Dada Magazine (1917-1918)

Dada Magazine (1917-1918)

-------------------------------------------

Please note that all files are PDFs.

Dada Magazine (1917-1918) Please note that all files are PDFs.

UbuWeb Historical

Dada 1, July 1917 Front Cover Back Cover Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19

Dada 2, December 1917 Front Cover Back Cover Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 (page missing) Page 17 Page 18 Page 19 Page 20 Page 21 Page 22

Dada 3, December 1918 Front Cover Back Cover Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13

Attempting to promulgate Dada ideas throughout Europe, Tristan Tzara launched the art and literature review Dada. Although, at the outset, it was planned that Dada members would take turns editing the review and that an editorial board would be created to make important decisions, Tzara quickly assumed control of the journal. But, as Richter said, in the end no ----------------=================================================================================================================================================================================================== one but Tzara had the talent for the job, and, "everyone was happy to watch such a brilliant editor at work."[10] Appearing in July 1917, the first issue of Dada, subtitled Miscellany of Art and Literature, featured contributions from members of avant-garde groups throughout Europe, including Giorgio de Chirico, Robert Delaunay, and Wassily Kandinsky. Marking the magazine's debut, Tzara wrote in the Zurich Chronicle, "Mysterious creation! Magic Revolver! The Dada Movement is Launched." Word of Dada quickly spread: Tzara's new review was purchased widely and found its way into every country in Europe, and its international status was established. While the first two issues of Dada (the second appeared in December 1917) followed the structured format of Cabaret Voltaire, the third issue of Dada (December 1918) was decidedly different and marked significant changes within the Dada movement itself. Issue number 3 violated all the rules and conventions in typography and layout and undermined established notions of order and logic. Printed in newspaper format in both French and German editions, it embodies Dada's celebration of nonsense and chaos with an explosive mixture of manifestos, poetry, and advertisementsÑall typeset in randomly ordered lettering. The unconventional and experimental design was matched only by the radical declarations contained within the third issue of Dada. Included is Tzara's "Dada Manifesto of 1918," which was read at Meise Hall in Zurich on July 23, 1918, and is perhaps the most important of the Dadaist manifestos. In it Tzara proclaimed: Dada: the abolition of logic, the dance of the impotents of creation; Dada: abolition of all the social hierarchies and equations set up by our valets to preserve values; Dada: every object, all objects, sentiments and obscurities, phantoms and the precise shock of parallel lines, are weapons in the fight; Dada: abolition of memory; Dada: abolition of archaeology; Dada: abolition of the prophets; Dada: abolition of the future; Dada: absolute and unquestionable faith in every god that is the product of spontaneity. With the third issue of Dada, Tzara caught the attention of the European avant-garde and signaled the growth and impact of the movement. Francis Picabia, who was in New York at the time, and Hans Richter were among the figures who, by signing their names to this issue, now aligned themselves with Dada. Picabia praised the issue: Dada 3 has just arrived. Bravo! This issue is wonderful. It has done me a great deal of good to read in Switzerland, at last, something that is not absolutely stupid. The whole thing is really excellent. The manifesto is the expression of all philosophies that seek truth; when there is no truth there are only conventions. Dada 4-5, printed in May 1919 and also known as Anthologie Dada, features a cover designed by Arp, a frontispiece by Picabia, and published work by André Breton, Jean Cocteau, and Raymond Radiguet. This issue also includes Tzara's third Dada manifesto and four Dada poems Tzara called "lampisteries." Design experiments continue in this issue with distorted typography, lettering of various sizes and fonts, slanted print, and multicolored paper. Issue 4-5 of Dada was the final one Tzara published in Zurich. With travel possible again at the end of the war, many of the Zurich group returned to their respective countries and Dada activities in Zurich came to an end. With the Dadaists spreading throughout Europe, the impact of the movement had only just begun. Huelsenbeck, Picabia and Tzara played principle roles in introducing Dada in other cities. SOURCE: http://www.artic.edu/reynolds/essays/hofmann.php

Mona was a woman who saw another woman

Mona was a woman who saw another woman and

The Quotes of Mona's teeth . there was hair in this 'odd'e's's

She was the am know best, blest spirit of the rocks, agape and fornica, cyclades of rackment



because I need to, and I paint whatever passes through my head without any other consideration. She painted her need to okay I will wait on her heart



love's accident is murder and birth, the beloved subject, and the accidents. its loss, or neverwasness it's what whence confuses the-she paint now with onehanded.

