DOCSLIB.ORG

Surrealism & Anti-Colonialism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Surrealism & Anti-Colonialism INTRODUCTION Surrealism & Anti-colonialism A Long View How we read Surrealism today…is neither a purely textual question nor a purely historical one. It is both; and by the questions we – or I – ask about Surrealist texts are determined both by Surrealism’s history (itself ‘to be read’) and by our (my) own. – Susan R. Suleiman1 rom before the official beginnings of the Surrealist movement, its future F members denounced European imperialism. Some of the last manifestoes published by the Parisian Surrealist group supported Vietnamese and Algerian struggles for independence. From 1919 then, anti-colonialism was a line of critique that ran through Surrealism during the movement’s first two decades, and continued through the era of decolonisation after the Second World War until the official closure of the Surrealism in the1960s.2 Yet this narrative has yet to take shape. It is not commonly remarked that over a span of more than forty years the Surrealists published anti-colonial tracts and staunch criticism of the West, but it is routinely observed that in their collections, exhibitions and artwork they included objects and referred to the cosmologies of non-Western cultures. This latter tendency is often dubbed ‘primitivism’ and regarded negatively, and seen in the same light as the ‘primitivism’ of modernist movements that came before Surrealism. 1 Susan R. Suleiman, Subversive Intent: Gender, Politics, and The Avant-Garde (Cambridge, Mass.; London: Harvard University Press, 1990), xv-xvi. 2 Jean Schuster officially announced that ‘historical surrealism’ was over in Le Monde, on October 4, 1969. 1 Synthetic readings of the aesthetic and the political currents of Surrealism are relatively rare. Consistent with this general paucity there have been only a few attempts to reconcile the political and aesthetic aspects of Surrealism’s encounters with ‘the cultural Other’ and, as yet, few attempts to theorise these as a mode of cultural critique that prefigured or approximated a ‘post-colonialist’ discourse, poetics and aesthetics. To date, postcolonial studies have seldom been in productive conversation with Surrealism. A reason could be that Surrealism has been discredited from many sides, with Marxist intellectuals denying its revolutionary force and, more latterly, cultural theorists denouncing its ‘primitivism’. Both discourses feed into postcolonial studies. Within literary scholarship there are studies relating to Surrealism and post-colonialism: a number of scholars have approached the writings of black poets and intellectuals who became Surrealists or were deeply influenced by Surrealism, but these are for the most part specialised historical studies of individual trajectories rather than studies of shared ideas. Carrie Noland writes, To a greater extent than has been recognized, surrealism and the debates it ignited played a large role in the development of a postcolonial theory in both French and English traditions. For critics from Sartre to Fanon to Said, surrealism represents the pinnacle of antinarrative poetics, the poetics of the nondescriptive, nonmimetic, and nonethnographic. When Fanon states in Wretched of the Earth that a poetry ‘full of images’ is ‘a blind alley’, and when Said, forty years later, reiterated in Culture and Imperialism that poetry wields a nonteleological, ‘nomadic, migratory, and anti- narrative energy,’ the type of poetic language being singled out – either to be rejected or celebrated – is one that cannot be ‘exhausted’ by recourse to its ‘literal meaning,’ it is a surrealist language that swerves away from ‘the reality of its content’ (Breton, ‘Misère de la poésie’).3 In Surrealism pictorial and poetic composition are not distinct or discrete activities as both are modes of expression that engage in ‘la poésie’: for example, Breton grounded Ernst’s collage activities within the literary tradition that claims Lautréamont and Rimbaud as its founding fathers.4 Nonetheless, much subsequent commentary and critique of Surrealism has stuck to disciplinary lines. As well as in tracts and poetic works, Surrealism’s anti-colonial position was manifest in their periodicals, objects and exhibitions. There has been some attention to these, but the approaches tend to be focused on particular episodes. 3 Carrie Noland, ‘Red Front/Black Front, Aimé Césaire and the Affaire Aragon,’ Diacritics Volume 36, Number 1 (Spring 2006), 64 – 84, at 75. 4 Elza Adamowicz, Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. (Cambridge, Cambridge University Press, 1998) pp. 3 – 12 and passim. 