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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From there you can hear all the military marches, and come down cleaving the air
like a seraph landing in a public baths to piss and understand the parable. DADA
is neither madness, nor wisdom, nor irony, look at Monsieur Antipyrine's ...
DADA is neither madness, nor wisdom, nor irony, look at me, dear bourgeois. Art
used to be a game of nuts in May, children would go gathering words that had a
final ring, then they would exude, shout out the verse, and dress it up in dolls' ...
... proverb is observation and experience, that of the dadaist proverb is a
spontaneous concentration which penetrates in the guise of the former and may
achieve the same degree and result: the little collective madness of a sonorous
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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