She lets me love the others _ shes knows this way his husband of many women and he is hers too as he loves them in bed mouth lips talk __comrade. Husband of harvest, husband thy feys and fuels the farrow of nighttimes

My life.....I believe that work is the best thing. The volumes, it was not much, it was not much, to have been multiplied in the kept promises.

Her hand, she knew it was the song the shark Maldoror ate and the body

I leave you my portrait so that you will have my presence all the days and nights that I am away from you. Do not leave me now or night will shade the tears of my absence my eyes your hard pen

I was at the hospice with her dead body it was ointment and shrouds on the earth. Beside it her hush husband prayed.

At

Broken is good is crucified as wheat in the sheaf makes whole the rent is that so?

O single love of Sapphic song and Sappho found her head, heaved over the side

JIll in in inn the hospital for three months__ to Toronto resting reposed She didn't make love to me that time, I think on account of her weakness. Too bad. Ther was no body there

she was my mother

Mona loved her . Very much. Even though she left , and when she came back she had nothing to say and nothing to paint with . She was reulctant but to say

yes take me take

take me that

that

this

that th

So whence.

collect

take the errors collec t th'em ina  box see what become s of the

M
collect: "th e raod text"

if tho ra od is a rod text then its happenstance collecting its name. add erase punktuation. shes a grab bad gritty girl. shes bad shes bad your bad shes bad yourbad |does it say to bad its action in the blink of the sexual beroom

beroome is broom bloom room become

beloom?

becroom?

you are a shaman

__________Do not read this

apprentice

Apparentlee

.... am a man and you ....are a shaman .... Can you travel avec 'moi' to the other side? I need your assistance. This is not a missed connection, but a request for a connection! Fail me not! O single women of love, lust and beauty ~

(inside your feet

sandal

add personal details where required
ecstatic plane s sought
biplanes only need apply!
the apple of your ass

the pineapple of groins!

______________________

beside that you need a mouth

apply glueish to 'la mienne'

_______________

there are 3 bodies

in this scene

[simone a pari]

6 arm

leg

etc.

combine all 2

__________________

`

dada cannot live in new your....

dada cant live in new york


simialr ot guattari and sartre re ameircan

d o r i s w i s h m a n

Ah, them old cult films and them old repressions and the sweet style of art made around the obstacles... Doris Wishman.. one of the greats..... enjoy and laugh.....

Doris Wishman (June 1, 1912, New York City – August 10, 2002, Miami, Florida) was an American film director, screenwriter and independent film producer.

Self-taught as a filmmaker, Wishman is noteworthy for her paracinematic, camp aesthetic and is often referred to as "the female Ed Wood."


The majority of her work was designed to be released in the American sexploitation film market of the 1960s and '70s.

Wishman is also one of the most prolific women film directors in the history of the cinema and in recent years has become the object of a cult following.

From Wikipedia, the free encyclopedia

le corps est

Le corps est le lieu de tous les marquages, de toutes les blessures, de toutes les traces.



Dans les chairs s'inscrivent les tortures, les interdits des classes sociales, les violences des

pouvoirs, dispersés mais jamais abolis. Aujourd'hui, seuls les exclus créent.

Car c'est leur corps qui parle, énonce le refus. Le cri NO FUTURE - si ce futur est le présent continué - est cri d'espoir.

