Being a fan of authentic Dada, I find today's art - what I call 'Bankers' Dada' - mind-numbingly dull. The most challenging work I've seen of late is by The British Art Resistance. Their document, 'A Call for Heroes in an Age of Cowards', is apt in these days of witless chancers.
Billy Childish’s quote expresses his discontent with the current state of contemporary art, particularly in the context of Dadaism. He distinguishes between what he considers authentic Dada, a radical and avant-garde movement that emerged in the early 20th century, and what he refers to as "Bankers' Dada." By using the term "Bankers' Dada," he criticizes modern art that he believes lacks the subversive, anti-establishment energy that Dada once embodied. Childish finds such art to be "mind-numbingly dull," implying that it has become commercialized and devoid of the sharp critique of society that Dada was originally known for.
Childish also praises the work of The British Art Resistance, a group whose document, "A Call for Heroes in an Age of Cowards," he finds to be challenging and relevant. The document’s call for heroes in a time he views as filled with cowards resonates with Childish's frustration towards what he perceives as the superficial and unchallenging nature of much contemporary art. His admiration for this work reflects his desire for art that provokes thought and challenges societal norms, rather than simply catering to commercial interests.
The phrase "witless chancers" further reveals Childish’s disdain for the current artistic climate, where he feels many artists are more interested in taking risks for the sake of attention rather than creating meaningful, thought-provoking work. For Childish, art should be about subversion, innovation, and provocation—qualities that he feels are lacking in today's art scene.
Overall, Childish’s quote is a critique of the commercialization of art and the dilution of its original revolutionary spirit. He calls for a return to art that challenges societal values and encourages deeper reflection, much like the early days of Dadaism, while also expressing admiration for groups like The British Art Resistance that are attempting to revive those ideals in contemporary culture.
QTNguyen Quang Thieu
The tone here is biting, and part of me loves that—but is this kind of critique helping younger artists, or just gatekeeping what ‘real’ art is? Calling out shallow work is fair, but dismissing everything that doesn't align with an older avant-garde seems limiting. Is there room for evolution within Dadaist principles, or must all authentic resistance look like the past?
DQDuong Quynh
I feel torn reading this. On one hand, I respect the nostalgia for raw, uncompromising movements like Dada. But isn’t it also possible that every generation defines its own form of resistance, even if it doesn’t look like what came before? Could today’s ‘dull’ art be responding to a different kind of struggle, maybe more subtle or internalized?
ADAnh Duong
This quote really makes me wonder—have we lost the courage to create genuinely disruptive art? It feels like so much of what’s popular is safe, ironic, or filtered through a marketable lens. The reference to 'heroes in an age of cowards' hits hard. Are contemporary artists too worried about career security or social media approval to take real risks?
NLLan Nhi Luyen
I find this fascinating, but what exactly separates ‘authentic’ Dada from what’s being labeled as ‘Bankers' Dada’? Is it about intent, execution, or how art is consumed and funded today? Maybe the institutions themselves—museums, galleries, collectors—are shaping creativity to fit capitalist comfort zones. How can we distinguish between true provocation and performative edginess in modern art?
YLDuong Yen Ly
This is such a strong take—do you think the commercialization of art has truly drained it of its rebellious or transformative power? I get the sense that some artists today are more brand managers than visionaries. Is it even possible for radical, disruptive movements like Dada to exist now, or have they been co-opted by the very systems they once critiqued? I’d love to hear examples of who’s still pushing boundaries.