We all love conflagrations. When the sky changes color, it is a dead man's passing.
After realising my natural affinity towards surrealism several years ago I decided to study it's origins and definitions.
I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.
MTV has severely compromised surrealism, perhaps ruined it forever.
Drosselmeier had unwittingly exposed himself to an overdose of reality, and it had destroyed his reason.
On the other hand, Surrealism has been a part of Romanian literature since forever. Even before Tzara, who was originally Romanian, we had Urmuz, who was a surrealist before the term even existed. During Breton's era too, there was a very active Romanian Surrealist group (Ghérasim Luca, Gellu Naum, etc.) closely related to the French. They had to quit their activities as soon as the Soviet communists took over.
American art in general... takes to surreal exaggerations and metaphors; but its Puritan work ethic has little use for the playful self-indulgence behind Parisian Surrealism.
Photography has a natural affinity for the strategies of surrealism - the exaltation of chance and eros, the exploration of obsession and the release of the unconscious.
Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.
The surrealism of my pictures was nothing but the real made eerie by vision. I was trying to express reality, for there is nothing more surrealist.
This strange business of what it is to be a writer is this increasingly insane world in which we live, in which surrealism, it seems, is the new realism.
I was thinking of the word Surrealistic . . . I don't think it should be used exclusively with my photographs. The meaning is close but I think my tendencies are more toward the whimsical or absurd. Surrealism is more connected with morbidity. From that I am very far away.
To be honest, I wasn't crazy about the kind of poetry I found in high school English books. I didn't get really excited about poetry until I discovered Lorca in college. If it wasn't for surrealism, I'm not sure I'd have become so involved in poetry. I was attracted by the extravagant imagery and elements of fantasy. This was in the '70s and it seemed to fit the psychedelic mood of the times. I found it liberating.
I have tried being surreal, but my frogs hop right back into their realistic ponds.
The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.
Certainly I enjoy the outré and I enjoy artistic comics and surrealism in comics very much. But the decision I made and have stuck with and refined was the decision to try to be funny and communicate humor. Once you put that ahead of everything else, it resolves those other questions for you.
I thought that punk in its original state was a revolutionary movement. But like surrealism, it failed in its revolutionary attempt.
We didn't have MTV, and I was desperate for something. You know, you're young, you want something off the beaten path. And Twin Peaks was like, surrealism on network TV.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
Perhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology.
I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.
Sangeeta Bandyopadhyay is a stylistically daring writer in love with surrealism, credited with being 'the woman who reintroduced hardcore sexuality to Bengali literature'. But though the (male) establishment used this label of erotica to dismiss her work, the sex scenes have exactly the same transgressive function as her use of chronology and narrative voice.
... a mysterious intersection of chance and attention that goes well beyond the existential surrealism of the 'decisive moment'.
When I write my novels, I'm not writing them to make political points. I'm writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism, and what I want to do is communicate that. But, because I come at this with a political perspective, the world that I'm creating is embedded with many of the concerns that I have. But I never let them get in the way of the monsters.
Surrealism is merely the reflection of the death process. It is one of the manifestations of a life becoming extinct, a virus which quickens the inevitable end.
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