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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Nature is organised in its totality, the rigging of the fabulous ship up to the focal
point in the principles that regulate crystals and insects in hierarchies like trees.
Every natural thing keeps its clarity of organisation, hidden, pulled by
The unforeseen is everywhere's explosive star, and speed harmonises with the
tranquil, curious narrator, in a natural affirmation of constant novelty. This
collision begets the burlesque. The past put in a reflecting mirror which is
To fix at the point where forces have accumulated, from which the expressed
meaning springs, the invisible radiation of substance, the natural — though
hidden and accurate — relationship, naively, without explanation. To round off
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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