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{{Surrealism infobox}}
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] ''Indefinite Divisibility'' 1942]]

'''Surrealism'''<ref>A term coined by ] in 1917, see ] for more details</ref> is a ], ] and ] movement asserting that liberation of the human mind, and subsequent liberation of the individual and society, can be achieved by exercising the imaginative faculties of the "unconscious mind" to the attainment of a dream-like state different from, or ultimately "truer" than, everyday reality. Surrealists believe that this more truthful reality can bring about personal, cultural, and social revolution, and a life of freedom, poetry, and uninhibited sexuality. André Breton said that such a revealed truth would be beautific, or in his own words, "beauty will be convulsive or not at all." When the concept of surrealism has been "applied" by associated groups of individuals, it has often been called a "surrealist movement," whether cultural (including artistic) or social.

In more mundane terms, the word "]" is often used colloquially to describe unexpected ]s or use of ] in art or dialogue.

Surrealist thought emerged around ], partly as an outgrowth of ], with French writer ] as its initial principal ].

In Breton's ] of ] he defines surrealism as:

:'''Dictionary:''' Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.

:'''Encyclopedia:''' Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.

Breton would later qualify the first of these definitions by saying "in the absence of ''conscious'' moral or aesthetic self-censorship," and by his admission through subsequent developments, that these definitions were capable of considerable expansion.

Like those involved in ], adherents of surrealism thought that the horrors of ] were the culmination of the ] and the result of rational thinking. Consequently, ] thought and dream-states were seen as the natural antidote to social problems. The surrealist diagnosis of the problem of the ] and ] civilization is that both utilize a restrictive overlay of false rationality, including social and academic convention, on the free functioning of the instinctual urges of the human mind.

While Dada rejected categories and labels and was rooted in negative response to the ], surrealism advocates the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the ]. The ] dialectic and other theories, such as ]ian theory, also played a significant role in the development of surrealist theory, and as in the work of such theorists as ] and ], surrealism contributed to the development of Marxist theory itself.

Surrealist philosophy connects with the theories of psychiatrist ] in that Freud asserted that ] thoughts (the thoughts of which one is not aware) motivate human behaviour, and he advocated ] and ] to reveal unconscious thoughts.

It is through the practice of ], dream interpretation, and numerous other surrealist methods that surrealists believe the wellspring of imagination and creativity can be accessed. Surrealists look to so-called "]" as an example of expression that is not self-censored.

The radical aim of surrealism is to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what is seen as false rationality, and restrictive customs and structures. As ] proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!" To this goal, at various times surrealists have aligned with ] and ].

Surrealism also embraces ], while rejecting the idea of an underlying madness or darkness of the mind. ], who is considered to have been quite idiosyncratic, explained it as the following: "There is only one difference between a madman and me. I am not mad."<ref>Salvador Dali, '''' (1966), quoted in ''The Columbia World of Quotations'' (1996)</ref>

Not all surrealists subscribe to all facets of the philosophy. Historically many were not interested in political matters, and this lack of interest created rifts in the surrealism movement.

:''See also ]''

==Surrealism in politics==
Surrealism as a political force developed unevenly around the world, in some places more emphasis was on artistic practices, in other places political and in other places still, surrealist praxis looked to supersize both art and politics.

Politically surrealism was ultra-leftist, ] or ]. The split from Dada has been characterised as a split between anarchists and communists, with the surrealists as communist. Breton and his comrades supported Trotsky and his International Left Opposition for a while, though there was a certain openness to anarchism that manifested more fully after World War II. Some surrealists such as ] aligned with forms of ]. ] supported capitalism and the fascist dictatorship of ] but cannot be said to represent a trend in surrealism in this respect; in fact he was considered, by Breton and his associates, to have betrayed and left surrealism.

Surrealists have often sought to link their efforts with political ideals and activities. In the '''' for example, members of the Paris-based ] (including André Breton, Louis Aragon, and, Antonin Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. While this was initially a somewhat vague formulation, by the 1930s many surrealists had strongly identified themselves with communism. The foremost document of this tendency within surrealism is the '''' published under the names of Breton and ] but actually co-authored by Breton and ]. <ref>''Dada Turns Red'', Helena Lewis' history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s was published in 1990 by the University of Edinburgh Press.</ref>

===Black surrealism and negritude===

In ], the ] and the extreme left of the ] came together to support ], leader of the ] uprising against French colonialism in ]. In an open letter to writer and French ambassador to Japan, ], the Paris group announced:

:"We Surrealists pronounced ourselves in favour of changing the imperialist war, in its chronic and colonial form, into a civil war. Thus we placed our energies at the disposal of the revolution, of the proletariat and its struggles, and defined our attitude towards the colonial problem, and hence towards the colour question."

