The artistic languages of the unconscious mark the summer of Empordà with a show that brings together Dalí and Picasso, among others
André Breton, the father of surrealism, published in 1938 Trajectoire, a compilation of dreams written, among others, by Paul Éluard, Benjamin Peret or Michel Leiris and dreams painted by De Chirico, Max Ernst, René Magritte, Man Ray or Dalí. This book is now the starting point of the exhibition L’espai dels somnis, which has been opened in the Societat l’Amistat of the Casino of Cadaqués. Dreams become artistic language.
The Mayoral gallery in Barcelona, which has specialized in the art of the avant-gardes of the twentieth century, has sought this time a project that unites several artists through a common thread. And the result is a collective one about the plastic representation of the unconscious, with an exceptional list of artists headed by Dalí, Miró, Picasso, Calder, Óscar Domínguez, Chagall, Magritte, Hamilton … He has performed in Cadaqués Until August 15) and from September 14 will move to Barcelona, the Mayoral gallery.
The poet and essayist Vicenç Altaió, who defines himself as a cultural agitator and idea-broker, is the curator of the exhibition. “The dream is creative,” he says as a presentation, although it was not until the twentieth century when artists began to interpret it in different ways and in a more systematic way. Sigmund Freud had a lot to do and one of his masterpieces: The interpretation of dreams. We know that Salvador Dali read it while he was at the Student Residence in Madrid, a few years before he burst into the surrealist group of Paris by contributing his paranoid-critical method of interpretation of reality. And of him are exposed five works, among which stand out the watercolor Rhino in disintegration (1950) and the drawing in ink and gouache Sewing machine with umbrella (1951).
Although the reaction of European intellectuals to World War I was nihilism and Dada art, the subsequent years – with the crisis, the consolidation of the Soviet revolution and the formation of fascism – gave rise to an art of affirmation, Which was also of subversion. Artists are, however, divided between realistic engagement and aesthetic revolt. Some, like Miró or Dalí, will stay halfway. Vicenç Altaió even speaks of a “Catalan dream”, which began the poet J.V. Foix, affirmed with Miró and Dalí and that will have continuity in Tàpies and Ponç, basic nucleus of the Dau al Set. And we could even speak of a Cadaques branch, which, in addition to Dalí, is also expressed through the almost naive dreams of the painter Àngel Planells, son of this population, also present in this exhibition, with the oil Somni oblidat, 1936 .
Not forgetting that in 1929 the group of surrealists arrived in this corner of Cape Creus, formed by the poet Paul Éluard and Gala, the gallery owner Camille Goemans and the painter René Magritte (of whom the gouache La, of 1948) is exposed here. Later on by Cadaqués, Marcel Duchamp, also author of the cover of a book of poems and photographic collages gathered under the title of La (1936), another reference of the exhibition. And Man Ray, who in 1933 will photograph the rocks of Cape Creus, on the orders of Dalí for the magazine Minotaure, which, as if it were a dream, take forms of animals and objects. In the exhibition of Cadaqués there are no photos of Man Ray, but yes in the dedicated to De Chirico that can be seen at the CaixaForum in Barcelona.
Dreams are awake, as opposed to dreams asleep or revealed, dreams about dreams. And the works of these artists establish a dialogue between themselves, with sometimes coinciding languages, divergent in many cases. In the exhibition they are from two drawings of Dream and, of 1937 – paragons of an art subordinated to the social and political needs – to the aesthetic subversion of Joan Miró in the gouache Projecte per a The vol de l’alosa or the poetic vision By Marc Chagall at Le Christ. In the same way that includes an exceptional oil of Óscar Domínguez, of 1937, titled Personnages surréalistes, with own elements of the cosmogony of Dalí or Magritte.
The exhibition has two complements: the debate held on Sunday, July 23 between Vicenç Altaió himself and filmmaker Albert Serra, moderated by Montse Aguer, director of the Teatre-Museu Dalí, and the catalog of the exhibition to be presented in Barcelona . The catalog, in English, will include the contents of this debate, a theoretical text by Altaió, an interview by Llucià Homs to the renowned art critic Hans Ulrich Obrist – who with Francesco Bonami gathered at the Venice Biennale a new generation of artists under the Project The dreams-and an epilogue by Albert Serra. “Dreams are desires, the result of a tension between the rational and the irrational,” says Albert Serra.These days the Roi soleil exhibition is also being prepared, which will focus the summer’s programming on the gallery Cadaqués, directed by Huc Malla. And the invited artist is precisely Albert Serra, who on August 12 will present a documentary about a performance in Lisbon on the occasion of the presentation of his film La muerte de. In this performance, in the Graça Brandão gallery in Lisbon, Lluís Serrat, the actor who made of Sancho in Honor of cavalry, was put in the skin of the professional actor Jean-Pierre Léaud.