# From Grand Narratives to Chaos: The Crisis of Meaning in Art

- Author: artcycle
- Date: 2025-05-06
- Canonical: https://artcycle.co/en/journal/buyuk-anlatilardan-kaosa-sanatta-anlam-krizi
- Category: Art & Seeing

> From the Dadaists who cried “Everything is absurd!” to Yves Klein’s void… We explore the breaking point at which art stopped producing meaning and made the crisis of meaning visible.

“What puts an end to the real is what seems more real than the real.” Baudrillard.

Once, everything had a meaning. History was moving forward, human reason was exalted and art followed great ideals. But somewhere something broke: meaning shattered, chaos took the stage, and art began searching for a new language right in the middle of this silence.

After the First World War the Dadaists cried out, “Everything is absurd!” Art would no longer carry a message or bow to rules; its task was precisely to tear meaning down. Declaring a urinal a work of art was a symbol of the crisis of meaning.

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## Marcel Duchamp: L.H.O.O.Q. (1919)

![Marcel Duchamp, L.H.O.O.Q. (1919): a postcard of the Mona Lisa with a moustache and goatee drawn on](https://artcycle.co/media/wp/2026/01/Marcel-Duchamp-–-L.H.O.O.Q.-1919-617x1024.jpg)

Leonardo’s sacred icon is turned into a mockery with a moustache and beard. With this intervention Duchamp demolishes the seriousness, sanctity and male-dominated codes of art history. If this is “art”, nothing is fixed any more.

## Yves Klein: Le Vide (1958)

![Yves Klein, Le Vide (1958): an empty white gallery room with a curtained corner; black-and-white photograph](https://artcycle.co/media/wp/2026/01/Yves-Klein-–-Le-Vide-1958.webp)

In Le Vide, Yves Klein emptied the gallery entirely and turned the void into a work of art. The work emphasises the idea of “immateriality” beyond matter. It invites viewers to reflect on their own perception and existence.

## Hannah Höch: Dada’s Little Sun (1921)

![Hannah Höch, Dada’s Little Sun (1921): an eye and a laughing mouth collaged onto a yellow sun](https://artcycle.co/media/wp/2026/01/Hannah-Hoch-–-Dadas-Little-Sun-1921.webp)

In this collage made from newspaper and magazine fragments, Höch reflects the turmoil of Weimar Germany. The work questions social norms from feminist and queer perspectives. The sun and the slogans create associations that open onto the unconscious.

## Anselm Kiefer: The Orders of the Night (1996)

![Anselm Kiefer, The Orders of the Night (1996): a figure lying on the ground beneath blackened sunflowers](https://artcycle.co/media/wp/2026/01/Anselm-Kiefer-–-The-Orders-of-the-Night-1996.webp)

Kiefer’s painting, with a figure lying beneath blackened sunflowers, offers a sense of cosmic weight. The cracked paint surfaces evoke decay and rebirth. With mythological themes of creation it produces a universal sorrow.

## Kurt Schwitters: Merzbau (1923 to 1937)

![Kurt Schwitters, Merzbau (1923 to 1937): a room installation covered in white, angular surfaces; black-and-white](https://artcycle.co/media/wp/2026/01/Kurt-Schwitters-–-Merzbau-1923–1937.jpg)

Schwitters turned his house in Hanover into an ever-growing collage space. Built from waste materials, the structure symbolises the creative force born from destruction. Merzbau exists as a living, changing work of art.

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With Freud’s discoveries, the meaning of art shifted from the outer world to the inner one. Art became a language built with images of suppressed desires, unconscious conflicts and traumas. The artist was the interpreter not of a rational narrative but of an inner chaos.

Today’s art holds more experience than narrative. Art no longer exists to produce meaning but to make the lack of meaning visible. Sometimes nothing is meaningful. And precisely because of that, art is still necessary.