The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In his article the poet from Monterrey, Rafael Lozano, refers to the leaders of Dadaism: Tristan Tzara in Zurich, Switzerland and Francis Picabia in New York. He hopes sarcastically that the tenets of Dadaism will be sung just like the French national anthem or a Mexican corrido [narrative song]. In the same tone, Lozano gives an account of the movement’s publications, emphasizing their nihilism. For the Mexican author, Dadaism represents anti-naturalism; a mechanism equivalent to the place that Leninism holds in politics. Finally, he discounts them as a group of sterile and destructive artists that are praised only by imbeciles and social climbers that cling to the Parisian fashion.
Rafael Lozano (1899-) published his book of hai-kai in Paris in 1921 and the following year, in the magazine Prisma in Buenos Aires. This allowed him to maintain contact with the European avant-garde, although he did not always share its principles, such as in the case of this skeptical commentary on Dadaism. Hai-kai is a type of Japanese poetry that predates haiku; its format is very brief (3 lines of 5-7-5 syllables respectively). Dadaism and Futurism were important for the emergence of Estridentismo (1921-1927) in Mexico; that latter movement focused on strategies of agitation and a limitless affinity for machine-like aesthetics. The movement, which was similar to the aforementioned European avant-garde, thus advocated a new urban sensibility wherein experiences smashed together simultaneously, in a manner similar to the speed of modern life. The name of the movement refers to the noise of the city, but also to its desire to be heard through its embedded transgressions and excesses.