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've had enough of the cubist and futurist academies: laboratories of formal
ideas. Do we make art in order to earn money and keep the dear bourgeoisie
happy? Rhymes have the smack of money, and inflexion slides along the line of
vegetation, resin and rain is our sweat, we bleed and burn with thirst, our blood is
strength. Cubism was born out of a simple manner of looking at objects: Cézanne
painted a cup twenty centimetres lower than his eyes, the cubists look at it from ...
This is why the sympathy certain “constructivist” cubists feel towards him doesn't
surprise me. 3. A writer whose reputation has been systematically usurped by the
sweet, latent irony of a few snobs, is A. Dumas père. Yet his novels are ...
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