dada 2o17 by Camilla Serrão

man

N T zA R

T R i sTa

ifes

1918

☜

a 2o17 graphic interpretation by C a m i LL a SE r rã o

man

N T zA R

T R i sTa

ifes

1918

☜

a 2o17 graphic interpretation by C a m i LL a SE r rã o

The magic of a word

Dada

which has brought journalists to the gates of a world unforeseen, is of no importance to us. To put out a manifesto you must want:

i na te A GA

INS T

C B

to f

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d an o t ge ra gs a w in ems to in our dis a nd fly n y nd s C a pe to B a r uer Le A o t sh ,t nq LiT co t e a in

Cs N

big I G U S O r H ea S sw

o nt e ei os olut pr i s ev r ab ze ni of u e ga bl yo d ta or e an y to for m refu rov p lt ra ir e t a to ul nov as d e, s t an st u l nc ju nce ha de n p in t ife a es l ar no inta les ppe rov d. a b t- a o ep m m se ates hor of G was re l w e e me th nc nce o s se es x iste of e th s e Hi

je m’enfoutisme

CRyS taLblUffmAdonNa

phar maceutical pr oduct, or a ba re leg advertising the arde nt sterile spring. The love of novelty is the cross of sy mpa thy, demonstrates a na ive

, monetar y system ,

, it is

prev iously proved by the accordion, the landscape, the wheedling word. To impose your ABC is a natural thing— hence deplorable. Ever ybody does it in the for m of

☜

invented by the impressionists). I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air; ; for continuous contradiction, for affirmation too, I am neither for nor against and I do it is a tra nsitory, posit ive sig n withou t a not explain because cause. But this need itself is obsolet e. In docu ment ing ar t on the basis of the supreme simplicit y: NO VELTY

tion

I am against acti

CO mMO Nborecrucify dom e n S E

â&#x2122;&#x2014;

Ha te

, WE ARE HUMAN

AND TRUE FOR THE SAKE OF AM US

PULSIVE, VIBRANT TO

EMENT, IM-

. At the crossroads of the lights, alert, attentively await ing the years, in the

prev iously proved by the accordion, the landscape, the wheedling word. To impose your ABC is a natural thing— hence deplorable. Ever ybody does it in the for m of

CRyS taLblUffmAdonNa I am against act ciple

I am also aga inst pri of every phrase measure the moral value rox imation was too too convenient; app

, it is

☜

I AM AGAINST s plet so(haelf-ps int, s asto M A N i f e nci

and I wa nt nothforest. I wr ite a ma nifesto s, and in prining, yet 1 say cer tain thing

je m’enfoutisme

phar maceutical pr oduct, or a ba re leg advertising the arde nt sterile spring. The love of novelty is the cross of sy mpa thy, demonstrates a na ive

, monetar y system ,

tion

I am against acti

CO mMO N e n S E

Ha te

Ng DadA m An s

n NO hi nOt h i N g

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thi

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g N i h t nO

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t i h O t N NO

g N i h t nOth iNg O n

nOt

g N i th O n

nOt hiNg

n O t h i N g

g N i h t O

Th e com fi rst t ple es t houg o the ht th i n is b at s a e c c itse ha ra ter io peo log t y m cter le ic : a s t it olog i to fi a l p c nd s s a y l h c , We holo istor or a g t i tha see b ica l ca l o r o y t ca l theK the r ig in l r u N pape . cow the rs ta e D ad il of g roes a a . ho ly

If yO waN u find a wo t to w iT fu rd tH aste tile a At m yoUr nd do eaN tiMe nâ&#x20AC;&#x2122;t s no thin On g...

â&#x2122;&#x17E; fection which is boring, the stagnant idea of a gilded swamp, a rela-

for beauty is

A WORK OF ART , SHOULD NOT BE BEAUTY IN ITSELF The cube and the tive human product.

mother in a certain district of Italy are called: D A d a . A hobby horse, a nurse both in Russian and Rumanian: d Da .

