International Journal of Surrealism最新文献

{"title":"Painting and Socializing COVID-19 Dreams","authors":"Julia Lockheart","doi":"10.1353/ijs.2024.a922369","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922369","url":null,"abstract":"Abstract: A catastrophic worldwide trauma occurred with the 2020 COVID-19 pandemic, which caused changes in the content of dreams worldwide. In response to this, the science art collaboration DreamsID (Dreams Interpreted and Drawn; Dreams Illustrated and Discussed) held dream salons online, from March to July 2020, to explore the effects of the pandemic on the dreams of healthcare professionals and keyworkers. In each salon a worldwide audience discussed the dream of a key worker, and the dream was painted simultaneously so as to return the dream to a visual form. Three of these dreams are described here. Each is shown to reflect metaphorically the adverse circumstances of the pandemic. The painting of each dream is reproduced, with feedback from each dreamer about this process. This article shows how, through discussion with others, the socialization of the dream results in an artistic intervention and a collaborative act of creativity. It concludes that the dream salon, as a forum, combines the dream and rational waking life of the dreamer, one of the key aims of Surrealism.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"413 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140283057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The Universe Is a Quiet Catastrophe\": Alan Glass's Late Assemblages","authors":"Kristoffer Noheden","doi":"10.1353/ijs.2024.a922365","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922365","url":null,"abstract":"Abstract: This article examines a selection of the assemblage artist Alan Glass's art made during the COVID-19 pandemic. In either direct or oblique ways, many of Glass's works from 2020 to 2022 allude to the pandemic and other ongoing crises including war and ecological catastrophe. Drawing on archival material and interviews with the artist, the article emphasizes the significance of poetry and esotericism for his art, and interprets the works under consideration as examples of gnosopoetics, or the pursuit of higher knowledge and radical transformation through surrealist art. After outlining Glass's trajectory from drawing and painting to the medium of assemblage and situating his art in the context of Surrealism in Canada, France, and Mexico, the author proceeds to a thematic discussion of Glass's pandemic-era works. These alternate between, on the one hand, depicting a broken world and thematizing death, and, on the other, calling forth possibilities of transformation through a surrealist poetics of the ascendant sign as well as imaginary forms of communication.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"34 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140277095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Night Blooming Prophecy: The Surrealism of Stephen Robeson-Miller","authors":"Susan L. Aberth, Stephen Robeson-Miller","doi":"10.1353/ijs.2024.a922371","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922371","url":null,"abstract":"","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"7 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140272017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Social Distance and Desire: Isolation and Entrapment in the Films of Luis Buñuel","authors":"Kirsten Strom","doi":"10.1353/ijs.2024.a922366","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922366","url":null,"abstract":"Abstract: In discussions of pre-COVID films seeming to anticipate the anxieties of quarantine, Luis Buñuel's Exterminating Angel is a frequent point of reference. The plight of characters desperately unable to break free of a home has obvious parallels, but related themes of isolation and entrapment play themselves out in varied ways across the filmmaker's fifty-year oeuvre. This article explores these themes in three of Buñuel's Mexican films, comparing the scenario of The Exterminating Angel to those of the lesser-known films, The Adventures of Robinson Crusoe (1952) and Simon of the Desert (1965). Though they are stylistically diverse, the three films also share the incorporation of surrealist strategies, enabling them to provide a persuasively surrealist take on situations of social distance and desire.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"760 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140281256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Surrealism, Counter-Mapping and COVID: Confluences in Contemporary Asian Australian Art","authors":"Victoria Carruthers, Jaime Tsai","doi":"10.1353/ijs.2024.a922368","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922368","url":null,"abstract":"Abstract: COVID-19 originating in China was all it took to destabilize Australia's claim to a proud, multicultural society, and with it, the sense of place and belonging felt by much of the Asian Australian community. Living and working in Melbourne, the most locked-down city in the world during the COVID period, the Asian Australian multimedia and performance artists Eugenia Lim and James Nguyen witnessed firsthand the resurgence of sinophobia, which exposed the ongoing resilience of the government's former White Australia Policy in the national imagination. Working approximately one hundred years after André Breton's Dada excursion (1921), and the surrealist survey on \"Irrational Embellishments\" of Parisian monuments (1933), Lim and Nguyen's counter-mapping practices echo these reorientations of site that seek to dismantle ideological codifications of space and reestablish them as imaginative and inclusive. As a strategy of spatial contestation and world building, Lim and Nguyen counter-map several historical and culturally significant sites across Australia, offering a decolonial inflexion of the more iconoclastic gestures of their European progenitors. Refracted through the lens of COVID, these Asian-Australian interventions bring the underlying cultural and racial tensions in Australian society into sharp relief. Their work resists reductive narratives of nationhood and renders the Australian landscape permeable to an interplay of hybrid stories and identities.