2 The primary goal for this thesis then is to present a long view of Surrealism’s anti- colonialism, as it was realised in the movement’s diverse outputs. I have underpinned much of the formal discussion with references to concepts about space and subjectivity that are, in my opinion, intrinsic to the formal play of terms in Surrealist modes of collage and détournement. The aim here is to trace a long line of development through Surrealism, pinpointing its modes of anti-colonial signification. In the first six chapters, the thesis delineates the development of Surrealist anti- colonial sentiment from the movement’s inception until a point in time close to the death of André Breton, thereby paving the ground for a productive link to be made between Surrealism and postcolonial theory. By dint of his longstanding adherence to Surrealism and his keen exchanges with other thinkers, not just his position as founder and leader of the movement, Breton’s place in the narrative of Surrealism’s anti-colonialism is nodal. He was receptive to radical thinking and alert to the ideas of others, even in the face of intense personal and ideological differences. Figures of looser and shorter adherence to the Surrealist movement made signal contributions to its philosophical and political debates and its anti-colonial stance: such luminaries as Michel Leiris, Georges Bataille and Aimé Césaire were highly influential, and arguably more identifiable as anti-colonial thinkers than Breton. While I have neither the space to roundly elucidate their anti-colonial thought in all aspects, nor to outline their biographical connections to Surrealism in great detail, I have signalled the importance of these and other figures by focussing on key aspects of their thinking. My aim has been to point to ways in which their ideas inflected the politics and poetics of Surrealist anti-colonialism and, concomitantly, to emphasise their connectedness and indebtedness to Surrealism. I have tended to focus on points of intersection between thinkers: Breton’s path crosses those of all the others and thus provides much of the connective tissue for my narrative. At the time of writing, two monographs relating to Surrealism and colonialism have been published in English. Louise Tythacott’s Surrealism and the Exotic, of 2003, is a work that is equivocal about Surrealism’s anti-colonialism, and is not intended as an account of Surrealism’s formal innovation.5 David Bate’s Photography and Surrealism: Sexuality, Colonialism and Social Dissent, of 2004, emphases the deconstructive effects of Surrealist photography, presenting a much more positive 5 Louise Tythacott, Surrealism and the Exotic (London and New York: Routledge, 2003). 3 and original view of Surrealism as a mode of dissent against colonialism, its temporal parameters though are confined to the 1920s and Thirties.6 To reappraise Surrealism in terms of its anti-colonialism entails a deliberate reframing of it as an object of analysis and a reinterpretation of data, much of which has already been analysed. Taking a lens to Surrealism’s anti-colonialism demands identifying fixed ideas and interrogating them. To date, scholarly inattention to Surrealism’s anti-colonialism is the result of restrictive conceptual framing by dominant methodologies that gave their stamp to post-war reception and interpretation of Surrealism. Pens were pushed according to the energies of doctrinaire Marxism, and post-Marxist tendencies in Frankfurt School criticism, Existentialism, and Greenbergian formalism. Later critiques of Surrealism were propelled by certain brands of liberal feminism, post-structuralism and postmodernist perspectives. These theoretical prisms have largely dictated conceptions of the relationship between politics and art, and the uptake of restricted conceptions of Surrealism has been widespread. Within dominant discourses, there is a fixed idea that Surrealism arose as a revolutionary energy in response to the First World War, and then degenerated into a de-politicised period artistic style prior to the outbreak of the Second World War. In this narrative of early demise, a deciding moment is the split that occurred in the movement with the Second Manifesto in 1929. According to the doxa, this ruction cleaved the movement into Bretonian idealism versus Bataillan materialism. Such simplifications have generated a series of partial and partisan perspectives on Surrealism, many of which have been unaccommodating to its objects and poetic writing and especially inattentive to the complex developments in Surrealist expression after the mid 1930s. Post 1935, irrespective of its estrangement from the Communist Party, the Surrealist movement continued to issue politically motivated tracts, and there were profitable collaborations between Breton and Bataille, and interchanges between their ideas. Moreover, Breton and Bataille found themselves allied in a debate against Jean-Paul Sartre in the post-war era about
Load more

Recommended publications
  • The Art Collection of Peter Watson (1908–1956)
    099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
    [Show full text]
  • Gordon Onslow Ford Voyager and Visionary
    Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig.