DEAD

ructions conve ction which is BORiNG it should be neither gay nor sad, neither light nor dark to rejoice or torture the individual by serving him the cakes of sacred aureoles or the sweets of a vaulted race through the atmospheres. A work of art is never beautiful by decree, objectively and for all. Hence criticism

If yO waN u find a wo t to w iT fu t S E Nrd i S IB IL I T Yaste le an t H y IS NOT COANoUr d do t m STRUCTED ON ea tiM nâ&#x20AC;&#x2122;t N THE BASIS OF A s no e On thin WORD g... Some lea rned journa lists regard it as an ar t for ba bies, other holy jesusesca lli ng th eli ttl ec hi ldren of our day, as a relapse into a dr y and noisy, noisy and monotonous pr imitiv ism.

jesusescallingth elittlechildren

all constr erge on perfect Th e com fi rst t ple es t houg o the ht th i n is b at s a e c c itse ha ra ter io peo log t y m cter le ic : a s t it olog i to fi a l p c nd s s a y l h c , We holo istor or a g t i tha see b ica l ca l o r o y t ca l theK the r ig in l r u N pape . cow the rs ta e D ad il of g roes a a . ho ly

; all constructions converge on per-

fection which is boring, the stagnant idea of a gilded swamp, a rela-

for beauty is

A WORK OF ART SHOULD NOT BE BEAUTY IN ITSELF,

tive human product.

DEAD

The principle: “love thy neighbor”is a hypocrisy. “Know thyself” is utopian but more acceptable, for it embraces

is useless, it exists only subjectively, for each man separately, without the slightest character of universality. Does anyone think he has found apsychic base common to all mankind? The attempt of Jesus and the Bible covers with their broad benevolent wings: shit, animals, days. How can one expect to put order into the chaos that constitutes that infinite and shapeless variation: man?

wickedness

No PiTy.

After the carnage we still retain the hope of a purified mankind. I speak only of myself since I do not wish to convince, I have no right to drag others into my river, I oblige no one to follow me

ow nw ay

â&#x17E;ś

an tic d ow es eve h i r yb th n ar e jo way s a od la row y t , if rt y p r ha b jo yer s e in act s y t o , k h r in t o th ise now is co to hat r s e t s fe rps th go hat as like t es la rtil e-fl e r ot a ow mi ev ctit e do he l s n e r e e ag r y s: pa r s es w n pa ers wh se sm s a of e in m re, ek . S nd , ta ey a g i t es ni n m hem fi t h w ed a n e h ha ite b re a y so s ft he an ge ls .

his

iNde NdE

â&#x17E;ś

ePEN EnCe And so Dada was born of a need for independence, of a distrust toward unity.

W e r Eco gNi zE no t h eor y.

Those who are with us preserve their freedom.

We have enough cubist and futurist academies: laboratories of formal ideas.

is the aim of art and cajole the nice

t to make money e nice bourgeois?

it h the R hy mes ring w e curassona nce of th e inrencies and th g the flexion slips alon in lly line of the be ps of profi le. A ll grou ar rived ar tists have mpaat this tr ust co their ny ut ter riding va rious steeds on le the comets. W hi open door remains y of it il to the possib cushwallow ing in things ions and good to eat. [â&#x20AC;Ś]

Cubism was bor way of looking a

rn out of the simple at an object:

Ceza n ne pa inted cup 2 a 0 cen t imete below r s h i s ey es , t h cubist e s look a t it fro a bove m , ot h ers c plicate omappea ra nce by ma k i ng a per pe dicula nr se c t i o n a nd a r ra ng ing it consci ent iou sly on

usly o n t he ( I do side. not fo rget t creat iv he e art i s ts a n t he pr d ofoun d laws mat ter o f which est a bl t hey ished once a for a ll nd .)

The futurist sees the same cu of objects one beside the oth few force lines. This does n being a good or bad painting

â&#x2DC;&#x153;

A L S E

E v e R y T h i n g one Looks at is false. I do not consider the relative result more important than the choice between cake and cherries a f ter dinner. The system of q u ick ly looking at the other side of a thing in order to impose your opinion indirectly is called dialectics, in other words, haggling over the spirit of fried p o t a t o e s while dancing method around it. If I cry out:

SE FAL

E S L FA

up in movement, a succession hers and maliciously adds a not prevent the canvas from g suitable for the investment of intellectual capital.

