UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Through the looking-glass: the interartistic practice of Remedios Varo Author(s) Albaladejo Garcia, Nadia Publication date 2019 Original citation Albaladejo Garcia, N. 2019. Through the looking-glass: the interartistic practice of Remedios Varo. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2019, Nadia Albaladejo Garcia. http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information Not applicable Item downloaded http://hdl.handle.net/10468/9577 from Downloaded on 2021-10-05T13:40:03Z Through the Looking-Glass: The Interartistic Practice of Remedios Varo Nadia Albaladejo García Submitted for the Degree of Doctor of Philosophy to the National University of Ireland, University College Cork Department of Spanish, Portuguese and Latin American Studies, University College Cork Head of Department: Professor Nuala Finnegan Supervisors: Dr Helena Buffery and Professor Nuala Finnegan December 2019 ii Abstract This thesis sets out to map and explore the interartistic practice and relations developed in the creative production of twentieth-century woman artist and writer, Remedios Varo i Uranga (Anglès, Girona 1908 - Mexico City, 1963), who achieved significant interna- tional recognition for one aspect of her work: her paintings. I explore and analyse key examples of her interartistic practice throughout her career. These include: Varo’s liter- ary experiments, co-creating the surrealist play El santo cuerpo grasoso with Leonora Carrington; the commercial commissions she carried out for Bayer which is here read in relation to their context of publication; her best-known sculptural work, Homo rodans, examined in relation to the hybrid text which accompanied it and the various traces of its performative composition; and her most famous ‘treatise’ on interartistic practice, the painting La creación de las aves, which is read alongside a selection of her dream narratives. These works are primarily analysed using an interdisciplinary framework that includes cultural and literary studies, theatre and performance studies as well as an- thropology and philosophy. Overall, the analysis demonstrates that the extant critical insistence on translating her into a single dominant frame or worldview, even while rec- ognising the importance of her diasporic mobility, ultimately reduces the liminal, per- formative and often playful nature of her work and downplays her capacity to negotiate and move between different languages, cultures, media and disciplines. iii Table of Contents Abstract ii Table of contents iii List of illustrations vi Chronology and key exhibitions vii Declaration xii Acknowledgements xiii Introduction 1 Chapter One – Literature Review 13 Chapter Two – Mattering Maps: Spaces of Co-Creation in El santo cuerpo grasoso 31 2.1. Introduction 31 2.2. Surrealist Co-creativity or Female Coalition? 35 2.3. Setting the Context: Blossoming through Art - A Friendship in Mexico 38 2.4. El santo cuerpo grasoso 43 2.4.1. Characterization 45 2.4.2. Relationships 47 2.4.3. ‘Transculturalidad’: Hybridity, Language and Music 51 2.4.4. Alchemical Theatre: Exotic Landscapes and Ritualistic Practices 58 2.5. Conclusion 67 Chapter Three- The Body in Pain: Varo’s Commercial Paintings for Bayer 70 3.1. Introduction 70 3.2. Setting the Context: Bayer as Patron of the Arts 74 3.3. Illustrating Pain: The Paintings 78 iv 3.4. Pain and Feminine Experience 79 3.5. Varo’s Foucauldian Bodies 81 3.5.1. Dolor: The Panoptical as Health Preserving Mechanism 85 3.5.2. Dolor Reumático I (Dolor Reumático): The Columns of Power 95 3.5.3. Dolor Reumático II: Theatricalization of Sickness 108 3.6. Conclusion 118 Chapter Four: The Quest for Origins: Varo’s De Homo Rodans 123 4.1. Introduction 123 4.2. Setting the Context: A Brief Picture of Early Mexican Anthropology and its Relationship with Surrealism 128 4.3. Varo’s Discursive Strategy: the Dispositif 131 4.4. Physical Cosmology and Paleoanthropology as Philosophical Discourses 133 4.5. De Homo Rodans 138 4.5.1. The Manuscript 138 4.5.2. ‘Eso de la figurita…’: Varo’s Sculpture and Drawings 146 4.5.3. Towards an understanding of De Homo Rodans 149 4.5.4. Analysis: ‘Y ahora pasemos al análisis historico-óseo de la situación antropológica actual…’ 153 4.6. Prácticas Transgresoras 170 4.7. Conclusion 175 Chapter Five – Interartistic Spaces in Varo’s Dreams and La creación de las aves 179 5.1. Introduction 179 5.2 Varo’s Dreams 182 v 5.2.1- Craftwomanship: The Kitchen as Artist’s Workshop 185 5.2.2 – Space, Body, Things 190 5.2.3- Mimesis 192 5.3. La creación de las aves 195 5.3.1- Embodying Space 195 5.3.2- Objectifying Space 197 5.3.3- Gendering Space: The Artist’s Workshop 203 5.4. Conclusion 207 Conclusion 209 