    [Show full text]
  • Pierre Naville and the French Indigenization of Watson's Behavior
    tapraid5/zhp-hips/zhp-hips/zhp99918/zhp2375d18z xppws Sϭ1 5/24/19 9:13 Art: 2019-0306 APA NLM History of Psychology © 2019 American Psychological Association 2019, Vol. 1, No. 999, 000–000 1093-4510/19/$12.00 http://dx.doi.org/10.1037/hop0000129 “The Damned Behaviorist” Versus French Phenomenologists: Pierre Naville and the French Indigenization of Watson’s Behaviorism AQ:1-3 Rémy Amouroux and Nicolas Zaslawski AQ: au University of Lausanne What do we know about the history of John Broadus Watson’s behaviorism outside of AQ: 4 its American context of production? In this article, using the French example, we propose a study of some of the actors and debates that structured this history. Strangely enough, it was not a “classic” experimental psychologist, but Pierre Naville (1904– 1993), a former surrealist, Marxist philosopher, and sociologist, who can be identified as the initial promoter of Watson’s ideas in France. However, despite Naville’s unwav- ering commitment to behaviorism, his weak position in the French intellectual com- munity, combined with his idiosyncratic view of Watson’s work, led him to embody, as he once described himself, the figure of “the damned behaviorist.” Indeed, when Naville was unsuccessfully trying to introduce behaviorism into France, alternative theories defended by philosophers such as Jean-Paul Sartre and Maurice Merleau-Ponty explic- itly condemned Watson’s theory and met with rapid and major success. Both existen- tialism and phenomenology were more in line than behaviorism with what could be called the “French national narrative” of the immediate postwar. After the humiliation of the occupation by the Nazis, the French audience was especially critical of any deterministic view of behavior that could be seen as a justification for collaboration.
    [Show full text]
  • Anthology of Black Humour Pdf Free Download
    ANTHOLOGY OF BLACK HUMOUR PDF, EPUB, EBOOK Andre Breton,Mark Polizzotti | 356 pages | 01 Feb 2009 | Telegram Books | 9781846590740 | English | London, United Kingdom Anthology of Black Humour PDF Book By signing up, you agree to our Privacy Notice. Redirected from Black humour. From the sublime to the surreal. The term became globally used since then. Forthcoming Books. Rating details. Jacqueline Lamba wife Elisa Breton wife. It came out again in , to almost complete silence - presumably Breton was considered pretty much vieux jeu by then. Popular themes of the genre include death, violence, discrimination , disease , and human sexuality. Literature in Translation. There are more than just the usual suspects here. Andre Breton , the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. Showing City Lights Spotlight. For example:. Want to Read Currently Reading Read. Neruda, Pablo. There are no discussion topics on this book yet. A study published in the journal Cognitive Processing [40] concludes that people who appreciate dark humor "may have higher IQs, show lower aggression, and resist negative feelings more effectively than people who turn up their noses at it. It was reprinted in after Breton's return from exile, with a few additions. J:J Aronson Inc. Anthology of Black Humour Writer Alcalay, Ammiel. An anthology wherein the biographic information provided by Breton tends to be more blackly comic than the selections he includes. Thomas De Quincey. Ryan Garns rated it liked it Nov 26, Charles Cros. Alessandro M. Forthcoming Books. View 2 comments. Comic work based on subject matter that is generally considered taboo.
    [Show full text]
  • Homage to Roberto Matta
    FIAC PARIS | BOOTH C29 | GRAND PALAIS | OCTOBER 17–20, 2019 At this year’s FIAC, in honor of the late Germana Matta, we will mount an Homage to Roberto Matta Paris was one of the principal residencies of Matta. The exhibition will therefore include parts of the archives and sketchbooks from Matta’s Parisian home. The core of the presentation consists of three highly important large scale works, executed between 1947 and 1958. It will be complemented by midsize works on canvas and paper as well as sculptures. Matta’s influence can be felt both in today’s Contemporary Art as well as in the Tech-World; his impact on fellow New York artists in the 1940’s was summarized by nobody other than Marcel Duchamp: “Still a young man, Matta is the most profound painter of his generation” MARCEL DUCHAMP, 1944 While the legendary MoMA curator and Picasso Scholar William Rubin had this to say about Matta: “Matta became the only painter after Duchamp to explore wholly new possibilities in illusionistic space” WILLIAM RUBIN, 1985 For more information on our FIAC exhibition and Matta please contact Mathias Rastorfer: [email protected] Additional works to be shown are by Yves Klein, Wifredo Lam, Fernand Léger, Joan Miró, Pablo Picasso, Antonio Saura ABOUT GALERIE GMURZYNSKA Founded in Cologne in 1965, Galerie Gmurzynska has been a leading international art gallery specializing in masterpieces of both classic modern and post-war art for more than 50 years. Galerie Gmurzynska is also the prime gallery worldwide for artists of the Russian avant-garde and early 20th century abstraction.
