DOCSLIB.ORG

On Analogical Thinking: Jan Švankmajer's Jabberwocky and Alice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Analogical Thinking: Jan Švankmajer's Jabberwocky and Alice Sera, Mareike. "On Analogical Thinking: Jan Švankmajer’s Jabberwocky and Alice." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 29–50. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501337161.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 18:34 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 On Analogical Thinking Jan Š vankmajer’s Jabberwocky and Alice Mareike Sera Introduction An ‘intense and emotionally exhausting slice of life’ (Cinephilia and Beyond n.d.). Is fi lm able to cut a slice of life? On the basis of an intense and emotionally exhaustive experience? Is it able to change life? One might think so. Understanding fi lm as a slice of life is a common fi lm critical analogy. Similar to the analogy of fi lm as philosophy ( Rushton 2011 , Read and Goodenough 2005 , Wartenberg 2007 , Vaughan 2013 , Herzogenrath 2017 ). These analogies touch upon mimetic issues. How are representational and real world intertwined, the actual and the virtual? How do we understand each in relation to the other? A dialectical understanding sets both in dramatic tension to each other, expecting the non-identical ‘essence’ of fi ctional and real worlds to reveal the other, in the process of ‘becoming Other’. This understanding accentuates the force of imagination, as Surrealist writing and art makes quite aware. Actual and virtual worlds meet on eye level, transform each other in the elements acted upon, but also in the intimate transmutation of the actor and her/his perception of the world. As Andr é Breton ( 1969 : 174) writes in The Second Manifesto of Surrealism ‘the philosopher’s stone is nothing more or less than that which was to enable man’s imagination to take a stunning revenge on all things’. In a similar vein, Richard Rushton ( 2011 : 2) asks: ‘Why should the creative aspects of the world be deemed secondary, as ornaments, as products 29 30 GLOBAL ANIMATION THEORY devoid of being, a being which is reserved solely for natural or physical objects?’ Rushton refers in this context to Cornelius Castoriadis’ ‘The Imaginary: Creation in the Socio-Historical Domain’. Castoriadis calls on ‘the philosophers to reverse their approach and begin with humanity’s creative acts – dreams, poems, music – as the basis of ontological enquiry’ ( Rushton 2011 : 2). Rushton continues: ‘Let the imaginary aspects of human life be those that determine the reality of things’ ( ibid. ). These passages indicate where one might break with the analogy of ‘fi lm as a slice of life’. The intention is not to place fi ctional over actual realities. The dialectical tension evolving around non-identity, mediation, negation and contradiction remains intact (Kautzer 2015 : 34). As this paper would like to suggest, turning to imagination rather aims to understand the transmutations taking place between real and fi ctional worlds on a different level – the plane of analogical reasoning. The force of imagination – as means of knowledge and practice able to act on reality and transform it ( Schmitt 2016 : 232) – holds real and fi ctional worlds together, weaving them indistinguishably into one another. Dialectics designate the processes of dramatic confrontation and transformation, while analogy points towards hidden aspects of intimate initiation and revelation. At the moment of inspiration, of working through, of passion and devotion, real and fi ctional worlds are at their very nearest – indistinguishably close. The principle of analogy emphasizes how the imaginative experience transforms the acted upon and the actor in due process. It liberates the experience as a form of refl ection that invites multiple perspectives, but dispenses of an ultimate end. It takes the form of an introspection, but turns its refl ective mechanisms inward out – much like an inverted imagination. As it will be put forward, analogy’s relation to its ‘object of imagination’ is marked by an open and integrative attitude, but also by an irritating absence of intentionality. The lack of a specifi c ‘object of imagination’ does not only apply to ‘how’ but also to ‘what’ one imagines. This is crucial to surrealist understandings of imagination and its social role, particularly in the context of Czech Surrealism. This chapter will focus on two fi lms by renowned Czech animator Jan Š vankmajer: Jabberwocky ( Ž vahlav aneb š ati cˇ ky Slam eˇ n é ho Huberta , 1971 ) and Alice ( N eˇ co z Alenky , 1988 ). First, the phenomenon of analogy will be discussed from a broader academic perspective, while introducing in the second part Š vankmajer’s work and the role of analogy to Czech Surrealism. Parts three and four, then, will explore analogical thinking by applying it to different contexts: Jabberwocky is discussed in relation to George Bataille’s Story of the Eye (Analogy I) and, in