Tristan Tzara--poet, literary iconoclast, and catalyst--was the founder of the Dada movement that began in Z#65533;rich 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.… (more)
DADA is our intensity: it erects inconsequential bayonets and the Samatral head of German babies; Dada is life with neither bedroom slippers nor paralles; it is against and for unity and definitely against the future; we are wise enough to know that our brains are going to become flabby cushions, that our antidogmatism is as exclusive as a civil servant, and that we cry liberty but are not free; a severe necessity with neither discipline nor morals and that we spit on humanity.