Uncanny: Surrealism and Graphic Design

Transkript

Uncanny:
Surrealism
and Graphic
Design
international enterprises
1 Synopsis
2 List of Selected Works
3 Selected Installation shots
4 Selected Press cuttings
2
3
Uncanny:
Surrealism and
Graphic Design
4
1
5
1 Karel Teissig, Karel Kachyna: Poslední
motýl (The Last Butterfly), 1990, The Moravian
Gallery in Brno.
2 Josef Vylet’al, František Filip: Hrdina má
strach, 1965, private collection.
3 Jindrich Štyrský, Bohuslav Brouk:
Psychoanalysa, 1932, The Museum of Czech
Literature (PNP), Prague.
4 Josef Vylet’al, Alfred Hitchcock: Ptáci
(The Birds), 1970, The Moravian Gallery in
Brno.
5 Stefan Sagmeister, Les Silos –
Chaumont, 2005, The Moravian Gallery in
Brno.
Uncanny:
Surrealism
and Graphic
Design
Synopsis
Uncanny: Surrealism and Graphic Design, conceived and
curated by Rick Poynor for the Moravian Gallery in Brno, is the
first major exhibition to explore the influence of Surrealism on
graphic image making and graphic design. Other areas of
visual Surrealism – art, photography, film and architecture –
have received extensive investigation by scholars and curators,
but the “applied” graphic sphere has tended to be overlooked,
despite the periodic resurgence of surrealistic forms of practice.
The Surrealist movement of the 1920s and 1930s focused on
literature, painting, photography and the object, and the
Surrealists’ initial publishing activities provided only hints of
what a fully conceived Surrealist graphic design or typography
might look like. Many of the most suggestive early examples
came from Czechoslovakia, where Surrealism would become
a lasting influence. Subsequently, Surrealist ideas and images
had a profound impact on image makers in every sphere of
art and design, and by the 1960s the effects of Surrealism were
widely felt in international graphic communication. Uncanny
traces this intermittent line of development from its origins up
to the present.
The exhibition’s title Uncanny derives from an essay by pioneer
psychoanalyst Sigmund Freud written in 1919, in which he states
that a feeling of a mental distress (which he terms unheimlich
in German, literally “unhomely”) arises when an emotional
perception suppressed in the past returns to the consciousness
in response to an inexplicable experience or stimulus and
becomes an internal burden. At the same time, the reference
to Freud in the title notes that his psychoanalytical approach to
exploring the subconscious went on to form the philosophical
basis of Surrealism and its creative methods. In many Surrealist
pictures the most ordinary and common things turn into
symbols that are suddenly strange or unnerving. Like Freud,
the Surrealists believed that mental movements and motives
were demonstrated most clearly in the unconscious. Dreams
represent scenes from this hidden area, which is why Surrealist
art has repeatedly featured remarkable images born in the
imagination. This aspect of Surrealism chiefly influenced later
generations of graphic artists.
Rather than documenting a coherent group activity or
movement, the powerfully engaging graphic material selected
for Uncanny: Surrealism and Graphic Design – more than
250 items including posters, prints, book covers, and films
/Synopsis
from across Europe and USA – underpins the existence of an
alternative graphic tradition whose creators’ way of thinking
and imagining is attuned to the Surrealist sensibility.
A wide array of posters in the exhibition confronts viewers
with curiously transformed, dreamlike characters (Jan Lenica,
Franciszek Starowieyski, Josef Vylet’al), grotesque apparitions
(Jonathon Rosen, Elliott Earls), demonic beings (Roman
Cieslewicz, Karel Teissig) and creatures from other worlds
floating through indefinite space (Andrzej Klimowski, Eva
Švankmajerová). These images have retained their ability to
fascinate and generate disquiet, which proves that they keep
on affecting the viewer’s unconscious.
Uncanny: Surrealism and Graphic Design is divided into
seven thematic sections and reveals how some of the main
topics investigated by Surrealist artists have been, and still
are, fascinating artists and designers internationally. The
themes explored include the intriguing power of the image’s
metamorphosis; the lexicon of anatomical images and the
fragmented human body; the inexplicable juxtaposition of
fortuitous objects; the female figure as avatar of desire; and
the use of psychic automatism to freely express the unconscious.
The exhibition also includes an historical section with
illustrations for Surrealist publications in the 1930s, such as
the journal Minotaure (1933–39), alongside greatly influential
collages and graphic works by Max Ernst as well as historical
and contemporary examples of visual experimentation with
the moving image. The result is a collection of challenging and
strikingly compelling graphic images and designs produced
throughout the second half of the 20th century up to the present.
