The project Les portes du rêve. 1924-2024: le surréalisme à travers ses revues was conceived on the occasion of the centenary of the publication of the first Surrealist Manifesto (15 October 1924); its aim is to review the various cultural components (artistic, literary, theatrical, photographic and...
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The project Les portes du rêve. 1924-2024: le surréalisme à travers ses revues was conceived on the occasion of the centenary of the publication of the first Surrealist Manifesto (15 October 1924); its aim is to review the various cultural components (artistic, literary, theatrical, photographic and cinematographic, as well as philosophical-political and ideological) that helped to determine a specific 'space' of creativity occupied by the Surrealist experience. It was a cultural moment that was perceived as particularly problematic and troubling precisely because of the wealth of contributions that it catalysed, and which elicited the most diverse reactions: from enthusiastic and uncritical support to the most heated polemics, to condemnation and rejection, including on the political level.
The aim of this volume is to re-read the trajectory of the movement through the study of certain journals edited by its members, i.e. the collective products that best revealed its interdisciplinary complexity and theoretical force, but also its contradictions and internal conflicts. Since the extraordinary exhibition Dada and Surrealism Reviewed, organised by Dawn Ades in 1978 (London: Arts Council Great Britain), first highlighted the centrality of periodicals to the overall economy of the movement, Rosalind Krauss has not hesitated to define these publications as "true surrealist object[s]", works of art in themselves that defy artistic conventions and boundaries to blend languages and forms of expression.
The essays gathered here also highlight the role played by the magazines as veritable laboratories of Surrealism.
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