E S L A

L S E F A L LSE S E

frightens ser inds

usly o n t he ( I do side. not fo rget t creat iv he e art i s ts a n t he pr d ofoun d laws mat ter o f which est a bl t hey ished once a for a ll nd .)

The futurist sees the same cu of objects one beside the oth few force lines. This does n being a good or bad painting

frightens ser

â&#x2DC;&#x153;

The new ements a sober, The ne paints (s tion) bu iron, tin capable the limp All picto then be minds, a refector illustrat

â&#x2DC;&#x153;

rvile minds

tens servile

A L S E

SE FAL

E S L FA

up in movement, a succession hers and maliciously adds a not prevent the canvas from g suitable for the investment of intellectual capital.

rvile minds

w painter creates a world, the elof which are also its implements, , definite work without argument. ew artist protests: he no longer symbolic and illusionist reproducut creates directly in stone, wood, n, bouldersâ&#x20AC;&#x201D;locomotive organisms of being turned in all directions by pid wind of momentary sensation. orial or plastic work is useless: let it a monstrosity that frightens servile and not sweetening to decorate the ies of animals in human costume, ing the sad fable of mankind.

E S L A

L S E F A L LSE S E

E LS FA

usly o n t he ( I do side. not fo rget t creat iv he e art i s ts a n t he pr d ofoun d laws mat ter o f which est a bl t hey ished once a for a ll nd .)

♝ ♗

The futurist sees the same cu of objects one beside the oth Philosophy is question: fewthe force lines. This does n from which side shall we look aatgood life, or bad painting being God, the idea

☜

or other phenomena.

☜

A L S E

SE FAL

E S L FA

up in movement, a succession hers and maliciously adds a not prevent the canvas from g suitable for the investment of intellectual capital.

E S L A

L S E F A L LSE S E

L ideal lI dea D ide E A L

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an en d t bo tit hat tio om led th to e w : n of th his rit e b er pa th sat oom is ol isf o g ac ic al

ha v pr fa e i o t ra g hf give fin lit y ress ul n ve a va e a , r lig rio qu nd law sio n u , e a a cu n s l l bo sse t m hig itie l o mo th en hl s cl ok d y ud s, th er in h av in at e o th nly so e d telat t m is af o c an y te r onal l

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BOes to hi omown p ers Bo onal O m

be rio ne ll sit y cu ed for a n i a s; in a ex pr a r s pe t o y p i th rcu ma d bat lic vat m e a ssi ch if fi h; abl e la yst uth on w cu l p e e ith tie or s of ted ic i s w i n t t r a p as a n y re ; of til fid a m ha th d e w dle ad nto e b for th ; i e e m m o ch t h bo up o uq uic fi w o rch ue ke lte n rs s g f si es t l m r an ma eas ent ur de ed e. of

WiTh Th e blue e ye-glasses Of an angel The y have e xcavaTed The inne r life fOr a dime â&#x20AC;&#x2122;s wOrTh Of un animOus graTiTude. If all Of Them are righT an d if all pills are Pink Pills, le t us Try fOr On ce nOT TO be righ T. SOme pe Ople Th ink The y can e xplain raTionally, by ThOughT, whaT The y Th ink. BuT Th aT is e xTremely relaTive. Psyc h Oanalysis is a dange rOus disease, iT puTs TO slee p The anTi-Objective impulses Of m an an d sysTem aTizes The bOurge Oisie. The re is nO ulTim aTe TruTh. The dialecTic is an amusing mec h anism wh ic h guides us / in a ban al kin d of way / TO The OpiniOn s we h ad in The firsT place. DOes anyOne Th ink Th aT, by a minuTe re finemenT Of lOgic, he h ad demOn sTraTed The TruTh an d esTablished The cOrrecTness Of These OpiniOn s? LOgic imprisOned by The sen ses is an Organic disease. TO Th is elemenT ph ilOsOphe rs al-

