DOCSLIB.ORG

International Art Exhibitions 2020.03

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Art Exhibitions 2020.03 International 03 Art Exhibitions 2020 International 23.07.2020 > 08.11.2020 Art Exhibitions 2020 1 Nicolas Composition 1949, Oil on canvas de Staël 162.5 x 114 cm Centre Pompidou Pompidou Centre A unique retrospective of the work of Nicolas de Staël, a major artist of the French art scene from 1945 onwards. The exhibition aims, through several of his masterpieces, to present the excep- tional career of this artist who placed the dialectic between abstraction and figuration at the heart of his extra- ordinary and all-too-brief oeuvre. Born in Saint Petersburg in Russia in 1914, Nicolas de Staël studied in Belgium before moving to France in 1938 where he first became known through an exhibition at the Galerie Jeanne Bucher in Paris in 1944. Living and working in a period in which abstraction was trium- Málaga phant, the artist returned to figuration in 1952 with cut-back and powerfully constructed forms. After moving to the South of France in 1953, his work was cut short in 1955, when the artist took his own life in his studio in Antibes. 3 The exhibition includes a total of twenty- The first chapter (1946-1948) reveals the 2 five works, including 9 paintings and artist’s painted and drawn production, Les Musiciens, sixteen works on paper, some of which based on an austere abstraction (La Vie Souvenir de Sidney Bechet are large-format. The Centre Pompidou Dure, 1946). The following section 1953, Oil on canvas holds a reference collection of works by (1949-1951) shows the artist’s evolution 161.9 x 114.2 cm Nicolas de Staël. This entire collection towards cutting the space of the Donation is part of the exhibition presented in painting into thick areas of paint (Les 3 Málaga, offering a journey in four Toits, 1951-1952).The third section L’Orchestre 1 2 sequences. (1952-1953), where the artist’s return to 1953, Oil on canvas figuration manifests itself, allows us to 200 x 350 cm Works 1 | 2 | 3 | 5 take stock of the shock that the Gift of Sophie & Jérôme Seydoux Collection Centre Pompidou, Paris, discovery of the Mediterranean light 4 Musée national d’art moderne, constituted for the artist (Le Lavandou, Les Toits Centre de création industrielle 1952). Its landscapes and nudes with 1952, Oil on Isorel © Adagp, Paris abbreviated and powerfully masonry 200 x 150 cm Work 4 forms are distinguished by significantly 5 © Adagp, Paris more vivid colours. It was also the time Le Lavandou when music played an important role 1952, Oil on canvas, mounted in the work of Nicolas de Staël (Les on wood Musiciens. Souvenir de Sidney Bechet 195 x 97 cm 45 and the monumental Orchestre, 1953). Gift of Mr & Mrs Jacques Dubourg www.centrepompidou-malaga.eu International 25.07.2020 > 08.11.2020 Art Exhibitions 2020 Fantastic Women Surreal Worlds from Meret 3 Oppenheim to Frida Kahlo 3 Louisiana Museum of Modern ArtLouisiana Kay Sage At the Appointed Time 1942, Oil on canvas Newark Museum of Art, Bequest of Kay Sage Tanguy 4 Bridget Tichenor The Surrealists/ The Specialists 1956, Oil on Mazonite 40 x 30.2 cm Private Collection Mexico © Bridget Tichenor 5 Jane Graverol 4 5 The School of Vanity 1967, Oil & collage on A major exhibition of female Surrealists models, but soon they broke out of the cardboard with more than 260 works by 34 artists traditional roles and manifested them- 62 x 98 cm from the USA, Mexico and Europe. selves with their own works. Rosine Ortmans, It features works by the following © Jane Graverol artists: Eileen Agar, Lola Álvarez Bravo, The exhibition shows how they worked 6 Rachel Baes, Louise Bourgeois, Claude within themes, which in many cases Louise Bourgeois Cahun, Leonora Carrington, Ithell were already associated with Surrealism, Torso, Self-Portrait Colquhoun, Maya Deren, Germaine but also how they differ from the male 1963-64, Bronze, painted Dulac, Nusch Éluard, Leonor Fini, Jane artists. The aspect that most clearly white, wall piece Graverol, Valentine Hugo, Frida Kahlo, differentiates the female Surrealists 62.9 x 40.6 x 20 cm Rita Kernn-Larsen, Greta Knutson, from their male colleagues is the Collection the Easton Foundation Jacqueline Lamba, Sheila Legge, inversion of perspective. © The Easton Foundation Dora Maar, Emila Medková, Lee Miller, 7 Humelbæk Suzanne Muzard, Meret Oppenheim, The female artists sought a (new) Meret Oppenheim 6 Valentine Penrose, Alice Rahon, Edith female identity model. This often Venus Primitive Rimmington, Kay Sage, Jeannette involved an investigation of their own 1962 (1933), Painted terracotta, 1 2 Tanguy, Dorothea Tanning, Elsa reflections and playing with various glaced straw Leonora Carrington Frida Kahlo Thoresen, Bridget Tichenor, Toyen, roles. In a wealth