Works by Remedios Varo 213 Bibliography 216 vi List of Illustrations Fig. 1 - Remedios Varo, Tiforal (1947). Gouache on cardboard 58 Fig. 2 - Remedios Varo, Dolor (1948). Gouache on cardboard 88 Fig. 3 - Unknown author, Woodcut from Petit Larousse (1912) 89 Fig. 4 - Remedios Varo, Dolor Reumático I (1948). Gouache on cardboard 96 Fig. 5 - Remedios Varo, Dolor Reumático II (Reuma, lumbago, ciática) (1948). Gou- ache on cardboard 107 Fig. 6 - Remedios Varo, Homo Rodans (Drawing) (1959). Gouache on cardboard 137 Fig. 7 - Remedios Varo, Homo Rodans (Sculpture made of chicken, turkey and fish- bones attached by wire) (1959) 145 Fig. 8 - Remedios Varo, Pterodáctilo (Animal Prehistórico) (1959). Gouache on card- board 156 Fig. 9 - Remedios Varo, La creación de las aves (1957). Oil on masonite 182 vii Chronology and Key Exhibitions 1908 Remedios Varo is born 16 December in Anglès, Girona (Spain), Carrer Indústria, 5 (now number 9). The family subsequently moves to the Carrer Major 13, oppo- site Cal Rellotger. She is the middle child of Rodrigo Varo and Ignacia Uranga. She is named after the patron of the village — the Verge del Remei (Virgin of good remedy). 1913 Varo moves with her family to Algeciras (Cádiz). 1917 Varo and her family move to Madrid (Spain). 1917 - 1922 Varo studies in a convent school the Instituto de San Isidro. 1922 - 1924 She joins the Escuela de Artes y Oficios de Madrid. 1924 - 1929 She starts training in the Academia de San Fernando art school in Madrid, and meets José Luis Florit, Gerardo Lizarraga, Pedro Lozano and Francisco Ribe- ra, as well as Maruja Mallo, Delhy Tejero and Francis Bartolozzi. 1929 Varo travels to Paris to study at La Grande Chaumière and she stays at a residence run by nuns. 1930 Back in Madrid, Varo marries Gerardo Lizarraga, her fellow student and painter from the San Fernando Academy, in San Sebastián. The wedding takes place on 6 September in the church of San Vicente. 1931 The couple moves to Paris. They live at Aubesprine, 26. Two years later they de- cide to move back to Barcelona due to financial problems. They contact their friend Francisco Ribera who is now art director of the Walter Thompson advertis- ing Company. 1932 Varo and Lizarraga settle in Barcelona, where Lizarraga starts work for Thomp- son. Lizarraga gets the contract first. They live in Carrer Muntaner in a shared flat, then move to their own apartment in Avinguda Gaudí. Later they move to viii Ronda Sant Antoni. Varo shares a studio with Esteban Francés in Plaça Lesseps. In this period, she meets Marcel Jean and Oscar Domínguez. 1933 Varo’s father dies. As a result of his death, she no longer receives an allowance, which is the reason she has to start to work at Thompson. 1935 Varo takes part in the surrealist games Cadavres Exquis with Esteban Francés, and José Florit, among others. She participates in a drawing exhibition together with Florit in Madrid at Cafeteria Yacaré, in the Gran Vía. During this time Varo sepa- rates from Gerardo Lizarraga. 1936 In autumn 1936, she meets surrealist poet Benjamin Péret in Barcelona. When he goes to Aragone front, they remain in contact. His letters indicate that he is ob- sessed with her and wants her to move to Paris with him. Three of Varo’s early works are exhibited in the Exhibition Logicofobista organ- ised by the group ADLAN (Amics de l’Art Nou). 1937 (March/April) Varo moves to Paris. 1938 While in France, some of her works are included in the Surrealist Exhibition in Paris, at the Galérie Beaux-Arts. It is believed that during this time she first meets Leonora Carrington. Varo participates in a Fashion Design Exhibition in Paris with some of her de- signs. 1939 Due to political instability and Péret being incarcerated due to his politics, Varo moves to the south of France where she shares a house with painter Victor Brauner. Later she joins Péret — now free — at the Villa Air-Bel. For a few months, the couple share the Villa with other surrealist artists such as André Bre- ton, Óscar Domínguez, Max Ernst, Leonora Carrington and André Masson, among others. Varo’s young brother Luis dies at age 25. ix 1940 Varo is imprisoned for a short time. She has one painting at the International Exhibition of Surrealism in Mexico City exhibited (Recuerdo de la walkiria), organized by Inés Amor, César Moro and Wolfgang Paalen. 1941 Varo and Péret are reunited and move to Mexico. They depart from Marseille on 20 November on board the Serpa Pinto. Along with various other artists and ar- ranged by Varian Fry. They travel via Casablanca and arrive in Mexico in January 1942. 1942 Varo designs costumes for Léonide Massine’s Ballet Aleko, under Marc Chagall. She reencounters Leonora Carrington in Mexico City. 1943 Varo and Péret marry.