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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Hygiene becomes mygod mygod purity. Must we no longer believe in words?
Since when do they express the contrary of what the organ that utters them thinks
and wants?” Herein lies the great secret: Thought is made in the mouth.
The new art is first and foremost concentration, the lines from the base to the
apex of a pyramid forming a cross; through purity we have first deformed and
then decomposed the object, we have approached its surface, we have
He makes man better. Cultivates the garden of intentions. Commands. The purity
of a principle makes me happy. To see, beyond the horizontal which expands as
it tranquillises the vegetable novelties of far-off countries, icy inflorescences.
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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