the following, Alice with reference to the philosophical work of Franco ‘Bifo’ Berardi (Analogy II ). The result is a collage technique, which is vulnerable as analogical reasoning, especially if brought in resonance with dialectics, as will become clear. Different sets are to unfold and enrich each other. Accordingly, the argument might appear to jump ON ANALOGICAL THINKING 31 occasionally, with explanatory bridges missing; however, this inconvenience appears worthwhile, as it stimulates and foments the hermeneutic passion of the palimpsest, a page of text written, erased and written over anew again. Analogical thinking: the missing premise Analogical reasoning allows us to stretch the possibilities of describing the world and the experience of it. By comparison, one explores the conjectures between distinct realms and learns new things about them in due course. As Julian S. Weitzenfeld (1984 : 137) observes: ‘One of the attractions of analogical reasoning has been that it is commonly taken to be a form of ampliative reasoning, reasoning that leads to knowledge about the target that is not contained in its premises.’ Describing a fi lm, thus, as a ‘slice of life’ – to return to this example – might evoke a series of spontaneous as well as highly developed concepts that link fi ction and reality. ‘And’ is important in this respect. Analogical reasoning and feeling explores associations in a most open manner. Cognitive sciences have conducted extensive research on the role of analogy in human perception over the past thirty years (Hesse 1966 , Holyoak and Thagard 1995 , Bartha 2010 , Hofstadter and Sander 2013 ). Models explore, for example, mechanisms such as the retrieval of relevant source domains, analogical mapping across domains, the transfer of information and the learning of new categories (Hummel and Holyoak 1997 ). With the philosophical interest, the focus shifts towards the value of connecting and conjoining realms. Berardi’s philosophy is a clear example in this respect, as will be elaborated. If analogy pertains to a central mechanism in human cognition, which criteria set ‘good’ from ‘bad’ analogies apart? This question is diffi cult to answer, as what is to be found, the premise, is and is not (yet) existent. Do you want to judge analogies from the promise of the result? Or the openness of the process? The merit of analogical thinking emerges, once you embrace its uncertainty. This is where it fully develops its creative potential. The outcome is unknown and leans philosophically towards radical suspicion. The lack of certainty does not result from insuffi cient background knowledge. There are ways to methodologically work around it, such as enumeration, surveillance and inference ( Weitzenfeld 1984 : 146). These operations can substantiate arguments based on analogy. Nonetheless, suspicion works like a corrosive force on the underlying idea of sameness that draws different realms together. The shadow of a doubt accompanies the emerging ‘new’ and turns it inside out. Therein, analogical reasoning represents something like an ‘inverse’ imagination, as it does not work towards an expected outcome (premise). Analogy as inverse imagination leaves the imagined object open and 32 GLOBAL ANIMATION THEORY susceptible to injury and failure. It opens an intimate void in a concatenation of references and objects, which is not indefi nitely undetermined, but bare and susceptible to radical suspicion. Czech Surrealism, dialectics and analogy Analogy and dialectics are usually perceived as different types of reasoning, as incompatible or even opposed ways of thinking. The idea to perceive analogy as ‘inverse imagination’, which the next part of the chapter intends to root in surrealist understandings, draws a correlation between analogy and dialectics. According to Krzysztof Fijalkowski and Michael Richardson ( 2016 : 11), G é rard Legrand ( 1971 : 154) has spoken of analogy as the ‘ “clasp” of the dialectical necklace’, noting how ‘[t]he supreme relation of reconciled being does not cease to be dialectical, but it proves to be (or becomes) equally analogical’. Correlating analogy and dialectics is important as it describes a specifi c way to approach the world and with this imagination. Analogy is thought to relate equivocally distinct but mutually participatory terms, while dialectics are meant to relate opposed and annulled propositions. Analogates (meaning the things, terms or concepts analogised) ‘participate’ in a congregation bound together by an uncertain but unifying analogon (meaning analogical principle), where the propositions of dialectics are meant to be annulled and resolved into a higher and richer synthetic unity of opposites. Analogy and dialectics describe different and even confl icting traditions of thought – with analogy associated with thinkers such as Aristotle and Aquinas and dialectics advanced by philosophers such as Plato, Hegel and Marx. Surrealist approaches submerge these traditions.