    [Show full text]
  • Michele Greet - Inventing Wilfredo Lam: the Parisian Avant-Garde's Primitivist Fixation
    Michele Greet - Inventing Wilfredo Lam: The Parisian Avant-Garde's Primitivist Fixation Back to Issue 5 Inventing Wifredo Lam: The Parisian Avant-Garde's Primitivist Fixation Michele Greet © 2003 "It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of non- western cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him. ******* In 1931, the Colonial Exposition set the mood for a decade in which France asserted its hegemony – in the face of Nazi Germany, Stalinist Russia, and Fascist Italy – through a conspicuous display of control over its colonial holdings. The exposition portrayed the colonies as a pre-industrial lost arcadia, occupied by noble savages who were untouched by the industrial advances of the western world.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Extended Sensibilities Homosexual Presence in Contemporary Art
    CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr.
    [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]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • LS-GR-Lets-Play-Dada-And-Surrealism-Andreas-Galanos20210409
    Europeana Learning Scenario Title Let’s play…Dada and Surrealism! Author(s) Andreas Galanos Abstract This LS is an attempt to playfully introduce students to the subversive poetics of Dadaism and Surrealism. It is structured in 3 parts: in the first part, students are invited to explore - through experiential learning activities - some of their key concepts and methods before they are introduced to their characteristics as artistic movements. In the second part, they are invited to try out - individually as well as collaboratively - several techniques applied by the Dada artists and the Surrealists. Finally, all outcomes produced by the students throughout the course of the project are assembled in a (digital) exhibition showcasing their interaction with these revolutionary approaches to art and culture. Keywords Surrealism, Dada, Literature, Art, Αvant-garde Table of summary Table of summary Subject Literature, History, Arts Topic Dada and Surrealism Age of 14-15yo students The playful nature of most activities makes them easy to carry out with younger students as well, although adjustments should be made especially regarding the research part of the project. The outcomes of most activities can be created either by hand or digitally, so no advanced digital skills are required. If the LS is to be implemented in English, a minimum of B1 level is required. Preparation The teacher might need a couple of hours to prepare the leaflets for the first activity and time to look for suitable Europeana resources. Teaching 4-5 teaching hours time
    [Show full text]
  • Frederick Kiesler Y El Teatro De Vanguardia
    Oppidum, nº 2. Universidad SEK. Segovia, 2006, 291-320 - I.S.S.N.: 1885-6292 FREDERICK KIESLER Y EL TEATRO DE VANGUARDIA José Luis Luque Blanco Universidad SEK [email protected] Resumen Análisis y evolución del Espacio Escénico a través de la obra e investigación artística del arquitecto Frederick John Kiesler (1890-1965). Palabras clave: Vanguardia, Espacio escenográfico, Estética de la máquina, Innovación, Flexibilidad. Summary Scene Space: Analisis and avant-garde progress through the work and the art rese- arch of architect Frederick John Kiesler (1860-1965). Key Words: Avant-Gard, Scene Space, Machine aesthetic, Innovation, Flexibility, Endless. ******* 291 JOSÉ LUIS LUQUE BLANCO Frederick John Kiesler (1890-1965), arquitecto, escultor, pintor, diseña- dor de interiores, tipógrafo y poeta, proyectó pabellones de exposiciones, gale- rías de arte y escaparates de grandes almacenes, escenografías para teatro y ópera, muebles y alojamientos prefabricados, rascacielos y sus llamados Endless. Nació en Cernauti, Bucovina (Rumania) cuando formaba parte del Imperio Austro-Húngaro aunque todas las referencias sobre su infancia y educación le vinculan con Viena. Se nacionalizó americano en el año 1936. Frederick Kiesler participó de los espacios estilísticos del Expresionismo, De Stijl, Futurismo, Elementarismo, Cubismo, Neoplasticismo y otras categorías artísticas de nuestro siglo. Esto dio como resultado un con- junto de trabajos complejo y multifacético. Fue pionero en el diseño de nuevas formas de escenarios, teatros, cines y galerías de arte. Además, escribió una importante y extensa obra teórica y colaboró con grandes figuras del Movimiento Moderno o de la generación de artistas más jóvenes del Nueva York de Postguerra como Adolf Loos, Theo van Doesburg, Marcel Duchamp, Arshile Gorky, Willem de Kooning, Robert Rauschenberg, entre otros.
    [Show full text]