Michel Journiac

dada photomontage et net art

__________________________always interest stumbleLover over newish ideas of combinatory and maximize one's learning artistically for to see other combinations in fugitive futuresssssssssssssss

Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Some of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more than Cubist collage, Dada photomontage (Höch, Hausmann, Schwitters, Grosz/Heartfield) presents very suggestive images composed of signifying fragments ranging from small schematic arrangements to wildernesses of profusion. One sees several patterns (matrix, swirl, cascade) with their associated semantics. We then apply these categories and principles to website imagemaps to see what the imagemap is saying visually about the site and our experience of it. of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more than Cubist collage, Dada photomontage (Höch, Hausmann, Schwitters, Grosz/Heartfield) presents very suggestive images composed of signifying fragments ranging from small schematic arrangements to wildernesses of profusion. One sees several patterns (matrix, swirl, cascade) with their associated semantics. We then apply these categories and principles to website imagemaps to see what the imagemap is saying visually about the site and our experience of it

Vivia DeVenIr Nomada

_______________________________________

BY way of .

Dada Photomontage and net.art Sitemaps

Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Some of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more thaFirst posted by n Cubist collage, DaFirrst Posteds very suggestive images

# poOrsted by alvaro @ 6:55 PM

and reposted it

___________________________________________________

quote from

a french

DadaSopHicaler

like

Ubu Roi

Alfred Jarry

he thought

the Exception the

rule

and he married difference

his hands conducted numerous thoughts

___________________________________ Gee_____________________________________________________________________________________________________________

Deleuze was born in the middle of the Dada Movement his thinkin is dada and emblematicof the burrow

thing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.

Devour old films, new films, music, books, paintings, photographs, poems, dreams, random

conversations, architecture, bridges, street signs, trees,clouds, brodies of water, light and shadows. Select only things to steal from that speak directly

to your soul. if yo u do this,

your

or

No

thing is original. Steal from anywhere that resonates with inspiration or fuels

your imagination. evour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges,

street signs, trees, clouds, brodies of water, light and shadows. Select only thingsto steal from that speak directly to your soul. if you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And

don’t bother concealing your thievery-celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from-it’s where you take them to.”

->Jim Jarmusch

viaviaiviaviaviaviaviaviaviaviaviaviaiviaviaviaviaviaviaviaviavia&viaiviaviaviaviaviaviaviaviaviaviaiviaviaviaviaviaviaviavia

her concealing your thievery-celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you

« TENDENCIES: Poetics & Practice

Intellectual Property|The Crooks of Love Forge in the Smithy O f My Soul

___on iNTellECtuAL ProPerty_______________>'

rose shit

_________________

via

viaviaviavia

its where you

take them er concealing your thievery-celebrate it if you feel like it. In any case, always remember what

viaviaiviaviaviaviav

iaviaviaviaviaviaiviaviaviaviaviaviaviaviavia&viaiviaviaviaviaviaviaviaviaviaviaiviaviaviaviaviaviaviavia

her concealing your thievery-celebrate it if you feel like itany case always _____________________________________remember what

over turned shoes.... Hans Arp

Overturned Blue Shoe with Two Heels Under a Black Vault (Soulier bleu renversé à deux talons, sous une voûte noire), ca. 1925. Wood, painted, 31 1/4 x 41 1/8 inches; Depth Of Mount And Depth Of Relief Elements: 1 inch. Peggy Guggenheim Collection. 76.2553.53. Jean Arp © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.


