from FAZNET, 12th 2. 2011
No lobster for Nadia
I Fetish: Frankfurt's Schirn Presents "surreal". Among those were the Surrealists and women. The fought back - with art. Hundred eighty works of fifty artists, known and less known, are assembled at the Kunsthalle.
By Constance Crüwell
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Right at the beginning of this exhibition can be seen moving between which Poland, the object worlds to which we are concerned here: between war and fetish. On Dadaist traditions of surrealism "has the crazed philistine Heartfield" out with a shockingly decked "electromechanical Tatlin-Plastik" full of the biting scorn on the war and its consequences - George Grosz and Heartfield they showed in 1920, first in the International Dada Fair in Berlin. It stands for the one, the political and satirical surrealism. Next to it is an example for the others: a mechanized machine woman named "Maniqui", a work by this artist Ángel Ferrant.
The followers of Dada and Surrealism were initially united in their rejection of bourgeois ideas they mainly related to the international chauvinism and war lust irritated. But then their paths diverged. Now, "Surreal Things - Sculptures and objects by Dalí, Man Ray to see in a comprehensive exhibition of art objects of surrealism in Frankfurt's Schirn, and as expected quoted as, all the good the Comte de Lautréamont that with the image of three objects Surrealism was once defined in such unsurpassable way - as the long proverbial "chance encounter of a sewing machine with an umbrella on a dissecting table".
elastic definition
has even surrealism, little was that he once named as ism, produced an even, almost surreal variety of definitions of what a movement which the Non-Identifiable had prescribed the confusion and displacement of categories, one can also irritate even once. Even the Chefsurrealist André Breton was happy with definitions at hand, "Surrealism is based on the belief in some higher reality, to this day neglected forms of association, in the omnipotence of the dream, assigned to the free play of thought," wrote he said. "He seeks out to destroy the other psychic mechanisms and to take their place in tackling the key problems of life" - so read in the First Surrealist Manifesto of 1924. Its purpose free play of thought was not only of philosophy and psychoanalysis, but soon the fine arts.
The following year he apparently had longingly about "objects that are encountered only in a dream" spoken. And in 1936 he had in the "Cahiers d'Art" worked intensively with the meaning of object concept of surrealist theory. As a surrealist objects he called back in elastic-art era and more elastic definition, Marcel Duchamp's "ready mades" from 1913 or Picasso's Absinthe Glass of 1916, as well as Man Ray with nails studded, charming and misleading "Cadeau (Gift) called iron from the year 1922nd In general was Man Ray, whose mysterious photograph "L'enigma d'Isidore Ducasse" perhaps a veiled sewing machine was, like Marcel Duchamp as a precursor and later as a major protagonist of surrealism.
Fairly stout ladies legs
But why now again Surrealism in an exhibition? What you see here new? The show of Surrealist objects at the Schirn, which is staged with sumptuous red and black furniture Samttapeten has, of course, several predecessors. The show was known mainly in the Paris Galerie Ratton in 1936, although - must have been a pretty dismal event - because, unfortunately, largely ignored by the public and press. Much more alert, however, it must be the spectacular "Exposition Internationale du surréalisme" be received in the prestigious Galerie Georges Wildenstein des Beaux Arts in Paris. Almost forty surrealist objects were on display there, and sixteen of artists artistically designed mannequins that stood in the entrance corridor next to each other lined up - each other at an evocative street sign: Sixteen mannequins as "the epitome of surrealist objects" that here now, but unfortunately only seen in photographs are. The fact that women from the almost exclusively male Surrealists like the objects were assigned, then no bother and it does not now seem further.
the Main gallery Wildenstein had Duchamp then transformed into a cave or ghost train, with many of the ceiling hanging down and softly to himself rippling coal bags: No sign is that of 'white cube': This was the uneven ground full of leaves, which is the middle of it into a pond with reeds and water lilies transformed. Speakers weird noise gave of themselves, coffee smells permeated the room. Was presented including Man Ray's famous and often mapped aphrodisiac phone with the bright red lobster as a listener. Even Kurt Seligmann's surprising "Ultra furniture" of 1938, on four legs rather stout women in identical delicate Pumps rested, was there to see and wrapped with ivy chair by Wolfgang Paalen, this is like a delicate female arm shaped gramophone "Jamais" by Oscar Dominquez - all objects that are now to be seen at the Schirn Kunsthalle in the original, and photography.
Laue milk in women's shoe
André Breton called it going in the surrealist objects, not about the stupid folly of use. The Non-Usable is required for admission to Surrealism: This applies to Domínguez 'with the finest red satin-lined wheelbarrow as Maurice Henri's "Hommage à Paganini", a small, wrapped in a towel violin which rests in a box covered with grass. Even more drastic sounds but Breton's formulation: "The Surrealist object is from a practical and rational point of absolutely useless object, created for the sole purpose of madness ideas and fantasies on fetishistic way, with a maximum of materializing on tangible reality."
This points to another box that does this exhibition clearly in mind: the neurotic woman picture of surrealism. The interpersonal skills of traditional Breton fetishes such as Salvador Dalí with his "scatological object with symbolic function (Galas shoe), a red high heels together with amazing ingredients, including - here we are again in the definition of possession of the Surrealists - a more or less plausible explanation is that" in a Women's Shoes in the middle of a gently shaped, exkrementfarbenen mass, is a glass of lukewarm milk. The mechanism is a bit of sugar to which you painted a shoe to dip into the milk to the dissolution of the sugar and thus to observe the boot image. Various ingredients (pubic hair, stuck to a piece of sugar, small erotic photo) complete the object that is seconded by a can of spare sugars and stir up a special spoon that is used to shot pellets inside the shoe. "
conflict with surrealist role models
Aha! There are countless other fetish oriented Herrenobsessionen in the show: Dali's famous Venus de Milo with drawers and three rare works by Hans Bellmer - the "puppet" of 1936/65, the "circle" of 1938/68 and the "half dummy", 1971 , "Prière de toucher" is the name of Marcel Duchamp and Enrico Donati isolated breast object in a black frame - and so on. But then there are also works by women: The great Meret Oppenheim with its famous fur gloves, white gloves with red veins and a beautiful lady with a bra-Collier present, and it is this art as a response and objection to the role models who read the Surrealists made strong.
hundred and eighty works of fifty artists, known and less known, are gathered here, by Max Ernst, Giacometti, Moore and Noguchi to funny to Picasso's Scarecrow and the "Antique 20th Century, "as Jean Benoit his rugby ball in the barbed wire is called. Not good, the objects of André Breton, "the stroke of midnight" and "The giant anteater" are. Theory and practice are also apparently two different things.
surreal things - sculptures and objects from Dalí, Man Ray . Anniversary exhibition at the Schirn Kunsthalle in its twenty-fifth anniversary. Of 11 February to the 29th May The catalog for 34.80 €.
Nota.
This is perhaps not a good idea to combine all these pieces in one place. Because you realize that, which is usually struck by Wenger: The living room is jewelry for snobs, the security of "purely decorative" are too fine and would like something witty here. Magritte is the (literally) most popular artists of the 20th Century.
JE
Nota.
This is perhaps not a good idea to combine all these pieces in one place. Because you realize that, which is usually struck by Wenger: The living room is jewelry for snobs, the security of "purely decorative" are too fine and would like something witty here. Magritte is the (literally) most popular artists of the 20th Century.
JE
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