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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Art is a private thing, the artist makes it for himself; a comprehensible work is the
product of a journalist, and because at this moment I enjoy mixing this monster in
oil paints: a paper tube imitating the metal that you press and automatically ...
The organism is complete in the mute intelligence of a nervure and in its
appearance. Man is dirty, he kills animals, plants, his brothers, he quarrels, he's
intelligent, talks too much, doesn't know how to express his thoughts. But the
artist is a ...
But the artist is a creator: he knows how to work in a manner that becomes
organic. He decides. He makes man better. Cultivates the garden of intentions.
Commands. The purity of a principle makes me happy. To see, beyond the
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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