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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I hate slimy objectivity, and harmony, the science that considers that everything is
always in order. Carry on, children, humanity ... Science says that we are nature's
servants: everything is in order, make both love and war. Carry on, children ...
But because everything that comes from us freely without any intervention from
speculative ideas, represents us. We must accelerate this quantity of life that
spends itself so readily here, there and everywhere. Art is not the most precious ...
Disgust with the magnificence of philosophers who for 3000 years have been
explaining everything to us (what was the use?), disgust with the pretensions of
those artists who were god's representatives on earth, disgust with passion, with
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Monsieur Antipyrines Manifesto
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