Die Gruppen – the Groups – Les Groupes

Total Page:16

File Type:pdf, Size:1020Kb

Die Gruppen – the Groups – Les Groupes Die Gruppen – The Groups – Les Groupes Hilfe – Instructions Rubriken Rubrics Rubriques Description Frankreich/Belgien – France/Belgium – France/Belgique Le grand Jeu WIKIPEDIA Pariser Surrealistengruppe WIKIPEDIA | | Groupe surréaliste de Belgique WIKIPEDIA Rupture WIKIPEDIA Contre-Attaque Groupe surréaliste du Hainaut (Hennegau) WIKIPEDIA La Main à Plume WIKIPEDIA Gruppe »CoBrA« WIKIPEDIA Phases KWY Le groupe de Paris du mouvement surréaliste | Aktive Gruppen Active Groups Groupes actifs Osteuropa – Eastern Europe – Europe orientale (Svaz moderní kultury) Devětsil WIKIPEDIA Beogradskih Nadrealista Unu Trinaestorice nadrealista Skupiny surrealistů v ČSR Spořilovští surrealisté WIKIPEDIA | | Grupul suprarealist român Ra Spanien/Portugal – Spain/Portugal – Espagne/Portugal Facción surrealista de Tenerife Logicophobista Surrealistengruppe »Café Herminius« Surrealistas em Portugal Dau al Set WIKIPEDIA Grupo do Café Gelo WIKIPEDIA Grup d'Elx WIKIPEDIA Aktive Gruppen Active Groups Groupes actifs England – Angleterre British Surrealist Group WIKIPEDIA Birmingham Surrealists WIKIPEDIA Barcelonia Restaurant Surrealism now Melmoth Aktive Gruppen Active Groups Groupes actifs Weitere Gruppen in Europa – Further groups in Europe – D'autres groupes en Europe Halmstadgruppen WIKIPEDIA Helhesten | | | Imaginisternagruppen Movimento nucleare WIKIPEDIA Gruppo 58 Bureau de recherches surréalistes en Hollande Pali Nord- und Südamerika – North and South America – Amériques Grupo surrealista de Amérique du Sud en Argentina Légitime Défense WIKIPEDIA Surrealistas peruanos Mandrágora Les Automatistes/Refus global WIKIPEDIA El Techo de la ballena Grupo Surrealista de São Paulo / Rio de Janeiro The Hairy Who? The Chicago Imaginists WIKIPEDIA ’Pataphysiker-Dada-Gruppe »Raudelunas« The West Coast Surrealist Group Signo Ascendente Glass Veal The Vestibules Portland Surrealist Group Aktive Gruppen Active Groups Groupes actifs Weitere Gruppen – Further groups – Autres groupes Mavo Groupe Art et Liberté Bijutsu bunka kyôkai Angry Penguin WIKIPEDIA Fighting Cock Society جنگی خروس هنری انجمن WIKIPEDIA Surrealist Eylem Turkiye Aktive Gruppen – Active groups – Groupes actifs Skupiny surrealistů v ČSR Surrealist Movement in the United States | | Surrealistgruppen i Stockholm Grupo Surrealista de Madrid Collective Automatic Painting Amsterdam Leeds Surrealist Group Grupo Etcetera London Surrealist Group Big Car Athener Surrealistengruppe Κώστας Ρεούσης Surrealist London Action Group (SLAG) Grupo Surrealista del Río de la Plata Grupo Derrame Cabo Mondego Section of Portuguese Surrealism »Xalundes«, Grupo Surrealista Galego .
