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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Thought is a fine thing for philosophy, but it's relative. Psychoanalysis is a
dangerous disease, it deadens man's anti-real inclinations and systematises the
bourgeoisie. There is no ultimate Truth. Dialectics is an amusing machine that
leads us ...
They have been taught to steal — stealing has become a function — the most
convenient and least dangerous thing is to steal oneself. They are all very poor.
The poor are against DADA. They have a lot to do with their brains. They'll never
Dada places an artificial sweetness on things, a snow of butterflies which have
come out of a conjuror's head. Dada is immobility and doesn't understand the
passions. You'll say that this is a paradox because Dada manifests itself by
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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