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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And lower down, women's genitals, with teeth, that swallow everything — the
poetry of eternity, love, pure love, naturally — rare steaks and oil painting.
Everybody who looks and who understands can easily be classified somewhere
Ideas poison painting; if the poison bears the sonorous name of a big philological
pot-belly, art becomes contagion and, if people rejoice at this intestinal musicality
, the mixture becomes a danger for clean and sober men. It is only negative ...
Noble painting, with curly hair, in gilt frames. That's their marble; that's our piss.
When everything that people call art had got the rheumatics all over, the
photographer lit the thousands of candles in his lamp, and the sensitive paper
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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