Recommended publications
  • Expositions Personnelles
    Jean Paul Riopelle Est né à Montréal en 1923. Il est décédé en 2002 à L’Isle-aux-Grues au Québec. EXPOSITIONS PERSONNELLES 1949 Riopelle à la Dragonne, Galerie Nina Dausset, Paris, cat. Texte : Aparté entre Elisa Breton, André Breton et Benjamin Péret 1951 Studio Paul Facchetti, Paris, exposition présentée par Michel Tapié 1953 Galerie Pierre et Galerie Craven, Paris, exposition présentée et préfacée par Pierre Loeb, cat., poème de Nicole Derlon 1954 Riopelle, First American Exhibition, Pierre Matisse Gallery, New York, cat., texte de Georges Duthuit, traduit par Samuel Beckett Galerie Marcel Évrard, Roubaix Riopelle, Galerie Rive droite, Paris, cat., texte de Georges Duthuit 1955 Jean Paul Riopelle, Exhibition of recent paintings and watercolors, Pierre Matisse Gallery, New York 1956 Jean Paul Riopelle, Paintings, Gouaches, Watercolours, (Paintings 1948-1956), Gimpel Fils Gallery, Londres Riopelle, Paintings, Gouaches, Watercolors, Pierre Matisse Gallery, New York, cat. Riopelle, Œuvres récentes, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider 1957 Galerie Dominion, Montréal. 1958 Riopelle, Kölnischer Kunstverein, Cologne, cat. Riopelle, Anne Abels Galerie, Cologne, cat. Riopelle, Kunst in Museumverein, Wuppertal, cat. Riopelle, Kestner Gesellschaft, Hanovre, cat. 1959 Svensk-Franska Konsgalleriet, Stockholm. Paintings 1949-1959, Arthur Tooth & Sons Gallery, Londres, cat., texte de Pierre Boudreau Riehentor Galerie, Bâle. Riopelle, Galerie Anne Abels, Cologne, cat., texte d’Edouard Trier 1960 Galerie Jacques Dubourg et Galerie Kléber, Paris, cat., texte de Pierre Schneider Galleria dell’Ariete, Milan, cat. Dipindi di Riopelle, Notizie Associazione Arte Figurative, Turin, cat., texte de Pierre Schneider 1961 Galerie Benador, Genève, cat. Riopelle, Roberts Gallery, Toronto 1962 Riopelle, Sculptures, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider Riopelle, Biennale de Venise, cat., textes de Franco Russoli, Guy Viau, J.
    [Show full text]
  • Le Surrealisme Et Les Poetes Surrealistes Dans La Litterature Francaise
    T.C. SELÇUK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ FRANSIZ DİLİ VE EDEBİYATI ANABİLİM DALI LE SURREALISME ET LES POETES SURREALISTES DANS LA LITTERATURE FRANCAISE Ali UMUR YÜKSEK LİSANS Danışman Prof. Dr. GALİP BALDIRAN KONYA-2010 i BİLİMSEL ETİK SAYFASI Adı Soyadı ALI UMUR Numarası 084207002001 Ana Bilim / Bilim Dalı FRABSIZ DILI VE EDEBIYATI rencinin Programı Tezli Yüksek Lisans Doktora ğ LE SURREALISME ET LES POETES SURREALISTE Tezin Adı DANS LA LITERRATURE FRANÇAISE Ö Bu tezin proje safhasından sonuçlanmasına kadarki bütün süreçlerde bilimsel etiğe ve akademik kurallara özenle riayet edildiğini, tez içindeki bütün bilgilerin etik davranış ve akademik kurallar çerçevesinde elde edilerek sunulduğunu, ayrıca tez yazım kurallarına uygun olarak hazırlanan bu çalışmada başkalarının eserlerinden yararlanılması durumunda bilimsel kurallara uygun olarak atıf yapıldığını bildiririm. Öğrencinin imzası ii Avant de présenter ce travail qui était pour moi une occasion de connaitre les moyens d’études et de recherches littéraire, je tiens a remercier Prof.Dr.Galip BALDIRAN qui m’a orienté et qui m’a beaucoup aidée pendant la préparation de cette thése et je remercie aussi aussi Prof.Dr. Abdullah ÖZTÜRK et Yrd.Doç.Dr. Fuat BOYACIOĞLU. iii Adı Soyadı ALİ UMUR Numarası 084207002001 Ana Bilim / Bilim Dalı Programı Tezli Yüksek Lisans Doktora rencinin ğ Tez Danışmanı PROF.DR.GALİP BALDIRAN Tezin Adı Sürealism ve Fransız Edebiyatında Sürrealist Şairler Ö ÖZET Birinci Dünya Savaşı yıllarında psikiyatri bölümlerinde çalışmış ve Freud'un düşünceleriyle yakından İlgilenmiş olan Dr. Amire Breton tarafından sistemleştirilmiş; ilk bildirisi (Le Premier Manifeste du Surrealisme) yine onun tarafından 1924'te, bunu tamamlayıcı ikinci bildirisi (Le Second Manifeste du Surrealisme) ise 1930'da ilân edilmiştir.
