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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Long live the undertakers of the combine! Every act is a cerebral revolver shot —
both the insignificant gesture and the decisive movement are attacks (I open the
fan of knock-outs for the distillation of the air that separates us) — and with the ...
H. Arp Symmetry flower of a midnight encounter in which fever and bird become
the tranquillity of a halo and the hop-bine climbs the flower becomes crystal or
beetle magnet star to want to live a simple life. If we can live a miracle we have ...
Full of silent sap. The mechanism of the aorta makes more noise than a life, its
cog-wheels are on fire, awakening: typography of one's primary feelings, too
simple to be deciphered so soon by the captains of science. My dear Picabia: “To
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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