of self-portraits and 64 x 26.5 x 20 cm Portrait of the Late Self-Portrait with Thorn Remedios Varo, Unica Zürn. depictions of female figures, they show © Kunstmuseum Solothurn Mrs Partridge Necklace and Hummingbird a playful, self-aware approach to the 1947, Oil on wood 1940, Oil on canvas mounted Goddess, she-devil, doll, fetish, child- image of the female body and female 100.3 x 69.9 cm onto board woman or wonderful dream-creation – sexuality. In addition, they incorporated Private Collection Collection of Harry Ransom Center, the woman or the idea of the feminine the political events and literature of the © Leonora Carrington The University of Texas at Austin was the central element in the male time as well as myths from other Surrealists’ imaginations. At first the cultures in their works and extended female artists became part of the the visual language of Surrealism in 7 inner circle of Surrealism primarily as many respects. www.louisiana.dk International 25.07.2020 > 31.08.2020 Art Exhibitions 2020 Madeleine 1 Pfull 4 Salon Nino Mier Madeleine Pfull’s paintings focus on a Opposite page complex world that is deeply rooted in Pink Lady the everyday. An aesthetic that ‘refuses 2020, Oil on linen to see the ordinary and everyday as 121.9 x 101.6 meaningless’. Her works transform 1 banality into something intriguing and Navy Lady 1 highlights it as a multi-facetted micro- 2020, Oil on linen cosm. Pfull celebrates the moderate 110 x 150 cm behavior and average looks of the 2 women in her paintings whilst also Bathtub echoing their hidden emotional as well 2020, Oil on linen as social ambivalence, emphasized 152.4 x 106.7 cm further by their ordinary surroundings. 3 In situations in which a moment can be Book Lady endless, and time passing reveals itself 2020, Oil on linen Cologne as an almost symbolic parameter, these 182 x 122 cm usually invisible characters expose their 4 inner selves. 2 Installation view They scrunch up their face while having a smoke on the sofa, deeply relax in an armchair, spill milk on the floor and immerse into a hidden space of their own. An emotional inner room that Madeleine Pfull subtly captures in stages of solitude, of tedium, of anxiety: in moments where they feel safe. Pfull’s women, to some extent, emulate our own emotional states. This is achieved by exaggerating their facial expressions through an almost hyper- real and historically charged style of painting. By looking at their faces we feel their doubts and their strengths. We begin to empathize with them by imagining their fictitious life stories whilst also questioning: What was their 3 past? What have they been through? 5 And what had happened to them that Pfull’s new paintings take up this notion Seen from the outside, they can be initiated their introspection? Instead of 5 of time passing and transfer the viewer perceived as the ‘invisible women’ – the answering these questions or engaging Spilt Milk 1 into a private and quieter atmosphere: ones we all know. The ones that usually into an emotional dialogue with the 2020, Oil on linen an environment into which her now hide away their emotions. Failure only viewer, Pfull’s characters constantly 182.9 x 111.2 cm singular characters retreat. happens in moments of total privacy. withdraw themselves in front of us. www.miergallery.com International 30.07.2020 > 29.08.2020 Art Exhibitions 2020 Terry O’Neill 1 David Bowie with Every Picture tells a Story Elizabeth Taylor Beverly Hills, 1975 3 A Retrospective 185 x 125 cm Maddox Gallery Maddox This retrospective showcases a series of captivating works including images of Elton John, Brigitte Bardot and David Bowie in the distinctive snapshot aesthetic that O’Neill is famous for. Amongst these pieces will be some of O’Neill’s rarer work, some of which was only released last year, including a recently colourised image of Frank Sinatra on the Miami Boardwalk. Terry O’Neill’s candid images have given us a rare, up close and personal view of some of the world’s most iconic figures. Spanning over 60 years, no other photo- Gstaad grapher has embraced the span of fame, capturing the icons of our age. 4 7 2 Michael Caine 1970 79 x 60 cm 3 Audrey Hepburn South of France, 1966 125 x 185 cm 4 David Bowie 1975 70 x 73 cm 5 Faye Dunaway 1 2 6 Morning after winning the Oscar, 1976 From the faces of film to fashion, movie 93 x 93 cm stars to musicians and presidents to pop 6 stars, Terry has become one of the Brigitte Bardot world’s most collected photographers. Spain, 1971 His work now hangs in national art 158 x 105 cm galleries and private collections around 7 the world. In the first retrospective since Roger Moore his death, the show includes a portfolio as James Bond, 1970 of witty and strikingly original images 69 x 55cm 5 from the famous photographer.