The anticolonial revolutionary and proletarian politics of "Murderous Humanitarianism" (1932) which was drafted mainly by ], signed by ], ], ], ], and the Martiniquan surrealists ] and ] perhaps makes it the original document of what is later called 'black surrealism'<ref>''A Poetics of Anticolonialism'', Nov, 1999 by ]</ref>, although it is the contact between ] and Breton in the 1940s in Martinique that really lead to the communication of what is known as 'black surrealism'.

Anticolonial revolutionary writers of Martinique, a French colony at the time, took up surrealism as a revolutionary method - a critique of European culture and a radical subjective. This linked with other surrealists and was very important for the subsequent development of surrealism as a revolutionary praxis. The journal ], featuring the work of Cesaire along with ], ], ] and others, was first published in ].<ref>Robin DG Kelley, "Poetry and the Political Imagination: Aimé Césaire, Negritude, & the Applications of Surrealism"(July 2001)</ref>

===Post Situationist surrealism===

In the 1960s, while the ] leadership - especially ] was critical and distanced himself from surrealism, others such as ] were explicitly using surrealist techniques and methods. The 1968 ] and student revolt in France which was influenced by the Paris based ] included a number of surrealist ideas, and among the slogans the students spray-painted on the walls of the Sorbonne were familiar surrealist ones. ] would commemorate this in a painting entitled ''May 1968.''

During the 1980s, behind the ], surrealism entered into politics due to an underground artistic opposition movement known as the ]. The Orange Alternative was created in 1981 by ] alias 'Major', a graduate of history and art history at the University of ], who used surrealist symbolism and terminology in its large scale happenings organized in the major Polish cities during the ] regime and painted surrealist graffiti on spots covering up anti-regime slogans. Major himself was the author of the so-called "Manifest of Socialist Surrealism". In this Manifest, he stated that the socialist (communist) system had become so surrealistic that it could be seen as an expression of art itself.

== Surrealism in the arts and media ==
{{Main|Surrealism in the arts}}

] "This is not a pipe." '']'' 1928-9]]
In general usage, the term Surrealism is more often considered a movement in ] than the original cultural and philosophical movement. As with some other movements that had both philosophical and artistic dimensions, such as ] and the relationship between the two usages is complex and a matter of some debate outside the movement. Many Surrealist artists regarded their work as an expression of the philosophical movement first and foremost, and ] was explicit in his belief that Surrealism was above all a revolutionary movement.

In addition, many Surrealists and Surrealist documents have declared that Surrealism is not an artistic movement for a number of additional reasons, among which is the conception of the "artistic" manifestations of Surrealism as just one form of manifestation among many, various conceptions of visual work being created which somehow "goes beyond" traditional conceptions of art or aesthetics, or even the complete cessation of creative visual production. In addition, the art object or product — while an important part of the Surrealist process — is viewed as merely a "souvenir" of a vastly more critical journey, interesting only in so far as it is revelatory of that adventure.

== Impact of Surrealism ==
While Surrealism is typically associated with the arts, it has been said to transcend them; Surrealism has had an impact in many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.
In addition to Surrealist ideas that are grounded in the ideas of ], ] and ], surrealism is seen by its advocates as being inherently dynamic and as dialectic in its thought. Surrealists have also drawn on sources as seemingly diverse as ], ], ], ], ], ], ], the obscure poet ] and the ] writer and humourist ]. One might say that Surrealist strands may be found in movements such as ] (], ], ] etc.) and even in the daily lives of people in confrontation with limiting social conditions. Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, surrealism finds precedents in the ], possibly ], ], ], ], ] and ].

Surrealists believe that ''non-Western'' cultures also provide a continued source of inspiration for Surrealist activity because some may strike up a better balance between instrumental reason and the imagination in flight than Western culture. Surrealism has had an identifiable impact on radical and revolutionary politics, both directly -- as in some surrealists joining or allying themselves with radical political groups, movements and parties -- and indirectly -- through the way in which surrealists' emphasis on the intimate link between freeing the imagination and the mind and liberation from repressive and archaic social structures. This was especially visible in the ] of the 1960s and 1970s and the French revolt of May 1968, whose slogan "All power to the imagination" arose directly from French surrealist thought and practice.

Some ]s, such as ] in ], who won an ] for his stage set, and who also designed the "creature," in the movie ''],'' have been popularly called "Surrealists," though Giger's art is promoted as surrealist biomorphic art.