    [Show full text]
  • Sveučilište U Rijeci Filozofski Fakultet U Rijeci Odsjek Za
    SVEUČILIŠTE U RIJECI FILOZOFSKI FAKULTET U RIJECI ODSJEK ZA KULTURALNE STUDIJE PLAN I PROGRAM SVEUČILIŠNOGA DIPLOMSKOGA JEDNOPREDMETNOG STUDIJA „KULTUROLOGIJA“ Datum inicijalne akreditacije studijskoga programa: lipanj 2005. Datum posljednje izmjene i dopune studijskoga programa: travanj 2017. Mjesto: Rijeka Kazalo Obrazac za izmjene i dopune studijskoga programa kulturologija …………………..….1 Popis predmeta studijskoga programa kulturologija …………………………………….3 Opis predmeta studijskoga programa kulturologija ……………………………………..6 Sveučilište u Rijeci • University of Rijeka Trg braće Mažuranića 10 • 51 000 Rijeka • Croatia T: (051) 406-500 • F: (051) 216-671; 216-091 W: www.uniri.hr • E: [email protected] OBRAZAC ZA IZMJENE I DOPUNE STUDIJSKIH PROGRAMA Opće informacije Naziv studijskog programa Sveučilišni diplomski studij kulturologije Nositelj studijskog programa Filozofski fakultet u Rijeci Izvoditelj studijskog programa Odsjek za kulturalne studije Tip studijskog programa Sveučilišni Razina studijskog programa Diplomski Akademski/stručni naziv koji se stječe Magistar/magistra kulturologije završetkom studija Naziv i šifra standarda kvalifikacije koja se stječe završetkom studija (ako je program upisan u Registar HKO-a) 1. Vrsta izmjena i dopuna 1.1. Vrsta izmjena i dopuna koje se predlažu Objedinjavanje postojećih modula u jedan cjeloviti program. 1.2. Postotak ECTS bodova koji se mijenjaju predloženim izmjenama i dopunama Navedene izmjene ne ulaze u postotak promjene ECTS-a na programu. 1.3. Postotak ECTS bodova koji je izmijenjen tijekom ranijih postupka izmjena i dopuna u odnosu na izvorno akreditirani studijski program 2. Obrazloženje zahtjeva za izmjenama i dopunama 2.1. Razlozi i obrazloženje izmjena i dopuna studijskog programa Objedinjavanje modula u jedan cjeloviti program u kojem je status svih predmeta izborni, osim predmeta Individualne mentorske konzultacije i izrada diplomskog rada (III.
    [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]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 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 As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • Osu1199254932.Pdf (640.26
    FROM MUSE TO MILITANT: FRANCOPHONE WOMEN NOVELISTS AND SURREALIST AESTHETICS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary Anne Harsh, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Danielle Marx-Scouras, Advisor Professor Karlis Racevskis ______________________________ Advisor Professor Sabra Webber French and Italian Graduate Program ABSTRACT In 1924, André Breton launched the Surrealist movement in France with his publication of Manifeste du surréalisme. He and his group of mostly male disciples, prompted by the horrors of World War I, searched for fresh formulas for depicting the bizarre and inhumane events of the era and for reviving the arts in Europe, notably by experimenting with innovative practices which included probing the unconscious mind. Women, if they had a role, were viewed as muses or performed only ancillary responsibilities in the movement. Their participation was usually in the graphic arts rather than in literature. However, in later generations, francophone women writers such as Joyce Mansour and Suzanne Césaire began to develop Surrealist strategies for enacting their own subjectivity and promoting their political agendas. Aside from casual mention, no critic has formally investigated the surreal practices of this sizeable company of francophone women authors. I examine the literary production of seven women from three geographic regions in order to document the enduring capacity of surrealist practice to express human experience in the postcolonial and postmodern era. From the Maghreb I analyze La Grotte éclatée by Yamina Mechakra and L'amour, la fantasia by Assia Djebar, and from Lebanon, L'Excisée by Evelyne Accad.