TiOn. always like TO add: The pOwe r Of Obse rvaTiOn. BuT acTually Th is m ag nificenT qualiTy Of The min d is The prOOf Of iTs impOTen ce. We Obse rve, we regard frOm One Or mOre pOinTs Of vie w, we chOOse Them amOng The milliOn s Th aT e xisT. Expe rien ce is alsO a prOducT Of c h an ce an d in dividual faculTies. Scien ce disgusTs me as sOOn as iT becOmes a speculaTive sysTem, lOses iTs characTe r Of uTiliTy Th aT is sO useless buT is aT leasT in dividual. I de TesT greasy ObjecTiviTy, and h armOny, The scien ce Th aT fin ds e ve ryTh ing in Orde r. Carry On, m y ch ildren, h umaniTy . . . Scien ce says we are The se rvanTs Of n aTure: e ve ryTh ing is in Orde r, m ake lOve an d bash yOur brain s in. Carry On, m y c h ildren, h um aniTy, kin d bOurge Ois an d jOurn alisT virgin s . . . I AM AGAINST SYSTEMS, THE MOST ACCEPTABLE SYSTEM IS ON PRINCIPLE TO HAVE NONE. TO cOmple Te Oneself, TO pe rfecT Oneself in One ’s Ow n liTTleness, TO fill The vessel wiTh One ’s in dividualiTy, TO h ave The cOurage TO figh T fOr an d again sT Th Ough T, The m ysTe ry Of bread, The sudden bursT Of an infe rn al prOpelle r inTO ecOnOmic lilies . . .

simplicit y

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Ina of bilit y c the larit y to d i : me big m to li sting c nt. u kt ou a ll he ish b t act Mea h fi l p et e l en gag iv it y sured ed w num ween b it i wo ei n a s va i by t h ho ra a n deg r u he ne e d fl ni fi ld b na ny e s ( d oat es po ca ntl in fi n vent if we ca le and in te e y u re o a ll fa r nce) to o itely ow f ete xcret h g . c u r a n e, w But r k n rote e res thou nit y s u db ith g o q s l ht , wl up t ue o cat e a n of wh to e o caus ut a posi edge da ng ch ic e w im u o r ys rsel life f hu dd s h o e r v t a the m i nth es a hin ini g t o b an ti k s em im sole um fresh it ou a l pa e a p imba po si r r s r o a ha ve t a nt s for , we nd c dut y t ur it or i as l be ag o a f fl h e t n oe av an re w en , i t a k cts n pro e, m eme e pro as w xtrie n a ea cla oo rce cl a t: a sh es i a n n int ne a min na r ie r t. I imed ed g ti n cou d a ere s st d th for c of th s not as o se pr i ntr y fi ne in e as es nt o v w i sel ate a ith ppor t w i who ur ies pir it ll f f t t .A , ma h a j , a n fa ir, heir unit ou the y t a r ves nage r t int c o rn op str tc a r t nve to a l ellig i a o r it y kes m ist, a ible ist pr satio pula ressnd od t n. wo yf wi u i a b r t A et

A CT i V E

uc the i ng an be rk th es A r c c i o a n the m il p y to c ause s the it fo t is a d a r a o art pou et a l ints: mbi t thi prod himr ed ne sm t ha uc ist a t p , thi ma t o h s m men of sse the p atre is au aper thi dc ti sc tom t ub on oe s t o e s stro t ati is a indu onde rejo wa r s im dic ca ll ice n ul y e er proo str y, sed or int at th v illa pres athe fo fh a rt s o a ev is en iny. T ed is is h a is om w r proo t is p imm appy sect h e io e o fo u r t at tche f th aise t a bi to be n ch f the d t d l ing ers c lini e int by t it y.W insul ief o f ell he t ove ng to ig i ne hen a ed: it of the r in b ws wr p wa g br a co ilit y at rm of aper itut a for h is s, i th l t of it y, pis publ work an ic s c : an u se on im t ; al bro r ibut od i ng