==Critiques of Surrealism==
Surrealism has been critiqued from several perspectives:

=== Feminist ===
] have in the past critiqued the surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Some feminists have argued that in surrealism women are often made to represent higher values and transformed into objects of desire and of mystery.

===Freudian===

] initiated the psychoanalytic critique of surrealism with his remark that what interested him most about the surrealists was not their unconscious but their conscious. His meaning was that the manifestations of and experiments with psychic automatism highlighted by surrealists as the liberation of the unconscious were highly structured by ego activity, similar to the activities of the dream censorship in dreams, and that therefore it was in principle a mistake to regard surrealist poems and other art works as direct manifestations of the unconscious, when they were indeed highly shaped and processed by the ego. In this view, the surrealists may have been producing great works, but they were products of the conscious, not the unconscious mind, and they deceived themselves with regard to what they were doing with the unconscious. In psychoanalysis proper, the unconscious does not just express itself automatically but can only be uncovered through the analysis of resistance and transference in the psychoanalytic process.

===Situationist===

While some individuals and groups on the core and fringes of the ] were surrealists themselves, others were very critical of the movement, or indeed what remained of the movement in the late 50s and 60s. The Situationist International could therefore be seen as a break and continuiation of the Surrealist praxis. The Situationists felt that surrealism had retreated into the salons and galleries and therefore had been absorbed into the bourgeois order. They nevertheless took inspiration from some surrealist theories and methods.

==References==
<references/>

==See also==
* ]
* ]
* ]
* ]

==External links==
<!-- ATTENTION! Please do not add links without discussion and consensus on the talk page. Undiscussed links will be removed. -->
'''] writings'''
*
*
'''Overview websites'''
*, A general history of the art movement with artist biographies and art.
'''Surrealism and politics'''
* — an article looking at Surrealism and Surrealists' connections to anarchist, socialist and working class politics
* , an article from ''Arsenal/Surrealist Subversion''

{{Modernism}}

{{Westernart}}
{{Schools of poetry}}

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Revision as of 15:28, 20 February 2007

Part of a series on
Surrealism
Aspects
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Template:Vprotected

Yves Tanguy Indefinite Divisibility 1942

Surrealism is a cultural, social and political movement asserting that liberation of the human mind, and subsequent liberation of the individual and society, can be achieved by exercising the imaginative faculties of the "unconscious mind" to the attainment of a dream-like state different from, or ultimately "truer" than, everyday reality. Surrealists believe that this more truthful reality can bring about personal, cultural, and social revolution, and a life of freedom, poetry, and uninhibited sexuality. André Breton said that such a revealed truth would be beautific, or in his own words, "beauty will be convulsive or not at all." When the concept of surrealism has been "applied" by associated groups of individuals, it has often been called a "surrealist movement," whether cultural (including artistic) or social.

In more mundane terms, the word "surreal" is often used colloquially to describe unexpected juxtapositions or use of non-sequiturs in art or dialogue.

Surrealist thought emerged around 1920, partly as an outgrowth of Dada, with French writer André Breton as its initial principal theorist.

In Breton's Surrealist Manifesto of 1924 he defines surrealism as:

Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.
Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.

Breton would later qualify the first of these definitions by saying "in the absence of conscious moral or aesthetic self-censorship," and by his admission through subsequent developments, that these definitions were capable of considerable expansion.

Like those involved in Dada, adherents of surrealism thought that the horrors of World War I were the culmination of the Industrial Revolution and the result of rational thinking. Consequently, irrational thought and dream-states were seen as the natural antidote to social problems. The surrealist diagnosis of the problem of the realism and capitalist civilization is that both utilize a restrictive overlay of false rationality, including social and academic convention, on the free functioning of the instinctual urges of the human mind.

While Dada rejected categories and labels and was rooted in negative response to the First World War, surrealism advocates the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. The Marxist dialectic and other theories, such as Freudian theory, also played a significant role in the development of surrealist theory, and as in the work of such theorists as Walter Benjamin and Herbert Marcuse, surrealism contributed to the development of Marxist theory itself.

Surrealist philosophy connects with the theories of psychiatrist Sigmund Freud in that Freud asserted that unconscious thoughts (the thoughts of which one is not aware) motivate human behaviour, and he advocated free association and dream analysis to reveal unconscious thoughts.

It is through the practice of automatism, dream interpretation, and numerous other surrealist methods that surrealists believe the wellspring of imagination and creativity can be accessed. Surrealists look to so-called "primitive art" as an example of expression that is not self-censored.