Load more

Recommended publications
  • André Breton Och Surrealismens Grundprinciper (1977)
    Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8...............................................................................................................................................
    [Show full text]
  • Copyright by Deborah Helen Garfinkle 2003
    Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy.
    [Show full text]
  • Surrealism in and out of the Czechoslovak New Wave
    Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms.
    [Show full text]
  • Surrealism-Revolution Against Whiteness
    summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ......................
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • Czech Surrealism and Czech New Wave Realism
    Czech Surrealism and Czech New Wave Realism By Alison Frank Fall 2011 Issue of KINEMA CZECH SURREALISM AND CZECH NEW WAVE REALISM: THE IMPORTANCE OF OBJECTS Abstract This article examines a major difference between French and Czech Surrealism as exemplified by their attitudes to film. It engages in a close analysis of three films by documentary-influenced Czech New Wavedirectors whom the Prague Surrealist group admired: Miloš Forman, Ivan Passer and Jan Němec. The analysis focuses on the way in which objects in these films can take on multiple meanings depending on their context. It concludes that such objects suggest a broadening of possibilities in everyday life and in this respect correspond to both Surrealist goals and to the experience of living in a society in the process of political liberalization. The Paris Surrealist group’s favourite Czech New Wave film was Věra Chytilová’s highly experimental Sed- mikrásky (Daisies, 1966); the Prague group, by contrast, preferred the documentary-style approach of Miloš Forman and Ivan Passer (Král 2002: 9). The Prague Surrealists also extended their praise to the somewhat less realistic films of Jan Němec, but only insofar as their’onirisme inclut […] un sens des réalités crus/their oneirism included […] a sense of raw reality’ (Král 2002: 9). This difference of opinion between the Paris and Prague Surrealist groups points to a more profound divergence in their cultural and historical origins. In this article I will begin by exploring this divergence and go on to explain how it influenced the Prague group’s attitude to cinema. I will then examine one film by each of the three directors that the Prague group singled out for praise: Miloš Forman’s Lásky jedné plavovlásky (Loves of a Blonde, 1965), Ivan Passer’s Intimní osvětlení (Intimate Lighting, 1965) and Jan Němec’s O slavnosti a hostech (The Party and the Guests, 1966).