Hans Arp was a Dada and a good and true friend of the poet Tristan Tzara|
| He stood on his head
DAILY

_________________________He married

etcetera ~ _______________________________

w e oui

detournement of texts

'Against which we will affirmhere that the Anti-Oedipus- such as it mobilises, under the name of ‘Body

The Fauvisits were denounced as Wild Beasts when they first came along. Dada, & its endless incarnation suggests we make art from necessity not the phantasm of prize winning or "recognition" Poetry is a Way path a batch of becomings of the veil of the world[s], geology texts unearthing matrix uncovering the sands of death. Think with your bones O Writers. O writers of Canada with yer dead beat desire to be spoken and heard, be silent in your withdrawal & yer computer pomes strung along the edge of the void.
O Poets of America and religion. End the race. Purge yer religious unconscious.
Move the face out of black holes |hip the joints,

log marrow & thunder. without Organs’, the politics of sensationto which Artaud had devoted his convulsive constructions - grows out of all the movements which, in the art of the 20th century, ever since Jarry and Matisse the Hyper-fauvist knew how to free vitalism from the romantic expressiveness of the subject (therefore Dada rather than surrealism and its parasitic followers, name of ‘Body without Organs’, the politics, a permanent fauvism, that of Matisse, as the rigorous alternative to cubism and to the Spiritual in abstract Art).'
of eric alliez, guy debord, and clifford duffy

two scens Mystery Train_Jim Jarmusch_ and The Limits of Control ....

"Even if he didn’t like Jim Jarmusch’s latest film, which I found immensely pleasurable and mesmerizing, I’m glad that Hollywood Reporter’s Michael Rechtshaffen at least picked up on the fact that Bill Murray, who turns up very late in the film, is “channeling” Dick Cheney when he does. This is by no means a gratuitous detail. Trust a minimalist to make absences as important as presences. None of the characters in this movie is named, all of them are assigned labels in the cast list, and the only label assigned to Murray is “American”. Furthermore, unless I missed something, the European (specifically Spanish) landscape that Jarmusch and his cinematographer Chris Doyle capture so beautifully and variously, in diverse corners of Madrid and Seville, is otherwise utterly devoid of Americans of any kind — a significant statement in itself — until a foul-mouthed Murray makes his belated experience in a bunker, as ill-tempered as the American trade press is already being about this entrancing movie. Prior to that, we’re told repeatedly, in Spanish, by a good many others in the film, that he who tries to be bigger than all the others should go to the cemetery to understand a little bit better what life is: a handful of dust."


quoted

from Jonathan Rosembaum.com

















You what are you doing here


ExCuse me

No reallly excuse me Ma'am

I musta got the wrong address

I goto get going...

re_view

most folks are block. but of time . and its trestle none. none so retrieved as wedding vows blue. or skirts twirling along girls' stepping shoes in rain. ... d yellow raincoats. and othe r loves which rhyme as peaches go with sweet heart lips. lipsticked against the third quarter of September.

_______________________

colure

the astronomical vases Milton mazes speaks of Milton Eve's her Adam 'cept when she's hymn home. O rHomer to her ruling crazes. It's like that BumptyTumpty.

when the theoretical possibilities become infinite real collage becomes boring,the

dada at the opera : The Rake's Progress

No eye his future can foretell

No law his past explain

Whom neither Passion may compel

Nor Reason can restrain.

Igor Stravinsky - The Rake's Progress - "No Word From Tom"

Act 1 - Recitative: No Word From Tom (Anne) - Aria - Quietly, Night (Anne) - Recitative: My Father Can I Desert Him (Anne) - Cabaletta - I Go, I Go To Him (Anne)

conducted by Bernard Haitink, from 1975

Sets and costumes designed by David Hockney.

Roger Brunyate writes:

For the text, Stravinsky turned to the expatriate English poet Wystan Hugh Auden, who in turn brought in his own collaborator Chester Kallman. It was an inspired choice. As distinct from the metrical experiments of his contemporaries Eliot and Pound, Auden had always had a taste for the closed forms of earlier verse, and he adopted the Augustan style of the eighteenth century as to the manner born. Although writing in the mid-twentieth century, Auden and Kallman (whose styles are virtually impossible to tell apart) made no concessions to the modern era; their verse has the precision of Pope, whose elegance and wit they polished with the clarity of stylistic hindsight.

