Seven Dada Manifestos and Lampisteries
Tristan Tzara—poet, literary iconoclast, and catalyst—was the founder of the Dada movement that began in Zürich during World War I. His ideas were inspired by his contempt for the bourgeois values and traditional attitudes towards art that existed at the time. This volume contains the famous manifestos that first appeared between 1916 and 1921 that would become the basic texts upon which Dada was based. For Tzara, art was both deadly serious and a game. The playfulness of Dada is evident in the manifestos, both in Tzara's polemic—which often uses dadaist typography—as well as in the delightful doodles and drawings contributed by Francis Picabia. Also included are Tzara's Lampisteries, a series of articles that throw light on the various art forms contemporary to his own work. Post-war art had grown weary of the old certainties and the carnage they caused. Tzara was on the cutting edge at a time when art was becoming more subjective and abstract, and beginning to reject the reality of the mind for that of the senses.
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Monsieur Aa the Antiphilosopher sends us this Manifesto was read at the Dada
Festival at the Salle Gaveau, Paris, on May 22nd 1920. Published in “391” no. 12,
1920. Dada Manifesto on Feeble Love and Bitter Love was read at the Galerie ...
Note on Negro Art, published in “Sic”, Paris, September-October 1917. Note on
Art — H. Arp, published in “Dada 2”, Zurich, December 1917. Guillaume
Apollinaire, published in “Dada 2”, Zurich, December 1917. Pierre Reverdy,
published in ...
The Bankruptcy of Humour, Reply to a Questionnaire, published in “Aventure”,
Paris, November 1921. I have seen “the deflatable man” at the Olympia,
published in “Littérature”, March 1922. Note on the Comte de Lautréamont, or the
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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