    [Show full text]
  • Jihočeská Univerzita V Českých Budějovicích Filozofická Fakulta Ústav Bohemistiky
    JIHOČESKÁ UNIVERZITA V ČESKÝCH BUDĚJOVICÍCH FILOZOFICKÁ FAKULTA ÚSTAV BOHEMISTIKY DIPLOMOVÁ PRÁCE POEZIE VRATISLAVA EFFENBERGERA Vedoucí práce: doc. PaedDr. Michal Bauer, Ph.D. Autorka práce: Bc. Martina Homolková Studijní obor: Bohemistika Ročník: III. 2011 Prohlašuji, ţe svoji diplomovou práci jsem vypracovala samostatně pouze s pouţitím pramenů a literatury uvedených v seznamu citované literatury. Prohlašuji, ţe v souladu s § 47b zákona č. 111/1998 Sb., v platném znění souhlasím se zveřejněním své diplomové práce, a to v nezkrácené podobě elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejich internetových stránkách. České Budějovice, 26. dubna 2011 ………………………………….. Martina Homolková Děkuji vedoucímu své diplomové práce doc. PaedDr. Michalu Bauerovi, Ph.D., za jeho cenné rady, připomínky a pomoc, kterou mi poskytl při jejím vypracování. Anotace Diplomová práce se zabývá poezií Vratislava Effenbergera z let 1940 – 1951, která byla vydána roku 2004 nakladatelstvím Torst pod názvem Básně 1. Toto nakladatelství si klade za cíl vydat celé autorovo rukopisné dílo. Práce v úvodu seznamuje čtenáře s metodologickým vymezením, se sekundární literaturou a svým hlavním cílem práce. Druhá kapitola se věnuje obecným tendencím ve vývoji francouzského i československého surrealismu. Třetí kapitola informuje o Effenbergerových teoretických i uměleckých textech, z nichţ mnohé stále čekají na publikování. Čtvrtá kapitola je zaměřena na Effenbergerův postoj k surrealismu a na jeho roli hlavního teoretika. Je zde vysvětlena řada surrealistických pojmů. Náplní páté kapitoly je konečně vlastní interpretace jednotlivých básnických sbírek Vratislava Effenbergera v konfrontaci s interpretacemi Bruna Solaříka, Miloslava Caňka a Františka Dryjeho, pro surrealismus významných osobností. Šestá kapitola nabízí interpretaci formou průřezů do Effenbergerovy poezie na základě témat prostoru a času, subjektivity a objektivity, černého humoru a absurdity a způsobu zobrazování ţeny a erotiky.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY Aagesen, Dorthe. “Stick the Fork in Your Eye!: Ends and Means in Wilhelm Freddie’s Work.” In Bjerkhof, Wilhelm Freddie, 12–97. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 1, 1907–1929. Princeton: Princeton University Press, 1988. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 2, 1929–1939. Princeton: Princeton University Press, 1988. Aberth, Susan. “Leonora Carrington and the Art of Invocation.” Abraxas, no. 6 (2014): 89–99. Aberth, Susan. Leonora Carrington: Surrealism, Alchemy and Art. Aldershot: Lund Humphries, 2004. Acevedo-Muños, Ernesto R. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press, 2003. Acker, Adolphe, et al. “Inaugural Rupture.” In Richardson and Fijalkowski, Surrealism Against the Current, 42–48. Adamowicz, Elza. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Adamowicz, Elza. Un Chien Andalou: (Luis Buñuel and Salvador Dalí, 1929). London: I.B. Tauris, 2010. Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978. Ades, Dawn, Rita Eder, and Graciela Speranza, eds. Surrealism in Latin America: Vivísimo muerto. Los Angeles: Getty Research Institute, 2012. Ades, Dawn, and Simon Fraser, eds. Undercover Surrealism: Georges Bataille and Documents. London: Hayward Gallery, 2006. Adrian-Nilsson, Gösta. “Kubism—Surrealism.” In Wilhelm Freddie och Sverige, 17. © The Editor(s) (if applicable) and The Author(s) 2017 223 K. Noheden, Surrealism, Cinema, and the Search for a New Myth, DOI 10.1007/978-3-319-55501-0 224 BIBLIOGRAPHY “After Revolution, the Shit!: Jan Švankmajer Talks to the Context.” The Context.
