的兴趣，以及在全球艺术和展览实践的话语背景下，“南方达达？” 必须引起重视。本文分析了展览的设计和目的，阐述了展览在全球背景下的意义。