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Wednesday, 9th April


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17.45 - англ. перевод инт. Эволы

alib радует редкостями: такого тиража я ещё не видел: Бретцель А. Я. Фон - "Измайловская старина". Материалы к истории Л.-Гв. Измайловского полка. Тетрадь 26. Александрия. Египет 1936г. (BS - Biblionne) Тираж 15 экз.

прочитал:
* что закрывают Детский Мир у Лубянки (пока на 3 года, но судьба Планетария напоминает не загадывать)
* про бельков и поморов
* про “the grid”: superfast internet
* о венграх в Румынии (the Szeklers)
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Нельсон Мальтийский перевёл на англ. ютубовский отрывок из интервью Эволы:

It needs to be underlined that in Italy, there wasn't a real and proper Dadaist movement. There were, on the other hand, single manifestations... at Mantua, for example, there was a small group with Cantarelli and Fiozzi, which published a journal "Bleu", in which artists of dadaist inspiration collaborated. I myself came to know this journal from Tzara (Tristan), and subsequently collaborated personally: but the journal didn't endure (only a few periodicals were published).

At Rome, there was a very famous concert hall which was situated on an ancient Roman amphitheatre - the 'Augusteo'. And here, in an underground hall, the futurist Italian painter Arturo Ciacelli had created a cabaret french-style, which I personally decorated. In the Augusteo, there took place dadaist manifestations: the recitation of a poem in four voices, three men and a young women, who drank champagne and smoke during the performance.

As for background and accompanying music, there were Schönberg, Satie and other analogous musicians. The manifestation was private, and every invited guest would at the end receive a dadaist talisman. We wanted to publish a unique number of journals with an introduction to the dadaist manifestations, but unfortunately the person who promised to fund us did not keep his word.

As to the Dadaist show, it didn't regard only paintings; but most of all we had the precise intention of stupefying the people, to "amaze the bourgeois" as best as possible. In the middle of the hall, there was a billboard with a phrase by Tristan Tzara: "I would like to sleep with the Pope. Don't you understand? Neither do we: what sadness... ". Deep inside, on another billboard: "In front of us, 'blenorragia' (a very common STD); behind us 'The Flood' ". Then, on every painting, there were small writings: "Buy this painting, I plead you; it costs only two and a half franks." And additionally a list of Dadaist sympathies and antipathies: "Dada is against the Fatherland... Dada dislikes the Virgin Mary... Dada is against Dada.." and things of this sort. It is understandable that with this sort of behaviour, we did not obtain the symphaties of the public.

The Dadaist manifestations were characterized by a lot of pandemonium: one would attend there to make a racket; there flew vegetables and rotten eggs. Neither the public nor the critics slightly suspected the seriousness, the profound seriousness given to these external manifestations, behind a mask of unseriousness and bamboozlement. In Italy, the Dadaist didn't have many followers: after a number of journals and after I had retired; of Dada in Italy, it was never heard again.

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