Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.
Collectors Laurens Vancrevel and Frida de Jong, who have been building a collection of international Surrealist literature since the 1960s, donated the trove to the Museum Boijmans Van Beuningen in Rotterdam.
The aesthetic niche combining electronic music and digital art finds an ancestor in Surrealism, particularly in the self-taught French painter Yves Tanguy.
Long out of print, Mount Analogue, René Daumal’s cult classic, offers a tale of renunciation and self-acceptance.
Woodman was one of the 20th century’s great surrealists.
Reading between the lines of contact information for friends, graphologists, psychoanalysts, and plumbers, Brigitte Benkemoun’s Finding Dora Maar reveals a map of a bygone France.
Threaded through this collection is an optimistic belief in Surrealism as a world-changing political and poetic practice.
The Surrealists’ insistence on irrationality was not a sport, but an attempt to engage in the political debates of their time.
Authors Paul Nougé, Paul Colinet, and Louis Scutenaire exhibited a staunch ethic of underground and elliptical obscurity.
The Milk Bowl of Feathers shows how women’s contributions to the Surrealist literary canon captivatingly crack the wall of Surrealist phallocracy.
The late Cuban artist Agustin Fernandez created a gloomy, gritty body of works that imagine a hyper-sexed, electronic corporeality.
Ernst’s trailblazing “collage novels” employ the dreamlike conjunction — the fusion or juxtaposition of unlike elements whose collision makes perfect sense, in a free-associated way.