Tristan Tzara and Francis Picabia

Man Ray ◽  
2021 ◽  
pp. 49-60
Keyword(s):  
Tristan Tzara ◽  
Francis Picabia

Automatism

2018 ◽  
Author(s):  
Hazel Donkin
Keyword(s):  
Visual Artists ◽  
Marcel Duchamp ◽  
Psychological States ◽  
Avant Garde ◽  
Tristan Tzara ◽  
Automatic Writing ◽  
Philippe Soupault ◽  
Poetic Imagery ◽  
Psychic Automatism ◽  
Francis Picabia

Both Dada and Surrealist writers and artists experimented with "automatic" creative production. Dadaists including Francis Picabia, Tristan Tzara, Hans Arp, and Kurt Schwitters wrote "automatic" poems from 1918, so called because they were transcribed without delay, serious consideration, or revision. Dada visual artists, including Arp, Sophie Tauber, and Marcel Duchamp also relinquished creative control of their works by employing chance. At the same time a group of writers in France around André Breton experimented with automatic writing as a new method of exploring the unconscious. In 1919 Breton and Philippe Soupault published Les Champs magnétiques, the result of their first experiments with automatic writing that tried to tap new poetic imagery through uncontrolled outbursts of imagination. In the period 1922–4 dream accounts were added to automatism. In the First Manifesto of Surrealism (1924) the movement is defined by Breton as "pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought." Surrealist visual artists also explored automatism. Surrealist automatism was influential in the development of modernist visual art. Robert Matta’s (1911–2002) concerns with psychological states in the late 1930s set a precedent for American abstraction. CoBrA (1948–51), an avant-garde collective established in Europe, favored automatic techniques and influenced developments in European abstraction.

The Artwork Caught by the Tail

October ◽  
2001 ◽  
Vol 97 ◽  
pp. 51-90 ◽  
Author(s):  
George Baker
Keyword(s):  
Tristan Tzara ◽  
Francis Picabia

If it were married to logic, art would be living in incest, engulfing, swallowing its own tail.… —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death…. To death, to death, to death. The only thing that doesn't die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920

On the Outskirts of Modernity: Tristan Tzara and Dada in Romania

2013 ◽  
Vol 8 (2) ◽  
pp. 215-231
Author(s):  
Marius Hentea
Keyword(s):  
Tristan Tzara

scholarly journals Devaneios de um professor herético, impenitente, pertinaz e obstinado Manifesto de um Réu Confesso

Revista TEIAS ◽  
2020 ◽  
Vol 21 (63) ◽  
pp. 34-45
Author(s):  
Guy Barcellos
Keyword(s):  
Tristan Tzara

O presente artigo trata da expressão poética e literária, entremeada por reflexões filosóficas e pedagógicas, sobre os processos de assujeitamento e as subjetivações de um professor na escola pública durante dois anos letivos de experiência como docente de Seminários Integrados e Projetos. No texto, influenciado por Bachelard, Barthes, Cioran, Corazza, Feyerabend, Montaigne, Nietzsche, Sloterdijk, Tristan Tzara, são elaboradas escrituras heréticas e trágicas. São expressos os tensionamentos sofridos pelo autor, que também foi o sujeito da pesquisa, no decurso da vivência que causou profundas modificações no seu ser/fazer docente e redefinições epistemológicas. É um texto sagrado ao devaneio, veículo da significação de elementos da memória como objeto de estudo para alargamentos poéticos e literários sobre o ensino em uma perspectiva pluralista e transgressora. Os contrastes de claro e escuro permitem dimensionar o relevo e descrever a topologia dos (des)caminhos de um professor que, entre ciência e arte, escolhe ambas. Trata-se de um texto noturno, porém capaz de lançar luz sobre nós górdios da Educação através da lucidez que somente a loucura é capaz de forjar.

Ball, Hugo (1886–1927)

2018 ◽  
Author(s):  
Timothy Shipe
Keyword(s):  
World War I ◽  
Literary Critic ◽  
World War ◽  
Tristan Tzara ◽  
Catholic Faith ◽  
Religious Books

Born in Pirmasens on February 22, 1886, the German writer Hugo Ball is best known as the co-founder, with Tristan Tzara, of the Cabaret Voltaire and the Dada movement in Zurich. Active initially as an Expressionist playwright and dramaturge in Munich and as a journalist and literary critic in Berlin in the years leading up to World War I, Ball left Germany with his companion and future wife Emmy Hennings in 1915. They remained in Switzerland for the rest of their lives. Following his period of Dada activities in 1916 and 1917, Ball was a journalist for a centre-left newspaper for three years. Reconverting to the Catholic faith of his childhood, Ball spent the remainder of his life in relative seclusion in Ticino, where he wrote a series of religious books and revised his diaries for publication.

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