Although the subject and text of The Rake's Progress inhabit the eighteenth century, Stravinsky's music spans both eras; it is like a collage of classical motifs fragmented and reassembled in the manner of our own time. Indeed Stravinsky ranged even more widely in his sources. His primary inspiration is probably Mozart, specifically the Mozart of Così fan Tutte, which he had recently seen in a collegiate performance in California. But his stylistic grab-bag is deep enough to contain Monteverdi in one direction and Donizetti and Verdi in another; the styles are deliberately not all of a piece.

Furthermore, Stravinsky and his librettists conceived the opera in the old manner, as a sequence of short musical numbers linked by harpsichord-accompanied recitative. This deliberate break from the continuous musical narrative of Puccini and Strauss had the effect of taking time out of the real world and returning it entirely to the province of the composer. And it is his games with time that make the opera at once so exciting and so disturbing."

best

__________________________________________________________________

most poetry readings were boring and yet they got better as the time of used to
reading them became so. as the poets became better. yet some dont and others do.

better was good that became best.

___________________________ the poets became better. yet some dont and others do. better was good that became best.if that was not good enough
there was studio
the _______________________________________

under-sturdy-study and the constant making
_________________________________________________________

This way the chains were broken and the thighs

The violins pouncing announcing their refutal

___________________________________________________

this then ... that ...

if the rain comes don't say ....

it's the cloud's fault

____________________

BuRlesque DanceRs and Others AppEal TO Non Dada PrinCe to Save Run down shit box part of city they like and so do I so it goes but seeing as I was on

the trail of other becomings ____________________________________I was unaware of this event becoming till a mere quarter of an hour ago

Shitty
run
down
area

_________?
better that
than
the capital bingbong
of
replace with Uglee
shitty

commercial crapadom

HiStoric BeauTEe to go

Montreal le grand ville

de Sin

Mayor does not want

real People

living in the city

In fac

t

the Mayor and city

dont want the city to exist

at ALL

You can read media reports of what happened here:

“Prince Chuck misses out on lapdance” by Jamie O’ Meara, Up to the Hour (Hour Magazine)

“Royal welcome” photo by Kate Hutchinson, Montreal Mirror

“Montréal : œufs, tomates et strip-tease pour le Prince Charles” par Yannick Vely, Paris Match

“If the mayor won’t listen, maybe the prince will” by Jason C. McLean, Forget The Box

“please, charlie boy, save montreal’s red-light district” by Andy Riga, Montreal Gazette

“Une foule bigarrée accueille le prince” par Judith Lachapelle, La Presse

We never got to deliver our message to the Prince Charles in person and still haven’t received a response to our letter or video. He’s in Ottawa until tomorrow. Hopefully he’ll hear our message before returning to England.

** If you want to help spread the word, please forward, re-post, Facebook, Digg, etc. this post and/or this video to all your friends and lists, especially to people in England.

****You can also contact Prince Charles through his Regeneration Trust:

ImagIne that U too Can Write to A pRinCe if Not In Person then at least

thru his Regeneration Trust!

SO Pleeeeeeeeeeeeeeeese

PRiNCe CharlEsssssssssssssssssss

save the red Light ______________

No More ReD Light

its all gonna be

Green Light

Boring

Capitalism

devolopment shit

Help U s O Prince! Mona and friends Need SuppORT

info@princes-regeneration.org

_______________________ dont forget to reclaim the Main

Reclaim the Main

A project to reclaim St-Laurent Boulevard, a historic site in Montreal, from corporate intrusions through culture jammming, petitions and raising awareness. For more, please click here or the picture.