â?§

na of bilit y cla to rit the d y: t b ig o l istin me m gu i c n a ll t. M outh k the ish b a en ctiv easu fi lled penu et we it y ga g r ed m en w b it i wo e uld in a s va i by t h ho ra a n deg r h n e d ni fi na nbe (if e sca ey an floa es dv c i a n e t po ntl le fi n de nt u we i te y of a ll xcr n re fa r nce) to o itely e o e t t w h er g . c u a n e, w But r k n rote e res thou nit y s u , db ith g o q sup lt ht wl ue o cat e a n of wh to e o caus ut a posi edge d ng ch ich e w im ur of ad se r h d l the ysa nt lves e thi or in ife t uma sign a he itia o b ni mu s fre k it im sole ml p ea ba o po s m u h a p sis r r s, rta o a ha t du or nd ur w fo v n a f fl e bee t as w r ag r e ha clea t y to ition , v n e e n i t a k cts n pro e, m eme e pro as w xtrierc nt: a ea c o c s l aim en on es ar t la im hed n a e a i . i e cou nd a ntere a nd ng fo r ies o It is d as n f s r t n fi ti o ho n pr i tr y n se cent the s t as v w eo i sel ate a ith ppor t w i who ur ies pir it ll f f t t .A , m ha a j , a n fa ir, heir unit rt r ve a nag ou the y int c on to et st rn ell str a v a p r c o er ig t l i a o it y kes m ist, a ible ist pr satio pula ressn o t n w y wi et d du . o f

simplicit y

A CT i V E

â&#x2DC;&#x153;

la b F . re cts sh e n i e t th fl i n s id th i p ph e w i l a i s r v n i ng ,i og by duc t yp s. o f e pr p o r ob l c he l m i t wn ha ro ica th y in W t s t. v e - b ab t i o n t i ng s a e h cr y o a g str ltr di an e he nd o n fi is c To W t i t r e eyo ic a t s y i b t pl o u A n k i nd e a . a c t ha v e r o m w . h is t s r s c i e r a u th th ia a t dr or f d f s e I i o . h ag ed ic ng i n t d i ou r o r , c w r ds en en w o s or y is illu , it l k il g in fl in w t ar l gu o

s rk o w nd is d s e a ge o n e r e ci . L a ys e p g w t lw in s, ht i g t a nd i s a t i o n a t r er s rd ic no d L og o f t o w a n s n i u ds r, ha tin. s io h r ea e r io t s c t xt . I ca e t de gic, e e s h l t r o a ip ws r m ente ent to l , en o c c f g s in wn ed ir d he an mou arri llow its o sr s f a M pa nd eno ce. t, sw r t o nd r ed a a ar a an den nces ll p elf, n e t t, s i s ti r e t s t i n n a p i , e l n e i m Bu i nd live n ta ith ight num ils. e w o a n th n ld o w r g m u t a e n wo its cati me a y en e v e h w c , g i o i a es , c n l fi for n be ism s gr asm h wh ak t m fi n u y, ld si r ut an t ou test er o thu od ich ur e

i l, n tm m de ve ai l, hi . B e k il g in ld li w n t w it nigh onu ails th g m ntr n a e fl in wou its o atin e a y e e ve h w m t s c s r c , g i co sm a n r a m, whi ake at h g l fi for n be i s t t u s a h n f m fi n g dy, l uld sta r ou usi r ut h so t r bo n wo ote nde enth tle t whic ou the che mos r it d nd as bra n , a l defi n sio h p f po ess, sl a i n s ry e h a t l ou t; it th w i p o pl e n c e , t t l y b t i pp e u u a n s i n y sl he sup just oce ar e pla l, sa o d n n n e i u a n e i t h of so at to : w bl e e l y ; c u jo ct i Th iew t i f l lea u v a r a p be a m of ar e rs its s a r e r tu ge for d iv

