See the updated Events page for more current and upcoming exhibits.
I just received a very appealing package from Jean-Pierre Paraggio containing the last issue of L’Impromptu (#14), several copies of Soapbox, and the chapbook Et on s’en va by Jean-Yves Bériou with artwork by Paraggio.
New items coming from Collection de l’umbo include Ocelles by Joël Gayraud with drawings by Viriginia Tentindó, Revue (2) by Olivier Hervy with a fontispiece by Susana Wald and Ludwig Zeller, and Le feu fait son travail, by Roberto San Geroteo with a frontispiece by Roland Giguère. See the minutes de l’umbo website for order info.
From “Invisbile Surrealists”—Sam Durant at Paula Cooper Gallery (9/12/14-10/18/14) in an exhibit focused on colonialism and the oppositional efforts of surrealist artists in colonial countries. Durant’s timeline running from the Haitian revolution to 1969 pinpoints key events and the source material for images that he reworked in large scale drawings in the exhibit.
Among the artists and writers highlighted are Jean Benoit and Jean-Jacques Lebel (both for hommages to the Marquis de Sade), René Menil, Aimé and Suzanne Césaire, Joyce Mansour, Jules Monnerot, Wifredo Lam, Ramses Yunan, and Georges Henein. For more images, see Hrag Vartanian’s detailed review at Hyperallergic.
Photographs by Kirstin Chappell and Paul McRandle
"A nenuphar, a lotus-like conception floating somewhere over your brain, hovering there as if waiting to descend slowly like a languid parachutist draping the neural forest with his silk. The image of a sensation, of a densely interwoven bundle of emotions, traumatic responses and their soulagement in a wash of diaphanous color spreading across the cortex changing the excitatory/inhibitory impulses of the habenula and altering one’s perception of threat and possibility. The nenuphar is an alien intelligence, an external liquid not to be trusted in itself but paranoia isn’t the suitable response either. This is not a question of becoming lotus-eaters lost in the placid fields of somnolent poppy, but one of reconstitution of the self with the nenuphar integrated as a daimon, a sensorium that opens onto electro-magnetic frequencies we’re otherwise ignorant of. The flower sprouting from your skull is the new condition, you see.”
A rare set of interviews with Canadian Surrealist artists on the Pacific Coast and an overview of the history of surrealism across Canada. Gregg Simpson has compiled a detailed history at The West Coast Surrealist Group: A Chronology 1965-2014.
by Laurens Vancrevel
Illustrated by eight collages by David Coulter, Targets, a series of very poignant prose poems by Allan Graubard has been published by ANON Editions. Graubard evokes a fierce (or angry) woman eaten by desire and despair, devastated by cruel dreams and an insatiable thirst for alcohol. “And waking? She doesn’t wake, she prevents herself from waking, she can’t stand the thought of waking!” The artist, David Coulter, is a name known to American surrealism: he founded the surrealist “Marquis de Sade Editions” in San Francisco with Thom Burns and Tom Burghardt in 1979.
This review originally appeared in French in Infosurr: Actualités du surréalisme et ses alentours, No. 108.
For more titles, see the just-updated Publications page.
Since it’s the 90th anniversary of the appearance of the Manifesto of Surrealism reread it of course, then…
After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you. Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is one of the saddest roads that leads to everything. Write quickly, without any preconceived subject, fast enough so that you will not remember what you’re writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every passing second there is a sentence unknown to our consciousness which is only crying out to be heard. It is somewhat of a problem to form an opinion about the next sentence; it doubtless partakes both of our conscious activity and of the other, if one agrees that the fact of having written the first entails a minimum of perception. This should be of no importance to you, however; to a large extent, this is what is most interesting and intriguing about the Surrealist game. The fact still remains that punctuation no doubt resists the absolute continuity of the flow with which we are concerned, although it may seem as necessary as the arrangement of knots in a vibrating cord. Go on as long as you like. Put your trust in the inexhaustible nature of the murmur.
The author of the wide ranging, deeply researched, and hugely useful The Esoteric Secrets of the Surrealists discusses his book with Legalise Freedom Radio.
Thanks to David Nadeau and Andrew Mendez for noting this.
Invisible Surrealists, 2014, by Sam Durant
Paula Cooper gallery is exhibiting Sam Durant’s drawings, sculptures, and assemblages through October 18 in “Invisible Surrealists,” which “revisits the history of Surrealism, casting light on lesser-known members of the movement from the Francophone colonies.”
For more listings, see the recently updated events page.
Thanks to Tamara Smith for alerting me to the exhibit.
Jean-Christophe Belotti, founder of L’Or aux 13 Îles, posted on Facebook an interview with Annie Le Brun about the exhibit Sade. Attaquer le soleil she curated at the Musée d’Orsay, reposted below along with a great print interview from a few years back.
Annie Le Brun will be speaking with the director of the Orangerie about the exhibit on October 17 at noon.
“Sade, un recours contre l’obscenté" from Philosophie Magazine, no. 41.