Burlesque dancers ask Prince Charles to Save the Red Light District

Burlesque dancers ask Prince Charles to Save the Red Light District

bustill mandelbrotia?

http://bustill.blogspot.com/

generalalitee

when the theoretical possibilities become infinite real collage becomes boring,the materials less interesting

which does not mean there are not interesting collage makers. but it does. there are . there are not. but theoretically there aren't

what is a collage anyhow ___________

Im not sure if it means anything

what it means its not important, what's important is what one does with it

what does one Do with a thought

the dada is a doer
a maker of artthings

_________________________________

collage becomes brick work. bricoleur? leur bric a brac.
__________


I am just having all collagists arrested ~

thought for the day! and evening

dada rests her case

&

takes off your clothe

remove his head

_______________

Selected for

Martin Beck, About the Relative Size of Things in the Universe, 2007
Image tirée de la vidéo, avec l'aimable concours de l'artiste / Video still, courtesy of the artist.




Sur la scène artistique, les œuvres et les projets de Martin Beck possèdent une dimension critique particulière. Ils envisagent l’exposition comme un médium par lequel le design, l’architecture et la culture populaire peuvent interagir de façon productive. Sa perspective méthodologique porte sur la façon dont, du point de vue d’un artiste, la pratique contemporaine et les discours historiques peuvent être interconnectés dans un sens qui va au-delà des reconstitutions ou des aspects de surface. Il s’intéresse spécifiquement à l’histoire des expositions et des structures de communication et comment ceux-ci influent sur l’articulation du temps présent.

Sa conférence portera sur les questions méthodologiques de sa pratique et particulièrement sur deux projets récents :

Panel 2 – “Nothing better than a touch of ecology and catastrophe to unite the social classes…” [Table ronde 2 – « Rien de mieux qu’une touche d’écologie et de catastrophe pour unir les classes sociales... »] a pour amorce un conflit lors de la tenue, en 1970, de l’International Design Conference à Aspen, au Colorado.

About the Relative Size of Things in the Universe [À propos de la taille relative des choses dans l’univers] lie le développement des systèmes d’exposition aux transformations dans les relations de travail.



Martin Beck’s artworks and projects have carved out a specific and critical position in the art arena that understands the exhibition as a medium within which fields such as design, architecture and popular culture can productively be interrelated. His methodical focus is on how, from the perspective of an artist, one can interconnect contemporary practice with historical discourses in a way that goes beyond reconstructions or surface looks. His specific topical interest lies in the history of exhibitions and communication formats, and how these impact the means of articulation in the present tense.

The lecture will address methodical issues of his practice and focus on two recent projects:

Panel 2 – “Nothing better than a touch of ecology and catastrophe to unite the social classes…” takes as its starting point a conflict at the 1970 installment of the International Design Conference in Aspen, Colorado;

About the Relative Size of Things in the Universe relates the development of exhibition systems to transformations in work relations.

I was a teen tea addict

yeats

W.B. Yeats (1865–1939). The Wind Among the Reeds. 1899.

The Song of Wandering Aengus

I WENT out to the hazel wood,

Because a fire was in my head,

And cut and peeled a hazel wand,

And hooked a berry to a thread;

And when white moths were on the wing,

And moth-like stars were flickering out,

I dropped the berry in a stream

And caught a little silver trout.

When I had laid it on the floor

I went to blow the fire a-flame,

But something rustled on the floor,

And someone called me by my name:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.

Though I am old with wandering

Through hollow lands and hilly lands,

I will find out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done,

The silver apples of the moon,

The golden apples of the sun.

phonemically

_______________________________

honetically rokenhoneticallyhoneticallphoneticlrokeonetically honetically broken:::phonetic

phonetically brokenphoneticanetically broken::

lyhonetically phon

allyonetically onetically brokenphonetically phonetically broken:: phoneticallyroken:: phoneticay broken::

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onetically phonetically broken::

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en:: phonetically boen:: honetically:: fhoneticly oken:: hoeticallyhonetaly phonetically broken::

ly tically phonephnetcally honeticabroknhon

phonetically phonetically brokenp

____________________________________

__________________________________

: and freedome is like a finger in the ass ~ O O th e aSS