Man ray

DADA SOULÈVE TOUT. DADA connaît tout. DADA crache tout. MAIS .

1921 · 48774 — Paris.: Au Sans Pareil. 1921 12 Janvier. Folio. 277 x 212 mm. Drop-head title and printed text recto and verso in French with typical dada typography manicules and type variation imprint and list of signatories at foot of verso. A very fine example never folded of this scarce iconoclastic and blasphemous dada manifesto an excellent specimen of dada typography.Tzara's 1921 restatement of dada had a very serious purpose: to reinvigorate and revitalise dada. Tzara was to some extent successful and dada continued albeit with the same troubles that prompted the issue of this manifesto. The document is an outstanding example of the typographical caprice and linguistic inventiveness that made dada so intriguing and appealing. The use of various other schools of art Cubism Expressionism Simultaneism Futurism Unanism Neo-Claissicism Ultraism Creationism Vorticism and Imagism to underline dada's point or rather its lack thereof is classic. Tzara's most iconoclastic and blasphemous slogans were taken up by Van Doesburg for his own later dada poster produced in conjunction with Schwitters 'kleine dada soirée': 'DADA EXISTE DEPUIS TOUJOURS / LA SAINTE VUERGE DÉJÀ FUT DADAÎSTE!'This manifesto was truly international as noted at the head of the sheet: 'Les Signataires de ce manifeste habitent la France l'Amérique l'Espagne l'Allemagne l'Italie la Suisse la Belgique etc. mais n'ont aucune nationalité.'The signatories as listed were: 'E. Varèse Tr. Tzara Ph. Soupault Soubeyran J. Rigaut G. Ribemont-Dessaignes M. Ray sic F. Picabia B. Péret C. Pansaers R. Huelsenbeck J. Evola M. Ernst P. Eluard Suz. Duchamp M. Duchamp Crotti G. Cantarelli Marg. Buffet Gab. Buffet A. Breton Baargeld Arp W. C. Aresnberg L. Aragon.''In 1921 Tristan Tzara found himself battling to sustain Dada's declining popularity. Aesthetic political and social differences among the movement's most prominenet members shook Dada at the doundation. In line with Dada's emphasis on easy distribution Tzara created this one-page flyer presenting a condensed more direct iteration of the Dada Manifesto . The text's inconsistent typefaces orientation and size embody the disorientation and randomness at the heart of the Dadaist philosophy.' From the catalogue of the Art Institute of Chicago.'Dada fait ici le choix d'une composition graphique et d'une typographie affranchies des traditions use de termes saugrenus n'ayant aucun lien logique entre eux recourt aux antonymes «oui = non» aux répétitions «jamais jamais jamais» s'autointerroge «Que fait DADA» affirme et se contredit dans le même temps . La mise en page les différentes tailles de caractères et les polices d'écriture confèrent à l'ensemble un rythme singulier fait d'accélérations de ralentissements de pauses autant d'éléments qui construisent un parcours de lecture heurté discontinu à l'issue duquel renaîtra peut-être un «homme nouveau» purgé de tout espèce de culture.' Anne Delebaree writing in 'Petits Papiers des Avant-Gardes: La Collection Paul Desrtribats'.Destribats Tracts 132 / 133; Ades 8.45; Pompidou 326 / 327. Au Sans Pareil. unknown