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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This is also a point of view; but all flowers aren't saints, luckily, and what is divine
in us is the awakening of anti-human action. What we are talking about here is a
paper flower for the buttonhole of gentlemen who frequent the ball of masked ...
To describe a flower: relative poetry more or less artificial flower. To see. Until we
discover the intimate vibrations of the final cell of a mathematical god-brain and
the explanation of the primary astronomies — its essence — we shall always find
To see, beyond the horizontal which expands as it tranquillises the vegetable
novelties of far-off countries, icy inflorescences. The vertical: thinking of infinity
while feeling the depth of a moment of animality. H. Arp Symmetry flower of a
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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