Load more

Recommended publications
  • Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
    WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
    [Show full text]
  • 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]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Works on Paper & Editions 11.03.2020
    WORKS ON PAPER & EDITIONS 11.03.2020 Loten met '*' zijn afgebeeld. Afmetingen: in mm, excl. kader. Schattingen niet vermeld indien lager dan € 100. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 11 maart om 10u en 14u in het Veilinghuis Bernaerts, Verlatstraat 18 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 18 te 2000 Antwerpen op donderdag 5 maart vrijdag 6 maart zaterdag 7 maart en zondag 8 maart van 10 tot 18u Opgelet! Door een concert op zondagochtend 8 maart zal zaal Platform (1e verd.) niet toegankelijk zijn van 10-12u. 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 12 maart van 9 tot 12u en van 13u30 tot 17u op vrijdag 13 maart van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 14 maart van 10 tot 12u via Verlatstraat 18 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 10 maart, 18u) 30 % via After Sale €2/ lot administratieve kost 5. Telefonische biedingen Geen telefonische biedingen onder € 500 Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 18 2000 Antwerpen/ Antwerp T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be [email protected] Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation is less than € 500 Live Webcast Registratie tot dinsdag 10 maart, 18u Identification till Tuesday 10 March, 6 pm Through Invaluable or Auction Mobility
    [Show full text]
  • The Regional Cosmopolitanism of George Woodcock
    Transoceanic Canada: The Regional Cosmopolitanism of George Woodcock by Matthew Hiebert B.A., The University of Winnipeg, 1997 M.A., The University of Amsterdam, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Doctor of Philosophy in THE FACULTY OF GRADUATE STUDIES (English) The University Of British Columbia (Vancouver) August 2013 c Matthew Hiebert, 2013 ABSTRACT Through a critical examination of his oeuvre in relation to his transoceanic geographical and intellectual mobility, this dissertation argues that George Woodcock (1912-1995) articulates and applies a normative and methodological approach I term “regional cosmopolitanism.” I trace the development of this philosophy from its germination in London’s thirties and forties, when Woodcock drifted from the poetics of the “Auden generation” towards the anti-imperialism of Mahatma Gandhi and the anarchist aesthetic modernism of Sir Herbert Read. I show how these connected influences—and those also of Mulk Raj Anand, Marie-Louise Berneri, Prince Peter Kropotkin, George Orwell, and French Surrealism—affected Woodcock’s critical engagements via print and radio with the Canadian cultural landscape of the Cold War and its concurrent countercultural long sixties. Woodcock’s dynamic and dialectical understanding of the relationship between literature and society produced a key intervention in the development of Canadian literature and its critical study leading up to the establishment of the Canada Council and the groundbreaking journal Canadian Literature. Through his research and travels in India—where he established relations with the exiled Dalai Lama and major figures of an independent English Indian literature—Woodcock relinquished the universalism of his modernist heritage in practising, as I show, a postcolonial and postmodern situated critical cosmopolitanism that advocates globally relevant regional culture as the interplay of various traditions shaped by specific geographies.