☜

sin uid liq ur s o . ne nics cy int po whe a is ll flo d, ta cr e bu t sa the no a nd s is u re ly, in man e t g a un thin ti-hu ea ke sp an er vin l to a m flow s l I ca ole er to ion. pap onh en t t ac of a but ntlem the g e ge t , in th life , en e r fo t h eq u ed e s r k ac of o f mas f g r or t os f e o the l h f g . I w l o en s li ith sin uth nh l w c a a n i it tr b si f fic n se e k ou s i the tely this e th ite c y tra have ral t po be solu ing enwh The r we con of n a a b t ter app s, . c y u e fat ateve The unit e ou on s on , th idin ale r t wh ed. a nd lib mo tes t sis tit ud a lec tion a a pl of rous cre er y dic x ev by di lodo a lit y r e a o m lik ced he . M y T y y du t h i ro p p lit o r ra tat g ue nce. o m flic e n pla llig of e s i ssivi t l a n f o h a i r nt ogic imp ce o e o n ar c ith rese dl o a n us w y p e wh aver h d t e l n s n e i ti f ty icem e o nfec s l i po cau ats of r e s l th rid we t bo isie pu t e th rgeo nfec u i bo e in av um

☜

e by t a li or like ed e c Th y y du o h r p p lit ra te. e o c u ag igen f m nflic i o ll vi as assi f nte rol h nt ogic imp ce o e n ar co ith rese dl a n us w p ho er y, e w h d t g e lav in men of s ctin y e e t e f c se li in f th po cau ats o ich r e ls wh he th rid e t w t bo isie pu n d e ea t e th rgeo nfec s cl ass l u u i bo e ino f g pen m v ha y lu s o d o ch l e r ea e on rido a in et er m r co t re ts. L : th ive t m a th a r tis cla i nega ion o t to n pr eat tr uc ed. r s a m a g de plish nd f a m o s i co eep the k c r a sw wo be st fi r m u o t m Af e . W n a cle

cleanliness of the individual after the state of madness, aggressive complete madness of a world abandoned to the hands of bandits, who rend one another and destroy the centuries. Without aim or design, without organization:

INDOMITABLE MADNESS, DECOMPOSITION.

Those who are strong in words or force will survive, for they are quick in defense, the agility of limbs and sentiments flames on their faceted flanks. Morality has determined charity and pity, two balls of fat that have grown like elephants, like planets, and are called good. There is nothing good about them.

Goodness is lucid, clear and decided, pitiless toward compromise and politics. Morality is an injection of chocolate into the veins of all men. This task is not ordered by a supernatural force but by the trust of idea brokers and grasping acade-

SENTIMENTALITY: at micians.

the sight of a group of men quarreling and bored, they invented the calendar and the medicament wisdom. With a sticking of labels the battle of the philosophers was set off (mercantilism, scales, meticulous and petty measures) and for the second time it was understood that

like diarrhea

pity is a

in relation to the disgust that destroys health, a foul attempt by carrion corpses to compro-

D adai t di gusT

mise the sun. I proclaim the opposition of all cosmic faculties to this gonorrhea of a putrid sun issued from the factories of philosophical thought, I proclaim bitter struggle with all the weapons ofâ&#x20AC;&#x201D;

Every product of disgust capable of becoming a negation of the family is ;a protest with the fists of its whole being engaged in destructive action: ; knowledge of all the means rejected up until now by the shamefaced sex of comfortable compromise and good manners: ; abolition of logic, which is the dance of those impotent to create: ; of every social hierarchy and equation set up for the sake of values by our valets: : every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: ; abolition of memory: ; abolition of archaeology: ; abolition of prophets: ;

Dada

daDa

sentiment

dAda

dadA

dada

daDA

dAdA

DADA

daDA

abolition of the future: ; absolute and unquestionable faith in every god that is the immediate product of spontaneity: ; elegant and unprejudiced leap from a harmony to the other sphere; trajectory of a word tossed like a screeching phonograph record; to respect all individuals in their folly of the moment: whether it be serious, fearful, timid, ardent, vigorous, determined, enthusiastic; to divest one’s church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn’t matter in the least— with the same intensity in the

DaDa

dADA

thicket of coreâ&#x20AC;&#x2122;s soul pure of insects for blood well-born, and gilded with bodies of archangels.

Lf f R e edO m :

Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies:

A A na

☜

Ad ma

o t ☜ s e f i n