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Surrealisme I Marxisme a Catalunya (1923-1932)

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Surrealisme I Marxisme a Catalunya (1923-1932) LOCVS AMŒNVS 4, 1998-1999 239-248 Surrealisme i marxisme a Catalunya (1923-1932) David Martínez Fiol Castillejos, 215 08013 Barcelona. Spain Resum Al llarg del primer terç del segle XX, l’expansió del sector de serveis i del catalanisme polític va afavorir a Catalunya la configuració d’un sector intel·lectual i professional procedent de les classes mitjanes urbanes i de la pagesia. Així, en el context de la transició de la Dictadura de Primo de Rivera a la Segona República, un reduït sector de joves separatistes catalans se serviren del comunisme i del surrealisme com a plataformes de projecció social i política superadores de l’estètica i de la praxi noucentista del regionalisme català. Paraules clau: sector serveis, avantguarda, catalanisme. Abstract Surrealism and Marxism in Catalonia (1923-1932) All through the first third of the Twentieth century, the expansion of the service sector and of the political catalanism favoured in Catalonia the configuration of an intelectual-professional sector coming from the urban middle classes and the peasentry. In this way and in the context of the transition from Primo de Rivera’s dictatorship to the Second Republic, a reduced group of young Catalan separatists made use of communism and surrealism as plataforms for a social and political projection which excelled the noucentista esthetic and the praxis of the Catalan regionalism. Key words: service sector, vanguard catalanish. 240 LOCVS AMŒNVS 4, 1998-1999 David Martínez Fiol ’anàlisi del surrealisme a Espanya sempre i física en la Gran Guerra va resultar summament 1. Per exemple, a Valeriano BOZAL, Arte del siglo XX en España. Pin- ha estat dominada per la figura omnipresent important per entendre l’evolució de determinats tura y escultura 1900-1939, Ma- de Salvador Dalí i les seves relacions personatges de la cultura i la política francesa i ca- drid, Espasa-Calpe, 1995 (amb L una primera edició del 1991), el artístiques i personals amb el cineasta aragonès Luís talana cap al comunisme i, a continuació, cap a tema del surrealisme al conjunt Buñuel i l’escriptor granadí Federico García Lorca. l’acceptació o el consentiment del surrealisme com d’Espanya, amb un tractament es- pecial a Salvador Dalí, ocupa unes Lògicament, la tríada Dalí-Buñuel-Lorca ha a alta cultura proletària. cent pàgines de les sis-centes que transcendit l’àmbit d’anàlisi dels historiadors de en té el llibre. Ara bé, el context polític i les possibles adscripcions l’art per expandir-se al dels historiadors i crítics del i evolucions ideològiques i cinema, així com al dels filòlegs i crítics literaris; i, polítiques dels artistes surrealistes Joves, separatistes, comunistes són pràcticament obviades o gairebé sempre, per donar una especial i mítica ignorades. Per contra, una anàlisi rellevància a les vinculacions dels tres artistes en el i avantguardistes netament sociològica del tema de les avantguardes a Catalunya als procés de gestació i elaboració de la pel·lícula Un anys vint i trenta a Enric UCELAY- chien andalou el 1928-1929. Al mateix temps, la 1929. Un jove separatista i comunista català resident DA CAL, «La crisi de la postguer- ra», a Pere GABRIEL (dir.), Història perspectiva de filòlegs i historiadors de l’art en a Barcelona i treballador mercantil d’uns vint-i-nou de la cultura catalana, vol. VIII: l’estudi del surrealisme i de les avantguardes del anys, Daniel Domingo Montserrat, sembla que va «Primeres avantguardes 1918- 1930», Barcelona, Edicions 62, primer terç del segle XX s’ha centrat freqüentment acollir a casa seva l’intel·lectual surrealista francès, 1997, p. 31-80. en una perspectiva netament artística o literària, fins Rene Crevel. La teòrica presència de Crevel a Bar- 2. Estudis que ofereixen un punt al punt de minimitzar el context històric celona es devia a una celebració de tipus de vista més sociològic són: An- corresponent1. Així, els interessos no estrictament politicocultural alternativa a l’Exposició Interna- tonio D. OLANO, Dalí. Las extra- ñas amistades del genio, Madrid, artístics que determinats cercles polítics van tenir vers cional de Barcelona. Aquesta contraexposició havia Temas de Hoy, 1997, i Ian GIBSON, el surrealisme i les diferents avantguardes dels anys de ser una de les moltes formes de protesta contra La vida excessiva de Salvador Dalí, Barcelona, Empúries, 1998. d’entreguerres, ha estat un tema sistemàticament la Dictadura del general Primo de Rivera3. negligit pels historiadors de l’art i els filòlegs2. En aquests anys, nombrosos canvis estructurals 3. Entrevista amb Xavier Domin- go, Barcelona 14 de gener de De fet, el que pocs estudiosos s’han plantejat, s’havien produït en la societat espanyola i, en 1989. tant en el terreny de l’anàlisi històrica com artísti- concret, en la catalana, que feien trontollar el po- 