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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I am writing a manifesto and there's nothing I want, and yet I'm saying certain
things, and in principle I am against manifestos, as I am against principles (
quantifying measures of the moral value of every phrase — too easy;
approximation was ...
Carry on, children, humanity, nice kind bourgeois and virgin journalists ... or I am
against systems; the most acceptable system is that of having none on no
principle. Y. To complete oneself, to perfect oneself in one's own pettiness to the
The bourgeois spirit, which renders ideas usable and useful, tries to assign to
poetry the invisible role of the principle engine of the universal machine: the
practical soul. With its help they'll give Christ back to men: expressionism. In this
way it ...
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