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"45 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140276037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In a Pandemic Dream","authors":"Tim Murphy","doi":"10.1353/ijs.2024.a922370","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922370","url":null,"abstract":"","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"55 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140282560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inside/Outside: Surrealism in the Time of COVID","authors":"Kate Conley, Alyce Mahon","doi":"10.1353/ijs.2024.a922364","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922364","url":null,"abstract":"","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"40 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140274508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Private Shrines: Domestic Experiences of Surrealism in Three Italian Interiors from the Early 1970s","authors":"Giorgio Di Domenico","doi":"10.1353/ijs.2024.a922367","DOIUrl":"https://doi.org/10.1353/ijs.2024.a922367","url":null,"abstract":"Abstract: The COVID-19 pandemic has highlighted the importance of private spaces. As a result, the link between Surrealism and domesticity has gained new relevance. In this essay, Di Domenico explores the impact of surrealist artworks exhibited inside collectors' homes focusing on three case studies: three Italian rooms from the early 1970s featuring artworks by Man Ray and René Magritte. Photographs of these rooms were featured in popular art and interior design magazines such as Domus, Casa Vogue , and BolaffiArte . By analyzing how surrealist artworks functioned within the bathroom of the Agnelli family, the \"playroom\" of actress Sophia Loren, and the bedroom of gallery owner Luciano Anselmino, the author examines the impact of surrealist works in domestic settings, the role of gender dynamics in the construction of personal identity through collecting, the reception of Surrealism in Italy, and its relationship with interior and product design. By delving into the biographies of the collectors, he offers insights into the role, function, and significance of the surrealist artworks they chose to display in their most intimate spaces: their private shrines.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"147 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140282251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Voice for Surrealism: Suzanne Césaire and the Tropiques Group","authors":"María Clara Bernal","doi":"10.1353/ijs.2023.a908035","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908035","url":null,"abstract":"Abstract: In the mid-1940s, Martinican writer Suzanne Césaire published her text “1943 Le Surréalisme et nous” in the cultural journal Tropiques . In it, she addressed the potential of the avant-garde movement as a weapon in the Caribbean intellectuals struggle for freedom. Her arguments were developed in other articles published in the same journal where she encouraged the use of poetry to reveal the ambiguous reality of colonialism. However, her role in the exchange between local and European intellectuals has been overshadowed by the studies of the more prominent part her husband Aimé Césaire had. This article aims to place Suzanne Césaire at center stage in the exchange between Surrealism and the Tropiques group. It documents the impact of her ideas and writings on Surrealism’s support for decolonization during and after World War II, as well as the influence of her thought in contemporary discussions about decolonial culture.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134962894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“The Problem of Woman” in Surrealism","authors":"Kate Conley, Alyce Mahon","doi":"10.1353/ijs.2023.a908032","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908032","url":null,"abstract":"“The Problem of Woman” in Surrealism Kate Conley (bio) and Alyce Mahon (bio) André Breton’s footnote in the “Second Manifesto of Surrealism” (1930) stating that the “problem of woman is the most wonderful [merveilleux] and disturbing problem there is in the world” has often been read as implying that woman was an abstract concept for the surrealist movement, and that women artists were not recognized as active participants.1 Breton’s words seem to put woman on a pedestal rather than in the collective. Yet the word “wonderful” was a revealing choice of adjective: it denotes something (person or object or experience) that is strange, curious, or astonishing, as well as an agency to excite or inspire those responses. The French word merveilleux (marvelous) was a metaphysical concept central to the surrealist discourse— explained by Pierre Mabille as following “the paths of the world and those leading to the hidden center of the self at the same time.”2 Women were present in Surrealism and in this pursuit of the marvelous from the start, beginning with Mademoiselle Renée at the third session of surrealist automatism conducted in Breton’s Paris apartment, who fell asleep and called out “breathless phrases” about “the abyss,” and his wife Simone Kahn Breton, who described these sessions in her letters to her cousin, Denise, and who is shown at [End Page v] a typewriter in the famous 1924 photograph of the group by Man Ray.3 Women were active in producing the group “exquisite corpse” drawings that began at a dinner table in 1925, including Valentine Hugo and Nusch Eluard. Claude Cahun had published some of her subversive short stories, “Heroines” in the Mercure de France and Journal littéraire in 1925, and in 1930 her only published self-portrait, titled Frontière humaine (Human Frontier), was published in the journal Bifur.4 Cahun and her partner Marcel Moore would also join Breton in the anti-fascist political effort, Contreattaque, in 1935. By the mid-1930s, multiple women were involved in Surrealism: among others, Meret Oppenheim, from Switzerland, once she moved to Paris in 1932–33; Leonor Fini, from Argentina and later Italy, who first met Breton in 1933; Breton’s second wife, French painter Jacqueline Lamba in 1934; Gisèle Prassinos, born in Istanbul of Greek heritage and raised in France, whose automatic writings as a teenager attracted the attention of Paul Éluard in 1934; Leonora Carrington and Kay Sage, from England and the United States, who joined the group once they arrived in Paris in 1937; Frida Kahlo, from Mexico, who had an exhibition in Paris in 1938 and participated in the 1940 international exhibition of Surrealism in Mexico City; Dorothea Tanning, from the United States, who joined the group in New York City in 1942; Toyen, who launched a sur-realist movement in Prague and moved to Paris in 1947–48; Joyce Mansour, an English born Egyptian poet, who joined the surrealist circle in Paris after the publication of her first poetry coll","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}