The radical aim of surrealism is to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what is seen as false rationality, and restrictive customs and structures. As Breton proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!" To this goal, at various times surrealists have aligned with communism and anarchism.

Surrealism also embraces idiosyncrasy, while rejecting the idea of an underlying madness or darkness of the mind. Salvador Dalí, who is considered to have been quite idiosyncratic, explained it as the following: "There is only one difference between a madman and me. I am not mad."

Not all surrealists subscribe to all facets of the philosophy. Historically many were not interested in political matters, and this lack of interest created rifts in the surrealism movement.

See also History of surrealism

Surrealism in politics

Surrealism as a political force developed unevenly around the world, in some places more emphasis was on artistic practices, in other places political and in other places still, surrealist praxis looked to supersize both art and politics.

Politically surrealism was ultra-leftist, communist or anarchist. The split from Dada has been characterised as a split between anarchists and communists, with the surrealists as communist. Breton and his comrades supported Trotsky and his International Left Opposition for a while, though there was a certain openness to anarchism that manifested more fully after World War II. Some surrealists such as Benjamin Peret aligned with forms of left communism. Dalí supported capitalism and the fascist dictatorship of Francisco Franco but cannot be said to represent a trend in surrealism in this respect; in fact he was considered, by Breton and his associates, to have betrayed and left surrealism.

Surrealists have often sought to link their efforts with political ideals and activities. In the Declaration of January 27, 1925 for example, members of the Paris-based Bureau of Surrealist Research (including André Breton, Louis Aragon, and, Antonin Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. While this was initially a somewhat vague formulation, by the 1930s many surrealists had strongly identified themselves with communism. The foremost document of this tendency within surrealism is the Manifesto for a Free Revolutionary Art published under the names of Breton and Diego Rivera but actually co-authored by Breton and Leon Trotsky.

Black surrealism and negritude

In 1925, the Paris Surrealist Group and the extreme left of the French Communist Party came together to support Abd-el-Krim, leader of the Rif uprising against French colonialism in Morocco. In an open letter to writer and French ambassador to Japan, Paul Claudel, the Paris group announced:

"We Surrealists pronounced ourselves in favour of changing the imperialist war, in its chronic and colonial form, into a civil war. Thus we placed our energies at the disposal of the revolution, of the proletariat and its struggles, and defined our attitude towards the colonial problem, and hence towards the colour question."

The anticolonial revolutionary and proletarian politics of "Murderous Humanitarianism" (1932) which was drafted mainly by Rene Crevel, signed by André Breton, Paul Eluard, Benjamin Peret, Yves Tanguy, and the Martiniquan surrealists Pierre Yoyotte and J.M. Monnerot perhaps makes it the original document of what is later called 'black surrealism', although it is the contact between Aimé Césaire and Breton in the 1940s in Martinique that really lead to the communication of what is known as 'black surrealism'.

Anticolonial revolutionary writers of Martinique, a French colony at the time, took up surrealism as a revolutionary method - a critique of European culture and a radical subjective. This linked with other surrealists and was very important for the subsequent development of surrealism as a revolutionary praxis. The journal Tropiques, featuring the work of Cesaire along with René Ménil, Lucie Thésée, Aristide Maugée and others, was first published in 1940.

Post Situationist surrealism

In the 1960s, while the Situationist leadership - especially Guy Debord was critical and distanced himself from surrealism, others such as Asger Jorn were explicitly using surrealist techniques and methods. The 1968 General strike and student revolt in France which was influenced by the Paris based Situationist International included a number of surrealist ideas, and among the slogans the students spray-painted on the walls of the Sorbonne were familiar surrealist ones. Joan Miró would commemorate this in a painting entitled May 1968.

During the 1980s, behind the Iron Curtain, surrealism entered into politics due to an underground artistic opposition movement known as the Orange Alternative. The Orange Alternative was created in 1981 by Waldemar Fydrych alias 'Major', a graduate of history and art history at the University of Wrocław, who used surrealist symbolism and terminology in its large scale happenings organized in the major Polish cities during the Jaruzelski regime and painted surrealist graffiti on spots covering up anti-regime slogans. Major himself was the author of the so-called "Manifest of Socialist Surrealism". In this Manifest, he stated that the socialist (communist) system had become so surrealistic that it could be seen as an expression of art itself.

Surrealism in the arts and media

Main article: Surrealism in the arts
René Magritte "This is not a pipe." The Treachery of Images 1928-9

In general usage, the term Surrealism is more often considered a movement in visual arts than the original cultural and philosophical movement. As with some other movements that had both philosophical and artistic dimensions, such as romanticism and the relationship between the two usages is complex and a matter of some debate outside the movement. Many Surrealist artists regarded their work as an expression of the philosophical movement first and foremost, and Breton was explicit in his belief that Surrealism was above all a revolutionary movement.