    [Show full text]
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • Tate Papers - the 'Comic Sublime': Eileen Agar at Ploumanac'h
    Tate Papers - The 'Comic Sublime': Eileen Agar at Ploumanac'h http://www.tate.org.uk/research/tateresearch/tatepapers/05autumn/walke... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The 'Comic Sublime': Eileen Agar at Ploumanac'h Ian Walker Fig.1 Eileen Agar 'Rockface', Ploumanach 1936 Black and white photograph reproduced from original negative Tate Archive Photographic Collection 5.4.3 © Tate Archive 2005 On Saturday 4 July 1936, the International Surrealist Exhibition in London came to an end. In that same month, the Architectural Review magazine announced a competition. In April, they had published Paul Nash's article 'Swanage or Seaside Surrealism'.1 Now, in July, the magazine offered a prize for readers who sent in their own surrealist holiday photographs – 'spontaneous examples of surrealism discerned in English holiday resorts'. The judges would be Nash and Roland Penrose .2 At face value, this could be taken as a demonstration of the irredeemable frivolity of surrealism in England (it is difficult to imagine a surrealist snapshot competition in Paris judged by André Breton and Max Ernst ). But in a more positive light, it exemplifies rather well the interest that the English had in popular culture and in pleasure. Holidays were very important in English surrealism and some of its most interesting work was made during them. This essay will examine closely one particular set of photographs made by Eileen Agar in that month of July 1936 which illustrate this relationship between surrealism in England and pleasure. Eileen Agar had been one of the English stars of the surrealism exhibition, even though she had apparently not thought of herself as a 'surrealist' until the organizers of the show – Roland Penrose and Herbert Read – came to her studio and declared her to be one.
    [Show full text]
  • De Chirico in the René Gaffé Collection& the Role of E.L.T Mesens
    The archival materials cited in this essay are courtesy of The Getty Research Institute, Los Angeles 43 De Chirico in the René Gaffé Collection & the Role of E.L.T Mesens (Brussels – London) Victoria Noel-Johnson In 1946, René Gaffé (Brussels, 1887-1968) – the Belgian journal- ist, author, collector and bibliophile - wrote a short monograph dedicated to Giorgio de Chirico entitled Giorgio de Chirico. Le voy- ant (Éditions La Boétie, Brussels, fig. 1).1 Published in Gaffé’s na- tive city, the book contains an extensive yet overlooked essay about de Chirico’s early Metaphysical work, as well as a total of 24 black and white reproductions of important paintings executed in the 1910s and 1920s. As an important connoisseur and collector of de Chirico’s œuvre, together with work by Belgian Surrealists such as René Magritte and Paul Delvaux, this article will principally focus on Gaffé’s keen interest in de Chirico, which, in turn, helped disseminate knowledge about his painting within Belgium during fig. 1 R. Gaffé, Giorgio de Chirico. Le 2 the early twentieth century. As his impressive art collection was Voyant, Éditions La Boétie, Brussels, 1946 built and then partly sold off with the intervention of Eduoard Léon Théodore Mesens (Brussels, 1903-1971), a Belgian gallerist and editor who championed Surrealism in Belgium and later in the UK (mainly initiated by the 1937 sale of a substantial part of Gaffé’s collection to the British collector Roland Penrose), this paper will also examine Mesens’ involvement in the acquisition and sale of Gaffé’s de Chiricos.3 1 This article is the expanded and revised version of the article Le voyant: analyse des liens entre René Gaffé et Giorgio de Chirico, in Giorgio de Chirico.
    [Show full text]
  • Musée Des Beaux -Arts De Liège
