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"IMAGINE THE IMAGINATION" - Art Book

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N E W !

a Book about New Surrealism

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" IMAGINE THE IMAGINATION "

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DREAMS

VISIONS

NIGHTMARES

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Introduction

by

Gromyko Semper Padilla

The following facts are known about the presumably late art known as Surrealism. It was created from Andre Breton’s manifesto after the fall of the anti-art Dada movement in Europe of the 1920s. Surrealism employed the influences of Sigmund Freud. It was an art of dreams and free-association, that let the mind run wild with all caution, restraint, or rules thrown to the winds. It employed creative games and fought ever to refresh itself. Among its ranks were Max Ernst, Joan Miro, Salvador Dali, Giorgio de Chirico, Yves Tanguy and scores of other geniuses both male and female.
Surrealism is said to be difficult to appreciate or understand. Critics, art historians, and laymen have been puzzled by this sphinx. Writers and literature critics are dazzled by “automatism” in surrealist prose and poetry as it contributed to the better understanding of our world, of human nature, and the nature of what is real.
Surrealism called for a new declaration for the rights of men, providing a vehicle for the exploration of the depths of desires and emotions. It unveiled the ways with which we can see reality differently, giving us endless insight on the nature of the human condition. Surrealism allows us to analyze our importance and our potential as a species, and the spiritual alchemical and hermetic nature of humankind.
In the 1930s, the movement became ever more visible to the public. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high water mark of the period and became the model for international exhibitions. Dalí and Rene Magritte created the most widely recognized images of the movement. Dalí himselfjoined the group in 1929, and participated in the rapid establishment of the visual style at the time. Surrealism found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.
The organized Surrealist movement in Europe dissolved with the onset of World War II. Breton, Dalí, Ernst, Masson, and others, including the Chilean artist Matta, left Europe for New York. The movement found renewal in the United States at Peggy Guggenheim’s gallery, Art of This Century, and the Julien Levy Gallery. In 1940, Breton organized the fourth International Surrealist Exhibition in Mexico City, which included the Mexicans Frida Kahlo and Diego Rivera (although neither artist officially joined the movement). The likes of Joseph Cornell and Arshile Gorky were soon to join the movement.
From its majors influences, Bosch, the symbolists, the romanticists, the works of Picasso and De Chirico to the rise of surrealism in literature, in art, in movies, and its immediate offspring, abstract expressionism and Fantastic and Visionary Art, Surrealism’s legacy was metamorphosed and, sad to say, delinquently misconceived because of the very varied definitions that some of these movements leaders have declared in a politically or a quasi religious ecstasy. And yet one may be surprised to find our next fact is that Surrealism is far from dead.
History teaches to reconsider the accomplishments of the surrealist movement and their valuable contributions to the symbolic language of art. The decadent movements that followed the Surrealism of Breton, with its political flavor, its inherent nihilistic tendencies so far from the original aims of its author, and the glorified pornography which had its roots in pseudo-Buddhist meditative works that shamed promotional art as commodity, the pseudo-mysticism and a misguided approach to the hermetic tradition have long been gone and is part of the long narrative of History.
The surrealist spirit lives on. It will constantly renew, reinstate and redefine, adding newer language, newer dimensions, newer ways of seeing, newer innovations all contributing to the vision of new surrealism – the surrealism of Breton which has been made like a memory of a supercomputer, with new surrealist artists contributing individually by their own ways adding new symbols unlocking newer truth and showing us the endless possibility, the infinite unfettered Surrealist imagination. We can Imagine the Surrealist Imagination and learn to appreciate it as a deeply rooted movement in the history of art and in the history of mankind.
With great examples of works from all over the world, I hope that along with my introduction and the statements found in this book, the world of today may learn to appreciate the much neglected and beloved Surrealism which, in the past, has been met with scorn and overshadowed by modernism. Thus, we may stand freed from the nihilism of this world and its co-optations of false symbols and mass media propaganda. Surrealism needed to be redefined and I invite you to open your minds and imagine the surrealist Imagination.


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concept and editing

HECTOR PINEDA

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co-editing

Gromyko Semper Padilla

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n E goist

new art

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Abnormals Gallery

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art director

existentia exiff

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project developer

Natalia Dawidowska

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project coordinator

Anna Skibicka

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designed by

Urzula Kluz-Knopek

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cover photo by

Max Sauco

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fragments of poems by

Anthony Mason

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thankyou thank you

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