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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We want to give back to mankind the ability to understand that a unique fraternity
comes into existence at the intense moment when beauty and life itself, brought
into high tension on a wire, ascend towards a flash-point; the blue tremor linked ...
... but I am loath to identify explanatory (and probably asphyxiating) hypotheses
with the principles of life, activity and certainty. The crocodile hatches future life,
rain falls for vegetable silence, we are not creators by analogy. The beauty of the
asking us why, the beauty of matter belongs to no one, for henceforth it is a
physico-chemical product. After the great inventions and storms, all the little
swindles of the sensibility, of knowledge, and of the intelligence have been swept
up into ...
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Monsieur Antipyrines Manifesto
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