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Surrealism in Egypt : modernism and the Art and Liberty Group
\"The Surrealist, Cairo-based Art and Liberty Group was founded on 22 December 1938 with the publication of its manifesto Long Live Degenerate Art. [This book] is the first comprehensive analysis of Art and Liberty's artworks, literature and critical writings on Surrealism\"--Book jacket.
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Surrealism and the Cuban Revolution: Roberto Matta’s Works in 1960s Cuba
In 1963, Matta visited Havana, invited by Casa de las Américas, one of the cultural organizations created after the triumph of the Cuban Revolution (1953-1959) that has been instrumental in fostering exchanges between Cuban and international writers, artists, and intellectuals through a varied program of artistic events, and, the publication of its literary magazine. During this stay on the island, Matta worked on the mural Cuba es la Capital (Cuba Is the Capital, 1963), using soil from Casa de las Américas’s surroundings and other materials found in situ. In the following years, Matta returned to Cuba and participated in exhibitions and initiatives, such as the 1968 Cultural Congress of Havana, organized in line with the new cultural policy of the revolutionary government. At this event Matta delivered a speech known as “The Internal Guerrilla” (La Guerrilla Interior). Surrealists from the Paris Group also participated in events in Havana and responded to the Cuban revolutionary process in their journals. In light of the Surrealists’s engagement with Cuba in the 1960s, this article examines two works that shed light on Matta’s approach to post-revolutionary Cuba: the 1963 mural Cuba es la Capital and the 1968 speech “The Internal Guerrilla,” which synthesizes Matta’s ideas on art and revolution.
Journal Article
Leonora Carrington and the Mexican Neo-Avantgarde in the 1960s
The objective of this essay is to study and highlight the exchanges, contributions and correspondences between Surrealism “displaced” in Mexico from the 1940s onwards and the Mexican avant-gardes of the second half of the 20th century. Indeed, against the commonly accepted idea of a strict isolation of surrealist artists in exile, many women artist—among them Leonora Carrington, Kati Horna, Alice Rahon, Remedios Varo or Bridget Tichenor—were fully integrated into the cultural circles of the time and played a predominant role in the development of an alternative cultural network to the official artistic channels dominated by the Escuela Mexicana de Pintura.These exchanges are reflected in the multidisciplinary participation in avant-garde events and the common desire of national and surrealist artists to create new spaces of expression outside the cultural institutions dominated by nationalist currents. Without being trapped in the shackles of artistic dogmatism, these artists managed to renew the surrealist spirit while actively participating in contemporary cultural events, from Mathias Goeritz's 1961 manifesto “(H)artista” through Salvador Elizondo's 1962 ephemeral magazine S.NOB, Alejandro Jodorowsky's panic theater, to the famous Generación de la Ruptura.
Journal Article
Why surrealism matters
Why does Surrealism continue to fascinate us a century after André Breton?s Manifesto of Surrealism? How do we encounter Surrealism today? Mark Polizzotti vibrantly reframes the Surrealist movement in contemporary terms and offers insight into why it continues to inspire makers and consumers of art, literature, and culture.0 0Polizzotti shows how many forms of popular media can thank Surrealism for their existence, including Monty Python, Theatre of the Absurd, and trends in fashion, film, and literature. While discussing the movement?s iconic figures?including André Breton, Leonora Carrington, Salvador Dalí, René Magritte, Man Ray, and Dorothea Tanning?he also broadens the traditionally French and male-focused narrative, constructing a more diverse and global representation. And he addresses how the Surrealists grappled with ideas that mirror current concerns, including racial and economic injustice, sexual politics, issues of identity, labor unrest, and political activism. Why Surrealism Matters provides a concise, engaging exploration of how, a century later, the ?Surrealist revolution? remains as dynamic as ever.
Book
Surrealist Utopias and the Cuban Revolution
The recognition in 1964 of the Cuban revolution by the Parisian surrealists gathered around André Breton can be explained by the presence in its ranks of two artists born on the island (sculptor Agustín Cárdenas and painter Jorge Camacho), but also by what firstly appears to be, quoting Régis Debray, a “revolution in the revolution.” At a time when the Western working class seemed to have abandoned its “revolutionary role,” and the “socialist democracies” of the East showed no hope of real emancipation, the first years of the Castrist regime, which promoted a resistance to North American imperialism and to Soviet authoritarianism, seemed to propose a third way, and soon became a leading symbol of the Third World revolutionary potentiality. Castro’s declared willingness to move away from Soviet methods, Guevara’s defense of revolutionary internationalism, and proclamations concerning the freedom of art convinced some of the Surrealists to accept Wifredo Lam's official invitation to join the Salónde Mayo organized in La Habana in July 1967. As shown by the debates the trip to Cuba generated later in the Paris Group, the Cuban revolution prompted the Surrealists to define how they could get involved in the anti-imperialist struggle, but also to revise their conception of revolution.
Journal Article
What to do
\"A nameless narrator and his friend Alberto move through a constantly morphing continuum of dream-like situations while discussing philosophy, literature, and war. The impossible question of an enormous student in a lecture hall at an English university sets off a series of alternate paths that open before them like a fan. In taverns, boats, and plazas, the two protagonists discuss John Donne, Lawrence of Arabia, and Lenin with English students, a group of young and old women, and eight hundred drinkers, all the while being dropped from one strange place into the next. A remarkable work of refined surreal comedy.\"-- Provided by publisher
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Subversive Beauty
In the 1930s, several of Vogue’s staff photographers—Georges Hoyningen-Huené, Cecil Beaton, and Horst P. Horst—explored surrealist-influenced fashion photography in the pages of the magazine’s American, British, and French editions. Using surrealist experimental photographic techniques, they transgressed the accepted boundaries of the photographic genre and created shocking images that, for a time, called Vogue’s pursuit of elegance and refinement into question. While previous scholarship has argued that the assimilation of surrealist aesthetic devices in American fashion magazines commercialized Surrealism during the 1930s, such photographic output has yet to be assessed in relation to surrealist thought and practice. In this paper, I reassess three fashion editorials illustrated by Hoyningen-Huené, Beaton, and Horst in American Vogueand how their experimentations with lighting, unusual angles, and darkroom processes aligned with the marvelous, a key concept of surrealist photography initially pursued by surrealist artist and photographer, Man Ray. I argue that Vogue’s staff photographers did not just photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created a new visual vocabulary that, for a short period of time, challenged the commercial ethos of American Vogue’seditorial section.
Journal Article
Surrealist Shop Windows
During his wartime exile in New York City, André Breton responded to the popular entrenchment of Surrealism as a language of shop window merchandising by leading a small group of artists and writers to take the publicity of Surrealism into their own hands. At Breton’s behest, Marcel Duchamp designed three shop windows to advertise texts released by the French publishing arm of the Fifth Avenue bookstore Brentano’s in 1943 and 1945. Although art historians have called attention to the relationship between these designs and the iconography of better-known works by Duchamp, this paper considers them as instantiations of Breton’s evolving thought within the context of a commercial environment already saturated with surrealist imagery. It places them within an iconographic web that includes, among others, Salvador Dalí’s famed fashion displays of the preceding decade, multiple iterations of Duchamp’s “twine,” and works by Kurt Seligmann, Roberto Matta, and Breton himself. The paper argues that, exemplifying the prewar surrealist motif of interior and exterior permeability and bringing it to a breaking point, these obscure windows for French-language texts became an important laboratory for the engaged critique of consumerism that would come to the forefront of the surrealist movement during the postwar period.
Journal Article