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DADA
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-_ r u o s i Dada
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INTENSITY
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obay f l a o nti que l head ife e s tra r con is l s in e Suma Dada pers no t c e it er and th bies; m slip f o r e o a nets man b bedro nst a n d i n s t t h r i o a r Ge neithe is aga l y a g u g h t e o t t h i t i n ing wi llels; efin wise e re go d a r pa y a n d a r e s a ons, i ain t u n i r e ; w e our b r y cush s as i t u b f u t w t h a f l a b atism t, and e m k n o e c o m ti-dog ser van not l t o b our an a civi but are ith s w t tha usive a liberty essity s l l exc we cr y re nec r mora ity. e that a sev line no human ; p free e disci spit on r enti that we d an
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We
on
Dada remains within the framework of European weaknesses, it’s still shit, but from now on we want to shit in different colors so as to adorn the zoo of art with all the flags of all the consulates.
SHIT It is still
We are curious ringmasters and can be found whistling amongst the winds of fairgrounds, in convents, prostitutions, theatres, realities, feelings, restaurants,
:
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O, HO, HO,
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0
We declare that the motor car is a feeling that has cosseted us quite enough in the dilatoriness of its abstractions, as have transatlantic liners, noises, and ideas. And while we put on a show of being facile, we are actually searching for the central essense of things, and are pleased if we can hide it; we have no wish to count the windows of the marvelous elite, for Dada doesn’t exist for anyone, and we want everyone to understand this.
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PISS : -_
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This is DADA’s balcony, I assure you. From there you can hear all the millitary marches, and come down cleaving the air like a seraph landing in a public bath to piss and understand the parable.
Dada is
NEITHER MADN NOR
ESS WISDOM
: NOR IRONY look at me, dear bourgeois.
Art used to be a game of nuts in May, children would go gathering words that had a final ring, then they would exude, shout out the verse, and dress it up in dolls' bootees, and the verse became a queen in order to die a little...
Q
Q
E H T
AND
N E E U Q
-_ ME
BECA
A SARDINE, and the children ran hither and yon, unseen... Then came the great ambassadors of feeling, who yelled historically in chorus:
HEE HEE Psychology Psychology
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We are successive We are exclusive We are not simpletons and we are perfectly capable of an intelligent discussion. Be we, DADA, don't agree with them, for art isn't serious, I assure you, and if we reveal the crime so as to show that wewvw are learned denunciators, it's to please you, dear audience, I assure you,
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. u o y e r and I ado
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m : fro n o i t ues life, the q look at oms i y n soph shall we her phe is o l i h t “P ch side a, or o oks at tive whi the ide g one lo the rela , n r God Ever ythi conside an the ies h t ena. I do no ortant t d cherr y n p . kl false more im n cake a of quic g t e in l resu e betwe e system of a th ine h c choi dinner. T other sid opinion er r th after g at the ose you ics, in o f t p in o look er to im d dialec e spirit ht e d h l t r g me in o ly is cal g over n i c t n in direc , haggl while da t: Ideal, s u ld wor potatoes If I cr y o e, know g fried ound it. nowled boom, r K om a e od eal, dge, Bo , I hav d i , l m idea knowle oomboo rsion of , e edge boom, b faithful v boom a pretty n give
r othe l l a nd lity a highly o a r o s m s law, t variou ussed in t , s s a re sc th ha prog ualities have di nclude t wn o q n o fine gent me nly to c s to his e o h li ce intel books, ne dan nd that t : m o y a man all ever y boom, oomboo urib m c after nal boo d to his logical ble o o e pers is entitl of path inexplica r l n write tisfactio bell for y difficu s r n a e t s a riva pecuni ercussio the p a ; ; p c osity ; a bath with re e mysti h s h t d c et f nee toma thority o e bouqu s a ties; ; the au ed as th t e in lif formula d wan
and CHERRIES
An excerpt from “Dada Manifesto 1918” By Tristan Tzara of a phantom orchestra make up of silent fiddle bows with philtres made of chicken manure. With the blue eye-glasses of an angel they have excavated the inner life for a dime’s worth of unanimous gratitude. If all of them are right and if all pills are Pink Pills, let us try for once not to be right.”
:
A D A D
G.
ING.
KNOW
RYTH S EVE
SPITS
THING EVERY
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EXCIT
IN ERYTH V E S E
OUT.
but...
HAS DADA EVER SPOKEN TO YOU: about Italy about accordions about women’s pants about the fatherland about sardines about Fiume about Art (you exaggerate my friend)
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about gentleness about D’Annunzio about the ideal (it’s nice) about Massachusetts about the past about odors about salads about genius, about genius, about genius about the eight-hour day about the Parma violets
R E V E N VER E N EVER N
_DADA doesn’t speak. DADA has no fixed idea. DADA doesn’t catch flies. THE MINISTRY IS OVERTURNED. BY WHOM? BY DADA
THE FUTURIST IS DEAD. Of What? Of DADA.
A Young girl commits suicide. Because of What? DADA The spirits are telephoned. Who invented it? DADA Someone walks on your feet. It’s DADA If you have serious ideas about life, If you make artistic discoveries and if all of a sudden your head begins to crackle with laughter, If you find all your ideas useless and ridiculous, know that
-_ IT IS DADA BEGINNING TO SPEAK TO YOU
WHAT DOES DADA DO? cubism constructs a cathedral of artistic liver paste expressionism poisons artistic sardines simultaneism is still at its first artistic communion futurism wants to mount in an artistic lyricism-elevator unanism embraces allism and fishes with an artistic line
neo-classicism discovers the good deeds of artistic art paroxysm makes a trust of all artistic cheeses ultraism recommends the mixture of these seven artistic things creationism vorticism imagism also propose some artistic recipes
-_ WHAT DOES DADA DO? WHAT DOES DADA DO?
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: 50 francs reward to the person who finds the best way to explain DADA to us.
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Dada passes everything through a new net. Dada is the bitterness which opens its laugh on all that which has been made consecrated forgotten in our language in our brain in our habits. It says to you: There is Humanity and the lovely idiocies which have made it happy to this advanced age DADA HAS ALWAYS EXISTED
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-_ S I A DAD
T H G I R R E V E N
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Citizens, comrades, ladies, gentlemen beware of forgeries!
Imitators of DADA want to present DADA in an artistic form which it has never had
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CITIZENS,
You are presented today in a
PORNOGRAPHIC
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FORM,
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a vulgar and baroque spirit which is not the PURE IDIOCY claimed by DADA BUT DOGMATISM AND PRETENTIOUS IMBECILITY
Paris January 12, 1921 E. Varèse, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G. Ribemont-Dessaignes, M. Ray, F. Picabia, B. Péret, C. Pausaers R.Hülsenbeeks, J. Evola, M. Ernst, P. Eluard, Suz. Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg. Buffet, Gab. Buffet, A. Breton Baargeld, Arp., W. C. Arensberg, L. Aragon --- From Approximate Man and Other Writings, Translated and Edited by Mary Ann Caws (Wayne State University Press) Reprinted in "Teachers & Writers Collaborative" 5 Union Square W. New York City 10003
TRISTAN TZARA (1896-1963)
Romanian-born French poet and essayist known mainly as a founder of Dada, writing the first Dada texts and the movement's manifestos, member of the Surrealist movement, the Communist Party and the FrenchResistance. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931) and continued with Parler seul (1950) and La Face intèrieure (1953).
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