    BAL MUSÉE DES BEAUX -ARTS DE LIÈGE DOSSIER PÉDAGOGIQUE Ce dossier pédagogique a été réalisé sur la proposition de l’Échevin de la Culture, Monsieur Jean Pierre Hupkens. Nos remerciements vont à Jean-Marc Gay, Directeur des musées de la Ville de Liège ; à Régine Rémon, Première Conservatrice du BAL ; Edith Schurgers, Animatrice pédagogique, Isabelle Zumkir. Direction de publication : Jean-Patrick Duchesne Textes : Art&fact asbl Crédits photographiques : Marc Verpoorten Mise en page : Caroline Kleinermann Impression : Ville de Liège Éditeur responsable : Jean Pierre Hupkens, Échevin de la Culture de la Ville de Liège Photos de couverture : façade du Musée des Beaux-Arts de Liège © Ville de Liège Logos Ville de Liège, BAL, Fédération Wallonie-Bruxelles, Art&fact TABLE DES MATIERES Introduction Historique des collections des musées de Liège Historique des collections du Musée des Beaux-Arts et du Musée de l’Art wallon Historique des collections d’Art ancien Historique des collections du Cabinet des Estampes et des Dessins Historique des collections du Musée d’Art moderne et d’Art contemporain Vie du musée Définition et rôles d’un musée Les réserves L’inventaire La conservation-restauration • Christian KÖHLER, Sémiramis, 1852 L’artiste L’œuvre La restauration Le Fonds David-Constant • Anna Eva BERGMAN, Composition sur fond bleu L’artiste L’œuvre La restauration Les donations et legs • Don, donation, legs : quelles différences ? • Donation Jaumain-Jobart : historique, intérêt • Donation Graindorge : historique, intérêt Nouvelles acquisitions
    [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]
  • Cubierta: Fotografía De Humberto Rivas (Consultar Librería)
    CATALOGO 13 www.libreriaelastillero.com Cubierta: Fotografía de Humberto Rivas (consultar librería) CONDICIONES DE VENTA Los libros del presente catálogo se encuentran en aceptable estado de conservación, salvo que se indique lo contrario. Al no especificarse el tipo de encuadernación de los libros se entenderá que ésta es en rústica. Los pedidos serán atendidos por riguroso orden de recepción. Formas de pago admitidas: contra-reembolso, transferencia bancaria y paypal, corriendo los gastos del envío por cuenta del comprador. Los envíos pueden realizarse a través del correo ordinario (coste mínimo 5,00 €) o por mensajería (8,00 € hasta 5 kg.). Por pedidos superiores a 150,00 € los gastos del envío serán por cuenta de la librería y se realizarán a través del servicio de mensajería MRW. Para las instituciones el plazo máximo de pago será de 3 meses. Realizar los pedidos a: Librería El Astillero Doctor Rizal, 17-19 08006-Barcelona Telf.: 932373482 /Móvil: 647005730 Visite nuestra nueva página web www.libreriaelastillero.com [email protected] 1. ABRIL, Xavier. VALLEJO. Ensayo de aproximación crítica. Ediciones Front, Bs. As. 1958. 1ª Edición. Colecc. Ensayos - Poetas de hoy y de siempre. 21x15. 253 págs. Incluye apéndice iconográfico. Muy buen estado. 50,00 €. 2. AGUILERA CERNI, Vicente. JULIO GONZA- LEZ. Edizioni dell’Ateneo, Roma 1962. Edizione ita- liana a cura di G. Gatt. En español, italiano e inglés. Numerosas ilustraciones en b/n y en color, algunas en láminas sobrepuestas. Dedicatoria manuscrita de Agui- lera Cerni a Juan Gil-Albert. Tela editorial. Sobrecub. 30x25. 111 págs. 160,00 € 3. AGUIRRE, Javier. ANTI-CINE. Apuntes para una Teoría.
    [Show full text]
  • Valentine Penrose and Alice Rahon Paaien by Georgiana MM
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Modern Languages Publications Archive Through An Hour-giass Lightly: Valentine Penrose and Alice Rahon Paaien by Georgiana M M Colvüe Unik - Pourquoi Breton ûouvet-ii colossal de demander l’avis de la femme? Breton -Parce que ce n’est pas de mise. Unik - Le contraire peut n’être pas de mise. Breton - Je m’en fous. La Révolution Surrèalìsíe (1928)’ Clandestine de rêves je deviens cette inconnue qui passe ei ne sait plus appartenir je dérobe la mémoire je démasque j’outrepasse je suis d’une dernière colère Héhe Marcotte (1 988)’ What of the woman poet? What doesfdid she want? Why is she so hard to ñnd, so rarely mentioned by the critics, ancient or modem? After reminding us that: ‘Platon n’accorde pas droit de cité au pokte,” Blaise Cendrars, in a 1914 poem about the poet’s position in life, leaves ‘woman’llafemme’ suspended in mid-text, traversed by a long reference to the Nietzschean dauce: La femme, la danse que Nietzsche a voulu nous apprendre à danser La femme Mais l’ironie? Today Cendrars’ daughg image evokes the uncertah, neglected position of the woman poet. Sara Miiis appropriately titied a recent article on Gertrude Stein ‘No Poetry for Ladies“ a phrase taken fiom James Joyce (but, irony?) applied to ‘this poeiry for (and by) ladies and perhaps unfit for ladies’ (Mills, p.87). In Alicia Ostnker’s words, in tum borrowed from Hélène Cixous and Claudine Hermann, ‘Women miters have always tried to steal the language.” There is no lack of poetry by women, at any period, in any culture, as the various anthologies of women poets which grew out of the women’s movements of the 1970s have shown.
    [Show full text]