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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If I shout: Ideal, ldeal, ldeal Knowledge, Knowledge, Knowledge, Boomboom,
Boomboom, Boomboom I have recorded fairly accurately Progress, Law, Morals,
and all the other magnificent qualities that various very intelligent people have ...
I know that those who shout loudest against it are actually preparing a
comfortable perfection for it; they call it the Future Hygienic. People envisage the
(ever-impending) annihilation of art. Here they are looking for a more art-like art.
To sleep on a razor and on fleas in rut — to travel in a barometer — to piss like a
cartridge — to make faux pas, be idiotic, take showers of holy minutes — be
beaten, always be the last one — shout out the opposite of what the other fellow
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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