La Révolution surréaliste

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La Révolution surréaliste
La Révolution surréaliste.svg
description Surrealist magazine
language French
publishing company Editions Gallimard , Paris
First edition December 1, 1924
Frequency of publication irregular
editor André Breton
Pierre Naville ,
Benjamin Péret
ISSN 0398-3501

La Révolution surréaliste was a publication of the Paris surrealist movement . The magazine was published between 1924 and 1929 with twelve editions by Éditions Gallimard .

history

Shortly after the publication of the First Surrealist Manifesto , André Breton published the first edition of La Révolution surréaliste on December 1, 1924 with Pierre Naville and Benjamin Péret . The design was based on the format of the conservative science magazine La Nature . However, the deliberately conservative presentation was deceptive: the content of La Révolution surréaliste was consistently revolutionary and scandalous. The journal was very text-heavy, but some pages were illustrated with works of art by surrealist artists such as Giorgio de Chirico , Max Ernst , André Masson and Man Ray .

Expenses (selection)

Issue 1 (December 1924): The first issue started on the front page with the view that “it is now necessary to start work on a new declaration of human rights.” The foreword was written by Jacques-André Boiffard , Paul Éluard and Roger Vitrac wrote. The contributions looked at the dark side of the human psyche in terms of violence and suicide . The police report of an act of violence and a survey on suicide (“Is suicide a solution?”) Were printed. There is also a reproduction of Man Ray's 1920 photograph The Enigma of Isidore Ducasse , an enigmatic reference to the French author Isidore Ducasse, better known as Comte de Lautréamont , whose work The Chants of Maldoror inspired many surrealists. In his contribution Les Yeux enchantés, Max Morise turned against the imagery turned towards surrealism, but in the following year Breton's view that painting and drawing play an important role in surrealism prevailed.

Issue 3 (April 1925): The title of the third issue heralded the end of the Christian age. The contributions were accordingly blasphemous and anti-clerical . Antonin Artaud wrote an open letter to the Pope (at the time of Pius XI. ) In which he expressed the revolt of the Surrealists against oppressive religious values. Anti-church allegations, which reflect the struggle of the surrealist group against oppression and bourgeois morality, can be found throughout all editions of La Révolution surréaliste .

Issue 4 (April 1925): In the fourth issue, André Breton announced the takeover of La Révolution surréaliste . In the course of this claim to power he called for a reformulation of the surrealist principles and thus countered the - in his eyes destructive - splinter group that had formed within the surrealists. From then on, the magazine became more political and got communist tendencies. The edition shows Les Demoiselles d'Avignon by Pablo Picasso .

Issue 8 (December 1926): The surrealists' growing fascination with sexual borderline experiences was shown in an article by Paul Éluard, who paid tribute to the writings of the Marquis de Sade . According to Éluard, the Marquis wished "that civilized man would have the power of his primitive instincts restored." The illustration, influenced by Sade, was contributed by Breton, Man Ray and Salvador Dalí . Man Ray also published photographs of Eugène Atget in this issue.

Issues 9 and 10 (October 1927): The editions introduce the Cadavre Exquis , a game in which the participants have to add a text or a drawing on a sheet of paper without knowing what the predecessor wrote or drawn. Some results of the game were presented.

Issue 11 : The eleventh issue was once again about sex : "Inquiries into Sexuality" reported on a debate in January 1928 in which over a dozen Surrealists openly discussed sexual issues and perversions .

Issue 12: The twelfth and final issue in December 1929 contained Breton's Second Surrealist Manifesto . The declaration marked the split in the surrealist group: Breton celebrated his loyal followers and denigrated the opponents of his doctrine. He harshly criticized Artaud, Masson, Philippe Soupault and Vitrac. He banned the poet Robert Desnos because of his journalistic activities. Michel Leiris then withdrew completely.

successor

The dissidents found in April 1929 by Georges Bataille , Carl Einstein , Georges-Henri Rivière et al. The publication Documents initiated and financed by the Paris art collector Georges Wildenstein created a new forum. Archaeologists , ethnologists , art historians and artists such as Leiris, Masson or Joan Miró have now published their texts or works here. The slaughterhouses in La Villette , for example, which were photographed by Eli Lotar and which illustrated the often macabre tenor of the paper, were photographically significant . Some contributors to Documents , including Pierre Klossowski and André Masson, founded the later secret society Acéphale .

Breton himself published the political periodical Le Surrealisme au service de la revolution from 1930 to 1933 . In 1933 he was encouraged by the Swiss publisher Albert Skira to work on the new surrealist magazine Minotaure , which - in high-quality color printing - was to devote itself exclusively to the literary and artistic, but not to the political, aspects of surrealism. Contrary to Skira's orders, Breton redesigned the magazine into a political podium with the beginning of the Spanish Civil War , which again turned against dissenting Surrealists. Minotaure was published until 1939.

Numerous surrealists emigrated during the Second World War , including André Breton and Max Ernst. Both were co-editors of the surrealist magazine VVV , which was published in New York between 1942 and 1944 with four issues, including a double issue (issue two and three, 1943) .

literature

Web links

Commons : La Révolution surréaliste  - collection of images, videos and audio files

Individual evidence

  1. ↑ Les Yeux enchantés ( Memento from July 31, 2013 in the Internet Archive ), kunstmuseumbasel.ch
  2. ↑ Uwe M. Schneede: The Art of Surrealism. 2006, pp. 222-223.