Exhibition catalog of the Montmartre Museum and the Renoir Gardens.
Surrealism in the feminine?
In Fine
Regular price
€29,00
| N° d'inventaire | 29485 |
| Format | 19 x 26.5 |
| Détails | 176 p., illustrated, paperback. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782382031162 |
A provocative and dynamic movement, Surrealism sparked an aesthetic and ethical renewal in the 20th century. Men weren't the only ones to bring this movement and its transgressions to life: many women were major players, but they were nonetheless underestimated by museums and undervalued by the art market. Surrealism offered them a framework for expression and creativity that was arguably unparalleled in other avant-garde movements.
Yet, it was often by appropriating and extending themes initiated by the movement's "leaders" that they expressed their freedom. It was also by breaking away from what sometimes became a surrealist doxa that they asserted themselves. "Completely against" Surrealism, this is how one could define their diverse and complex positions with regard to the movement. From the 1930s to the 1970s, "feminine surrealism" formed ephemeral constellations, at the whim of often temporary rallies to the movement but also of friendships that were formed outside this framework.
The imagination of these artists is not aligned with that of the male figures of the movement. Their practices, frequently interdisciplinary—pictorial, photographic, sculptural, cinematographic, literary—express their desire for escapes beyond heterosexual norms and geographical boundaries. The exhibition sketches a map of a fragmented and globalized movement by evoking the Belgian, Mexican, British, American, Prague, and French centers of Surrealism that these women enriched, sometimes passing from one to the other.
Yet, it was often by appropriating and extending themes initiated by the movement's "leaders" that they expressed their freedom. It was also by breaking away from what sometimes became a surrealist doxa that they asserted themselves. "Completely against" Surrealism, this is how one could define their diverse and complex positions with regard to the movement. From the 1930s to the 1970s, "feminine surrealism" formed ephemeral constellations, at the whim of often temporary rallies to the movement but also of friendships that were formed outside this framework.
The imagination of these artists is not aligned with that of the male figures of the movement. Their practices, frequently interdisciplinary—pictorial, photographic, sculptural, cinematographic, literary—express their desire for escapes beyond heterosexual norms and geographical boundaries. The exhibition sketches a map of a fragmented and globalized movement by evoking the Belgian, Mexican, British, American, Prague, and French centers of Surrealism that these women enriched, sometimes passing from one to the other.
Yet, it was often by appropriating and extending themes initiated by the movement's "leaders" that they expressed their freedom. It was also by breaking away from what sometimes became a surrealist doxa that they asserted themselves. "Completely against" Surrealism, this is how one could define their diverse and complex positions with regard to the movement. From the 1930s to the 1970s, "feminine surrealism" formed ephemeral constellations, at the whim of often temporary rallies to the movement but also of friendships that were formed outside this framework.
The imagination of these artists is not aligned with that of the male figures of the movement. Their practices, frequently interdisciplinary—pictorial, photographic, sculptural, cinematographic, literary—express their desire for escapes beyond heterosexual norms and geographical boundaries. The exhibition sketches a map of a fragmented and globalized movement by evoking the Belgian, Mexican, British, American, Prague, and French centers of Surrealism that these women enriched, sometimes passing from one to the other.