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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Logic is always false. It draws the superficial threads of concepts and words
towards illusory conclusions and centres. Its chains kill, an enormous myriapod
that asphyxiates independence. If it were married to logic, art would be living in
The false rumour was started by a laundress at the bottom of her page, the page
was taken to the barbaric country where humming-birds act as the sandwich-men
of cordial nature. This was told me by a watch-maker who was holding a supple ...
Nor of the Dumas-fils toothpaste, the false crocodile Rollinat, nor of the Sully vase
and the broken Prudhomme, the boring Emile Augier ... I ought to quote all M.
Doumic's history (I apologise for talking about the latter, because I believe he's
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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