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.
Resultaten 1-3 van 14
Whence the sorrows of conjugal life. To be plain: The amusement of redbellies in
the mills of empty skulls. - DADA DOES NOT MEAN ANYTHING If we consider it
futile, and if we don't waste our time over a word that doesn't mean anything .
Dada gets into debt and doesn't live on its well-filled wallet. The good Lord
created a universal language, that's why people don't take him seriously. A
language is a utopia. God can allow himself not to be successful: so can Dada.
That's why ...
Dada is immobility and doesn't understand the passions. You'll say that this is a
paradox because Dada manifests itself by violent actions. Yes, the reactions of
individuals contaminated by destruction are fairly violent, but once these
Wat mensen zeggen - Een review schrijven
Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
5 andere gedeelten niet weergegeven