    [Show full text]
  • Botting Fred Wilson Scott Eds
    The Bataille Reader Edited by Fred Botting and Scott Wilson • � Blackwell t..b Publishing Copyright © Blackwell Publishers Ltd, 1997 Introduction, apparatus, selection and arrangement copyright © Fred Botting and Scott Wilson 1997 First published 1997 2 4 6 8 10 9 7 5 3 Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 IJF UK Blackwell Publishers Inc. 350 Main Street Malden, MA 02 148 USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form Or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any fo rm of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Ubrary. Library of Congress Cataloging in Publication Data Bataille, Georges, 1897-1962. [Selections. English. 19971 The Bataille reader I edited by Fred Botting and Scott Wilson. p. cm. -(Blackwell readers) Includes bibliographical references and index. ISBN 0-631-19958-6 (hc : alk. paper). -ISBN 0-631-19959-4 (pbk. : alk. paper) 1. Philosophy. 2. Criticism. I. Botting, Fred.
    [Show full text]
  • Revolution by the Book
    AK PRESS PUBLISHING & DISTRIBUTION SUMMER 2009 AKFRIENDS PRESS OF SUMM AK PRESSER 2009 Friends of AK/Bookmobile .........1 Periodicals .................................51 Welcome to the About AK Press ...........................2 Poetry/Theater...........................39 Summer Catalog! Acerca de AK Press ...................4 Politics/Current Events ............40 Prisons/Policing ........................43 For our complete and up-to-date AK Press Publishing Race ............................................44 listing of thousands more books, New Titles .....................................6 Situationism/Surrealism ..........45 CDs, pamphlets, DVDs, t-shirts, Forthcoming ...............................12 Spanish .......................................46 and other items, please visit us Recent & Recommended .........14 Theory .........................................47 online: Selected Backlist ......................16 Vegan/Vegetarian .....................48 http://www.akpress.org AK Press Gear ...........................52 Zines ............................................50 AK Press AK Press Distribution Wearables AK Gear.......................................52 674-A 23rd St. New & Recommended Distro Gear .................................52 Oakland, CA 94612 Anarchism ..................................18 (510)208-1700 | [email protected] Biography/Autobiography .......20 Exclusive Publishers CDs ..............................................21 Arbeiter Ring Publishing ..........54 ON THE COVER : Children/Young Adult ................22
    [Show full text]
  • Gauvreau» Le Procès Éditorial (Ou La Naissance D'un Peuple)
    g Université de Montréal Le Défi «Gauvreau» Le procès éditorial (ou la naissance d’un peuple) sous la pierre tombale des 0cc un mémoire pour l’oubli en forme d’écran paranoïaque un silence-manifeste par Yohann Rose Littérature comparée Lettres et sciences humaines Mémoire présenté à la faculté des études supérieures en vue de l’obtention du grade de maîtrise en Littérature comparée janvier 2007 © Yohann Rose 2007 Q Q Université de Monfréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexciusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes.
    [Show full text]
  • Sretenovic Dejan Red Horizon
    Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc.
    [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]
  • Surrealism and Psychoanalysis in the Work of Grace Pailthorpe and Reuben Mednikoff
    Surrealism and Psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff: 1935-1940 Lee Ann Montanaro Ph.D. History of Art The University of Edinburgh 2010 Declaration I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. ABSTRACT The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity.
    [Show full text]