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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But this magnificent quality of the mind is precisely the proof of its impotence.
People observe, they look at things from one or several points of view, they
choose them from amongst the millions that exist. Experience too is the result of
philosophers was let loose (money-grubbing, mean and meticulous weights and
measures) and one understood once again that pity is a feeling, like diarrhoea in
relation to disgust, that undermines health, the filthy carrion job of jeopardising ...
The bitterest banditry is to finish one's thought-out phrase. The banditry of the
gramophone, the little antihuman mirage that I like in myself — because I believe
it to be ridiculous and dishonest. But the bankers of language will always get their
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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