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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Dada could rather be called cowardly, but cowardly like a mad dog; it recognises
neither method nor persuasive excess. The lack of garters which makes it
systematically bend down reminds us of the famous lack of system which
basically has ...
I commit suicide at 65%. My life is very cheap, it's only 30% of life for me. My life
has 30% of life. It lacks arms, strings and a few buttons. 5% is devoted to a state
of semi-lucid stupor accompanied by anaemic crackling. This 5% is called DADA.
... first a weakness and later, in order to justify itself, called itself sensitivity.
Human imperfection, it would appear, possesses more serious virtues than the
exactitude of machines. And what about still lifes? We'd be glad to know whether
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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