Participatory Art and the Politics of Spectatorship - autonomous ...

notes to pages 69– 74
‘Quelques Souvenirs’, in Tzara, Oeuvres Complètes, Vol. 1, Paris:
Flammarion, 1975, p. 596). This is comparable to the large numbers
who attended the Futurist serata at Teatro Verdi in Florence on 12
December 1913: Lacerba reports 5,000 people in the audience, while
the Corriere della sera reports 7,000. See Berghaus, Avant- garde
Performance, p. 34.
102 See Michel Sanouillet, Dada à Paris, Paris: Jean- Jacques Pauvert, 1965,
pp. 246– 7, and Georges Ribemont- Dessaignes, Déjà Jadis, ou du
mouvement Dada à l’espace abstrait, Paris: Julliard, 1958, p. 94, my
translation.
103 See Breton, ‘Artifi cial Hells’, p. 140.
104 Sanouillet, Dada à Paris, p. 248. The audience’s enthusiasm for Dada is
indicated by the title of a contemporary review: ‘The Disciples of “Dada”
at the Eglise Saint Julien- le- Pauvre’, Comoedia, 15 April 1921.
105 Breton, ‘Artifi cial Hells’, pp. 140– 1.
106 Richter, Dada, p. 183. Here he is citing Ribemont- Dessaignes.
107 Tzara, ‘Some Memoirs of Dadaism’, p.91.
108 Breton, cited in Ribemont- Dessaignes, Déjà Jadis, p. 86, my translation.
109 Breton, ‘Artifi cial Hells’, p. 138.
110 Ibid., p. 139.
111 Ibid., p. 140, emphasis added.
112 Picabia, cited in Hugnet, L’aventure Dada, p. 98, my translation.
113 Press release transcribed in Sanouillet, Dada à Paris, p. 244, my translation.
114 Breton, ‘Entretiens Radiophoniques’, p. 469.
115 The flier reads: ‘Twelve spectators will constitute the jury. We would
be grateful to everyone who would like to take part to register in
advance at Au Sans Pareil, 37 Avenue Kléber, before 11 May 1921’
(my translation).
116 Acte d’accusation du Procès Barrès, May 1921, reprinted in Hugnet,
L’aventure Dada, p. 235, my translation. A full transcription is published
in Littérature, August 1921.
117 Breton, ‘Artifi cial Hells’, p. 140; Aragon, Projet d’histoire litteraire contemporaine,
p. 104, my translation.
118 Tzara, ‘Procès Barrès’, in Oeuvres Complètes, Vol. 1, p. 576.
119 See Hugnet, L’aventure Dada, p. 102.
120 Ribemont- Dessaignes, Déjà Jadis, p. 97, translation in Richter, Dada,
p. 186.
121 Richter, Dada, p. 186.
122 Lunacharsky, ‘Revolution and Art’, in Bowlt (ed.), Russian Art of the
Avant- garde, p. 192. He goes on to reference this dream as the one ‘the
French Revolution dreamed of’ (p. 193).
123 This negation becomes apparent when we compare Paris Dada to the
more overtly partisan forms of Berlin Dada, with their denunciations of
302