    [Show full text]
  • Linie Teorie a Snu V Díle Vratislava Effenbergera (Magisterská Diplomová Práce)
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra bohemistiky LINIE TEORIE A SNU V DÍLE VRATISLAVA EFFENBERGERA (MAGISTERSKÁ DIPLOMOVÁ PRÁCE) LINE OF THEORY AND DREAM IN THE VRA- TISLAV EFFENBERGER´S WORKS (DIPLOMA THESIS) autor: Bc. Jakub Vaníček obor: Česká filologie vedoucí práce: PhDr. Hana Bednaříková, Ph.D. Olomouc 2010 1 Rád bych tímto poděkoval PhDr. Haně Bednaříkové, Ph.D., za cenné konzultace a připomínky k průběžným verzím této práce. Dále bych chtěl poděkovat PhDr. Polaně Bregantové a doc. PhDr. Aleně Nádvorníkové za zprostředkování samizdatových pramenů a textů z pozůstalosti Vratislava Effenbergera. 2 Prohlašuji, že jsem diplomovou práci vypracoval samostatně a uvedl v ní všechny použité zdroje. V Olomouci, dne 6. 5. 2010 …................................................................ 3 Chtěl jsem hledat mosty které spojují daleké břehy tak jako sen který lehce a jistě otáčí obrazem rozhoupané klády věci které žijí v tom co je v nich zakleto písek voda píseň a levandulová vůně stromy se třpytí novým ovocem jako po dešti obyčejné věci které mají zátoky hluboko v našich jeskyních VRATISLAV EFFENBERGER Ze sbírky Veliké náměstí svobody 4 OBSAH Úvod...........................................................................................6 1. Náčrt vývoje českého poválečného surrealismu a aktivity Vratislava Effenbergera...........................................9 1.1 Období od druhé světové války do druhé poloviny 60. let................................................................9 1.2 Druhá polovina 60. let
    [Show full text]
  • Télécharger Le
    7 1 0 2 e r b m e v o n 5 1 i d e r c r e M Mercredi 15 novembre 201 7 expert claude oterelo Transport Drouot-Géodis [email protected] AVANT -GARDES DU XX E SIÈCLE ENSEMBLES IMPORTANTS CONSTANTIN BRANCUSI ET TRISTAN TZARA ÉDITIONS ORIGINALES - LIVRES ILLUSTRÉS - REVUES MANUSCRITS - LETTRES AUTOGRAPHES PHOTOGRAPHIES - DESSINS MERCREDI 15 NOVEMBRE 2017 PARIS - HÔTEL DROUOT - SALLE 7 - 14H EXPERT Claude OTERELO Membre de la Chambre Nationale des Experts Spécialisés 5, rue La Boétie - 75008 Paris Tél. : +33 6 84 36 35 39 [email protected] EXPOSITIONS PUBLIQUES Hôtel Drouot - salle 7 Mardi 14 novembre de 11h à 18h et mercredi 15 novembre de 11h à 12h Téléphone pendant l’exposition +33 (0)1 48 00 20 07 EXPOSITION PRIVÉE À l’étude sur rendez-vous, contact Odile Caule +33 (0)1 47 70 48 90 5, rue La Boétie - 75008 Paris - tél. +33 (0)1 47 70 48 90 - fax. +33 (0)1 47 42 87 55 [email protected] - www.binocheetgiquello.com s.v.v. agrément n°2002 389 - Commissaire-priseur habilité pour la vente : Alexandre Giquello 2 4 1 [ADLER Rose]. ARP Jean. LAURENCIN Marie. LURCAT Jean. PICABIA Francis. SURVAGE. ROSES POUR ROSES. Alès, PAB, 1951. 7,5 x 7,5 cm, broché. 200/300 € Edition originale limitée à 24 exemplaires illustrés de lithographies de PAB, Gleizes, Picabia, et Survage. ADLER Rose. VOIX. Alès, PAB, 1951. 7 x 7,8 cm, broché. Edition originale limitée à 50 exemplaires. ADLER Rose. DANS LA LUMIÈRE DE SAINT FRANCOIS.