In addition, many Surrealists and Surrealist documents have declared that Surrealism is not an artistic movement for a number of additional reasons, among which is the conception of the "artistic" manifestations of Surrealism as just one form of manifestation among many, various conceptions of visual work being created which somehow "goes beyond" traditional conceptions of art or aesthetics, or even the complete cessation of creative visual production. In addition, the art object or product — while an important part of the Surrealist process — is viewed as merely a "souvenir" of a vastly more critical journey, interesting only in so far as it is revelatory of that adventure.

Impact of Surrealism

While Surrealism is typically associated with the arts, it has been said to transcend them; Surrealism has had an impact in many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.

In addition to Surrealist ideas that are grounded in the ideas of Hegel, Marx and Freud, surrealism is seen by its advocates as being inherently dynamic and as dialectic in its thought. Surrealists have also drawn on sources as seemingly diverse as Clark Ashton Smith, Montague Summers, Horace Walpole, Fantomas, The Residents, Bugs Bunny, comic strips, the obscure poet Samuel Greenberg and the hobo writer and humourist T-Bone Slim. One might say that Surrealist strands may be found in movements such as Free Jazz (Don Cherry, Sun Ra, Cecil Taylor etc.) and even in the daily lives of people in confrontation with limiting social conditions. Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, surrealism finds precedents in the alchemists, possibly Dante, Hieronymus Bosch, Marquis de Sade, Charles Fourier, Comte de Lautreamont and Arthur Rimbaud.

Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may strike up a better balance between instrumental reason and the imagination in flight than Western culture. Surrealism has had an identifiable impact on radical and revolutionary politics, both directly -- as in some surrealists joining or allying themselves with radical political groups, movements and parties -- and indirectly -- through the way in which surrealists' emphasis on the intimate link between freeing the imagination and the mind and liberation from repressive and archaic social structures. This was especially visible in the New Left of the 1960s and 1970s and the French revolt of May 1968, whose slogan "All power to the imagination" arose directly from French surrealist thought and practice.

Some artists, such as H.R. Giger in Europe, who won an Academy Award for his stage set, and who also designed the "creature," in the movie Alien, have been popularly called "Surrealists," though Giger's art is promoted as surrealist biomorphic art.

Critiques of Surrealism

Surrealism has been critiqued from several perspectives:

Feminist

Feminists have in the past critiqued the surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Some feminists have argued that in surrealism women are often made to represent higher values and transformed into objects of desire and of mystery.

Freudian

Freud initiated the psychoanalytic critique of surrealism with his remark that what interested him most about the surrealists was not their unconscious but their conscious. His meaning was that the manifestations of and experiments with psychic automatism highlighted by surrealists as the liberation of the unconscious were highly structured by ego activity, similar to the activities of the dream censorship in dreams, and that therefore it was in principle a mistake to regard surrealist poems and other art works as direct manifestations of the unconscious, when they were indeed highly shaped and processed by the ego. In this view, the surrealists may have been producing great works, but they were products of the conscious, not the unconscious mind, and they deceived themselves with regard to what they were doing with the unconscious. In psychoanalysis proper, the unconscious does not just express itself automatically but can only be uncovered through the analysis of resistance and transference in the psychoanalytic process.

Situationist

While some individuals and groups on the core and fringes of the Situationist International were surrealists themselves, others were very critical of the movement, or indeed what remained of the movement in the late 50s and 60s. The Situationist International could therefore be seen as a break and continuiation of the Surrealist praxis. The Situationists felt that surrealism had retreated into the salons and galleries and therefore had been absorbed into the bourgeois order. They nevertheless took inspiration from some surrealist theories and methods.

References

  1. A term coined by Guillaume Apollinaire in 1917, see History of surrealism for more details
  2. Salvador Dali, Diary of a Genius (1966), quoted in The Columbia World of Quotations (1996)
  3. Dada Turns Red, Helena Lewis' history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s was published in 1990 by the University of Edinburgh Press.
  4. A Poetics of Anticolonialism, Nov, 1999 by Robin D.G. Kelley
  5. Robin DG Kelley, "Poetry and the Political Imagination: Aimé Césaire, Negritude, & the Applications of Surrealism"(July 2001)

See also

External links

André Breton writings

Overview websites

  • Surrealist.com, A general history of the art movement with artist biographies and art.

Surrealism and politics

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