Tapeloop
Junior Acolyte
- Joined
- Aug 4, 2002
- Messages
- 97
Hah, that's superb. The host does an excellent job of trying to get a coherent interview from Dali at his most Dali like. That poor anteater!
Surrealism
- Thread starter JamesWhitehead
- Start date
Hah, that's superb. The host does an excellent job of trying to get a coherent interview from Dali at his most Dali like. That poor anteater!
mikfez
Generally Bewildered
- Joined
- Aug 17, 2006
- Messages
- 497
- Location
- East Yorkshire
Restored version of Luis Bunuel & Salvador Dali's surreal film Un Chien Anldalou(1929)
Un Chien Andalou Link
The eye-slice is at 1:30
Un Chien Andalou Link
The eye-slice is at 1:30
ramonmercado
CyberPunk
- Joined
- Aug 19, 2003
- Messages
- 58,264
- Location
- Eblana
Surrealism's Centenary.
Does Surrealism still matter? Has it ever mattered? The question is hardly new, and has been debated practically since the movement was launched. Already in 1930, a mere six years after its brash inauguration, the twenty-something poet René Daumal was cautioning André Breton, Surrealism’s founder, primary theorist, and author of the Manifesto of Surrealism (1924), against the threat of irrelevance through popular acceptance: “Beware, André Breton, of one day figuring in study guides to literary history; whereas if we aspire to an honor, it is to be inscribed for posterity in the history of cataclysms.” (An apt warning, as Breton and many other Surrealists have since figured in quite a few study guides.)
A dozen years later, Breton himself, in exile in the United States during World War II, fulminated to students at Yale University against the “impatient gravediggers” who declared Surrealism over and done. Given that many of the young men in the audience were thinking about their looming draft notices, we can imagine that they, too, were wondering how relevant Surrealism was to their lives at that moment. And today, as Surrealism marks its centennial, and as its fortunes over the past fifty years have risen, fallen, and risen again, it’s a question worth pondering once more.
Indeed, much like the students at Yale, young people of the twenty-first century could hardly be faulted for wondering what a bunch of eccentric writers and artists showing off their dream states could have to do with such pressing concerns as social and racial injustice, a faltering job market, gross economic inequities, the decimation of our civil liberties, questions of gender identity and equality, environmental devastation, education reform, or, once again as I write this, the specter of world war. All the more so in that the word “surreal” has come to stand, in the popular imagination, for a vague cluster of things, a catchall term that runs the gamut from the unnerving to the merely kooky.
The answer is that Surrealism engaged with all of these crises. To cite several examples: The Surrealists’ outspoken critiques of French colonialism and racism share many points in common with current debates about racial equality and social justice. Their opposition to war and the military, dating as far back as World War I, was echoed in protests against France’s involvement in Algeria and America’s war in Vietnam, among others. The frankness with which they addressed sexuality, though this does not airbrush the more than equivocal position of women in the movement, was audacious for its time, and has had lasting echoes in contemporary attitudes. Their skepticism about work is almost a direct pre-echo of today’s Great Resignation....
From Why Surrealism Matters by Mark Polizzotti. Published by Yale University Press in January 2024. Reproduced by permission.
https://lithub.com/permanent-newness-surrealism-at-100/
Mark Polizzotti on the Legacy of One of the 20th Century’s Most Innovative Artistic Movements
Does Surrealism still matter? Has it ever mattered? The question is hardly new, and has been debated practically since the movement was launched. Already in 1930, a mere six years after its brash inauguration, the twenty-something poet René Daumal was cautioning André Breton, Surrealism’s founder, primary theorist, and author of the Manifesto of Surrealism (1924), against the threat of irrelevance through popular acceptance: “Beware, André Breton, of one day figuring in study guides to literary history; whereas if we aspire to an honor, it is to be inscribed for posterity in the history of cataclysms.” (An apt warning, as Breton and many other Surrealists have since figured in quite a few study guides.)
A dozen years later, Breton himself, in exile in the United States during World War II, fulminated to students at Yale University against the “impatient gravediggers” who declared Surrealism over and done. Given that many of the young men in the audience were thinking about their looming draft notices, we can imagine that they, too, were wondering how relevant Surrealism was to their lives at that moment. And today, as Surrealism marks its centennial, and as its fortunes over the past fifty years have risen, fallen, and risen again, it’s a question worth pondering once more.
Indeed, much like the students at Yale, young people of the twenty-first century could hardly be faulted for wondering what a bunch of eccentric writers and artists showing off their dream states could have to do with such pressing concerns as social and racial injustice, a faltering job market, gross economic inequities, the decimation of our civil liberties, questions of gender identity and equality, environmental devastation, education reform, or, once again as I write this, the specter of world war. All the more so in that the word “surreal” has come to stand, in the popular imagination, for a vague cluster of things, a catchall term that runs the gamut from the unnerving to the merely kooky.
The answer is that Surrealism engaged with all of these crises. To cite several examples: The Surrealists’ outspoken critiques of French colonialism and racism share many points in common with current debates about racial equality and social justice. Their opposition to war and the military, dating as far back as World War I, was echoed in protests against France’s involvement in Algeria and America’s war in Vietnam, among others. The frankness with which they addressed sexuality, though this does not airbrush the more than equivocal position of women in the movement, was audacious for its time, and has had lasting echoes in contemporary attitudes. Their skepticism about work is almost a direct pre-echo of today’s Great Resignation....
From Why Surrealism Matters by Mark Polizzotti. Published by Yale University Press in January 2024. Reproduced by permission.
https://lithub.com/permanent-newness-surrealism-at-100/
Steven
A tribute act to Sweep
- Joined
- Nov 5, 2023
- Messages
- 1,099
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- UK
Not sure why relevancy, or irrelevancy, is deemed to matter so much; especially when it comes to discussing the arts. Just as Dali and Picasso found relevancy (and inspiration) in Velázquez's paintings, even though he was hardly a contemporary of theirs...
hunck
Antediluvian
- Joined
- Jul 13, 2011
- Messages
- 9,514
- Location
- Hobbs End
Japanese artist Tetsuya Ishida
His themes were isolation & alienation in Japanese life.
More at link.
His themes were isolation & alienation in Japanese life.
More at link.