    [Show full text]
  • Mise En Page 1
    expert claude oterelo Vendredi 25 mars 2016 - Paris Drouot ÉDITIONS ORIGINALES - LIVRES ILLUSTRÉS - REVUES MANUSCRITS - LETTRES AUTOGRAPHES PHOTOGRAPHIES - DESSINS DU XX E SIÈCLE VENDREDI 25 MARS 2016 PARIS - HÔTEL DROUOT - SALLE 7 - 14H00 EXPERT Claude OTERELO Membre de la Chambre Nationale des Experts Spécialisés 5, rue La Boétie - 75008 Paris Tél. : +33 6 84 36 35 39 [email protected] EXPOSITIONS PRIVÉES EXPOSITIONS PUBLIQUES Étude Binoche et Giquello Hôtel Drouot - salle 7 5 rue la Boétie Jeudi 24 mars de 11h à 18h Lundi 21 et mardi 22 mars de 14h à 18h et vendredi 25 mars de 11h à 12h Téléphone pendant l’exposition +33 (0)1 48 00 20 07 5, rue La Boétie - 75008 Paris - tél. +33 (0)1 47 70 48 90 - fax. +33 (0)1 47 42 87 55 [email protected] - www.binocheetgiquello.com Jean-Claude Binoche - Alexandre Giquello - Commissaires-priseurs judiciaires s.v.v. agrément n°2002 389 - Commissaire-priseur habilité pour la vente : Alexandre Giquello 4 1 ABBOTT Bérénice. PORTRAIT DE PAUL MORAND. PHOTOGRAPHIE ORIGINALE. (1928) ; 22,3 x 16,5 cm sous passe partout. 1 200/1 500 € Tirage argentique d’époque monté sur carton, signé dans la plaque par Bérénice Abbott, représentant le portrait de Paul Morand. 2 ALECHINSKY Pierre. BENOIT Pierre-André. PETITE POÉSIE POUR PIERRE ALECHINSKY. Rivières, P.A.B., 1985 ; in-4 en feuilles, couverture illustrée par Pierre Aléchinsky. 500/600 € Édition originale limitée à 40 exemplaires numérotés signés par l’auteur et l’illustrateur. Texte autographe reproduit et texte de Pierre André Benoît gravé et enluminé par Pierre Alechinsky.
    [Show full text]
  • [4 Octobre -> 21 Décembre 2013] Pierre Molinier [Bordeaux]
    Semaine 40 Site Mélusine http://melusine.univ-paris3.fr/ Pierre Molinier Jean-Paul Brisset Surrealism and the Dream Dalí à Rotterdam 21st Century portuguese surrealism in Berlin Aragon à Saint-Denis Cahiers Benjamin Péret Les mercredis littéraires au Petit Palais Hans Richter Poétiques scientifiques dans les revues européennes de la modernité (1900-1940) Le surréalisme en Belgique (vidéo) Jacques Rivière, Introduction à une métaphysique du rêve Recherches croisées Aragon / Elsa Triolet n° 14 [4 octobre -> 21 décembre 2013] Pierre Molinier [Bordeaux] Pierre Molinier à l'honneur à Bordeaux cet automne Molinier, le Maître des Vertiges : un programme d'événements à la croisée de différentes disciplines artistiques et culturelles organisées autour de l'artiste Pierre Molinier (1900 - 1976) du 24 septembre au 21 décembre 2013. Du 4 octobre au 21 décembre : Exposition Fictions à l'oeuvre : l'art contemporain livré à l'expérience du récit FRAC Aquitaine • Lundi 7 octobre Dans le cadre du Fifib, étude de cas autour de la production du film Les Jambes de Saint-Pierre par Martine Vidalenc OARA / 14h http://art-flox.com/03074-Molinier,_le_Maitre_des_Vertiges.html 1 [8-9 octobre] Conference: Surrealism and the Dream Museo Thyssen-Bornemisza Paseo del Prado 8, 28014 Madrid, España Conference: Surrealism and the Dream http://www.museothyssen.org/en/thyssen/ficha_actividad/307 Communiqué par Henri Béhar et Marian Vega Du surréalisme à la Dali à Rotterdam • Outre la grande rétrospective Dali, le Musée Boijmans van Beuningen propose dans trois de ses salles une plongée dans le surréalisme, particulièrement de Dali. • Il faut avouer que le musée – dans ses très riches collections permanentes – possède plusieurs oeuvres du peintre espagnol.
    [Show full text]