4. Sobre la immigració a ca, és si els grans artistes i intel·lectuals catalans del der de l’anomenat general jerezano. Certament, la Catalunya els anys deu i vint, primer terç del segle XX es van conformar celebració de l’Exposició Internacional de Barce- Jordi NADAL I OLLER, Història econòmica de la Catalunya únicament amb un reconeixement artístic, o si, per lona devia servir de pantalla de projecció de contemporània, vol. 5, Barcelona, contra, les seves ambicions socioprofessionals i l’Espanya dels anys vint i pretenia evidenciar una Enciclopèdia Catalana, 1989, p. 11-37. polítiques van arribar a marginar les aspiracions de més que discutible estabilitat de la Dictadura de puresa artística. Aquest dilema esdevé clau per Primo de Rivera. Tanmateix, no es pot negar que 5. Una anàlisi del conjunt dels fets que conduïren a la caiguda entendre el paper que van tenir el surrealisme i les la preparació de l’Exposició va suposar una enor- de la monarquia entre el 1930 i diferents avantguardes dels anys vint i trenta a me inversió en obres públiques que afavorí 1931 a Shlomo BEN-AMI, Los orí- genes de la Segunda República: Catalunya. En concret, el que s’estableix al llarg l’increment de llocs de treball, sobretot en el ram Anatomía de una transición, Ma- d’aquestes planes és com el surrealisme, en els anys de la construcció. Aquesta oferta laboral, drid, Alianza, 1990. d’entreguerres, va servir, sobretot a Catalunya i a especialment a la Ciutat Comtal, va contribuir a França, de plataforma de projecció social, l’arribada d’una allau important d’immigrants professional i política d’una nova generació procedents d’Aragó, València, les Illes Balears i d’intel·lectuals sorgits del cataclisme de la Gran Múrcia, fenomen que ja s’havia iniciat durant el Guerra. En aquest sentit, l’experiència intel·lectual període de la Gran Guerra4. Com a conseqüència Surrealisme i marxisme a Catalunya (1923-1932) LOCVS AMŒNVS 4, 1998-1999 241 del creixement de la població de Barcelona en resignar-se a esdevenir obrers de la construcció, de aquests quinze anys, la ciutat no només va expe- la metal·lúrgia o del tèxtil, com altres immigrants rimentar un canvi de fesomia, sinó que també va arribats a la ciutat comtal en aquells anys. viure transformacions en l’àmbit polític, cultural Consideraven, presumptuosament, que el seu destí i social. La percepció d’aquests canvis mobilitzà era convertir-se en la intel·ligentsia rectora de intel·lectuals i polítics de Catalunya envers una Catalunya o, com a mínim, tenir-hi una certa possible nova redistribució del poder en el conjunt influència8. Tanmateix, l’escassa fortuna de les seves d’Espanya, percepció que es mostrà netament famílies no els permetia sufragar la despesa d’uns evident a partir de la dimissió del general Miguel estudis superiors que els haguessin facilitat aquestes Primo de Rivera el gener del 1930. Per aquesta aspiracions9. Excepcionalment, alguns van raó, l’agost del 1930, es van reunir a Sant Sebastià aconseguir estudiar carreres, tot i que sense gaire un nombre important de representants de les projecció social, com la de Magisteri, que els van forces d’oposició a la Dictadura de Primo de Ri- permetre llançar-se al món periodístic i polític vera de tot Espanya, on acordaren uns punts bàsics d’una forma netament agressiva10. Nogensmenys, comuns per tal d’establir un règim republicà en el la majoria arribaven a ciutat i, com que no es podien qual hauria de tenir cabuda un règim autonòmic pagar cap mena d’estudis, havien de conformar-se per a Catalunya5. a fer de dependent de comerç. Un cop havien A Sant Sebastià van ser-hi presents delegats de estalviat uns quants «calerons», podien cercar formacions polítiques republicanes del conjunt l’aixopluc del Centre Autonomista de Dependents d’Espanya; en concret, de Catalunya, van assistir- del Comerç i de la Indústria (CADCI) i benefi- hi representants del separatisme macianista ciar-se —entre d’altres prestacions— de la (integrats des del 1923 a Estat Català), del realització d’estudis comercials i de la consecució socialisme catalanista (bàsicament la Unió Socia- d’un títol tècnic11. Van ser aquests treballadors de lista de Catalunya), del republicanisme de Lluís coll blanc els qui van nodrir els sectors republicans Companys enquadrat en el Partit Republicà Català i catalanistes més radicals i obreristes i, en definiti- i de les faccions republicanes catalanistes de l’òrbita va, els més influïts per la ideologia marxista. D’altra d’Antoni Rovira i Virgili i del catòlic Jaume Bofill banda, també va ser aquest sector el més receptiu i Mates. No hi eren, però, els separatistes amb les avantguardes o amb qualsevol nova forma comunistes6. Aquests, des del 1928, es trobaven en d’expressió artística, com ara el cinema12. el si del Partit Comunista Català (PCC), on destacaven figures com Jaume Miravitlles, Jordi Arquer, Daniel Domingo Montserrat (l’amfitrió de Réne Crevel), Amadeu Bernadó o Domènec 6.
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