Paul Nougé, Le bras révélateur, from the series Subversion des images, 1929-1930. Private Collection, entrusted to the Musée de la Photographie. © SABAM Belgium 2024
TITLE_NAME :
Surréalisme, pour ainsi dire...
05/10/2024 - 26/01/2025
Musée de la Photographie
Place des Essarts
11, avenue Paul Pastur
6032 Charleroi
www.museephoto.be
If, since the nineteenth century, photography has captivated countless authors, painters and writers alongside photographers and has fuelled various artistic movements, the avant-gardes having contributed to its autonomy, only few of these avant-gardes can boast of having made use of photography with the same consistency and the same variety as surrealism.
The centenary of the publication of André Breton’s Surrealist Manifesto, hailed by numerous exhibitions and events around the world, seemed to us to be the ideal opportunity to look at one of the major areas of the Museum’s collection, surrealist photography, by making a selection from it. In addition to works by the members of the Belgian groups (Brussels and Hainaut), we have included representatives of the Paris group, as well as a number of more isolated figures like Jindřich Štyrský, and the solitary Bourges artist, the curious Marcel Bascoulard, whom we did not want to forcibly assimilate with the surrealists but whose approach would not have left them indifferent if they had known him. Besides the acquisition of photographic prints, particular attention has been paid to publications, reviews, books and catalogues, which were the main means of disseminating surrealist photography when there was still no market for it.
The exhibition Surréalisme, pour ainsi dire... includes twelve sections, arbitrarily divided into themes named just as arbitrarily, departing from an alphabetical or chronological presentation.
05/10/2024 - 26/01/2025
Musée de la Photographie
Place des Essarts
11, avenue Paul Pastur
6032 Charleroi
www.museephoto.be
If, since the nineteenth century, photography has captivated countless authors, painters and writers alongside photographers and has fuelled various artistic movements, the avant-gardes having contributed to its autonomy, only few of these avant-gardes can boast of having made use of photography with the same consistency and the same variety as surrealism.
The centenary of the publication of André Breton’s Surrealist Manifesto, hailed by numerous exhibitions and events around the world, seemed to us to be the ideal opportunity to look at one of the major areas of the Museum’s collection, surrealist photography, by making a selection from it. In addition to works by the members of the Belgian groups (Brussels and Hainaut), we have included representatives of the Paris group, as well as a number of more isolated figures like Jindřich Štyrský, and the solitary Bourges artist, the curious Marcel Bascoulard, whom we did not want to forcibly assimilate with the surrealists but whose approach would not have left them indifferent if they had known him. Besides the acquisition of photographic prints, particular attention has been paid to publications, reviews, books and catalogues, which were the main means of disseminating surrealist photography when there was still no market for it.
The exhibition Surréalisme, pour ainsi dire... includes twelve sections, arbitrarily divided into themes named just as arbitrarily, departing from an alphabetical or chronological presentation.