The exhibition features the work of designers and graphic
artists such as Jan Švankmajer, Eva Švankmajerová, Jindrich
Štyrský, Karel Teige, Karel Teissig, Josef Vylet’al, Zdenek Ziegler
(Czechoslovakia); Roman Cieslewicz, Jan Lenica, Franciszek
Starowieyski, Bronislaw Zelek (Poland); Laboratoires CCCP,
M/M Paris (France); Andrzej Klimowski, Vaughan Oliver, Quay
Brothers, Graham Rawle (UK); Elliott Earls, Edward Fella,
Jonathon Rosen, Stefan Sagmeister, Brian Schorn (USA).
A fully illustrated catalogue with an introductory essay by Rick
Poynor will be available.
/1
Uncanny:
Surrealism
and Graphic
Design
1 Synopsis
3 Selected Installation Shots
4 Selected Press Cuttings
Salvador Dalí
Gala, 1936
Minotaure no. 8
magazine cover, 31,5 x 24,5 cm
The Moravian Gallery in Brno
Photo: MG Archive
Toyen
André Breton, Spojité nádoby, 1934
Book, 19,7 x 13,5 cm
Private collection
Foto: MG archive
/List of Selected Works
/1
M/M (Paris)
Ingeborg Bachmann: Tout, 2006
poster, 172 x 116,5 cm
Pierre Faucheux
André Breton: Anthologie de l’humour noir,
1966
book cover, 16,6 x 11 cm
Private collection
Zdenek Palcr
Rolf Thiele: Morálka 63 (Moral 63), 1965
poster, 80 x 59 cm
The Museum of Decorative Arts, Prague
Karel Vaca
May Spils: K veci, milácku (To the Point, Darling), 1968
poster, 80,8 x 57,5 cm
/2
M/M (Paris)
Witness Screen, Écran Témoin, 2002
Poster, 175,5 x 118,5 cm
Foto: MG archive
Max Ernst
Une Semaine de Bonté, 1934
Artist book, 28 × 20,6 cm
Private collection
photo: MG Archive
/3
Franciszek Starowieyski
Strindberg, The Dance of Death, 1974
Poster, 82 × 57,5 cm
Private collection
Foto: MG archive
Marion Bataille
La Poésie Surréaliste, 2001
book cover and spreads
Marion Bataille
photo: MG Archive
Vaughan Oliver, Tim Vary (designers) &
Simon Larbalestier (photographer)
Paysage après la bataille, 1998
Poster, 62 x 41,5 cm
Vaughan Oliver
Foto: MG archive
Jan Švankmajer
Bilderlexikon, Zoologie, Tab. 18, 1972
collage, 45 x 33 cm
Jan Švankmajer
photo: MG Archive
Benbo George
Particles, 2008
collage print, 32,6 x 29,6 cm
Benbo George
Photo: MG Archive
/4
Eva Švankmajerová
Jan Švankmajer: Alice, 1987
poster, 58 x 85 cm
Stefan Sagmeister
Everything I Do Always Comes Back to Me, 2002
enlarged magazine spreads, 60 x 78 cm (1 and
2 of 6 pieces)
Stefan Sagmeister
enlarged magazine spreads, 60 x 78 cm (3 and
4 of 6 pieces)
Stefan Sagmeister
enlarged magazine spreads, 60 x 78 cm, (5 and
6 of 6 pieces)
/5
Karel Teissig
Mladý Törless, 1967
Poster, 79,5 x 57,5 cm
Foto: MG archive
Ed Fella
Ed Fella in Stockholm, 2003
Poster, 43 x 28 cm
Ed Fella
Foto: MG archive
/6
Roman Cieslewicz
Zoltán Várkonyi: Katastrofa, 1961
poster, 84,5 × 58,5 cm
photo: MG Archive
Hans Bellmer
Poupée, 1935
Minotaure no. 6
magazine spread, 31,5 x 50,5 cm
photo: MG Archive
John Gall & Ned Drew
The Box Man by Kobo Abe, 2001
Book poster, 20,2 x 13 cm
John Gall
Foto: MG archive
Karel Teissig
Karel Kachyna: Poslední motýl (The Last
Butterfly), 1990
Poster, 82 × 57 cm
Photo: MG Archive
/ List of Selected Works
/7
Elliott Earls
Photography, 2008
Poster, 98,5 × 65 cm
Elliott Earls
Foto: MG archive
Jonathon Rosen
Snake Eyes no. 2, 1992
magazine cover, 27,5 × 21,4 cm
Jonathon Rosen
photo: MG Archive
/8
Jindrich Heisler & Frederick Kiesler
Néon no. 2, 1948
magazine cover (facsimile), 61,5 x 40 cm
The Museum of Czech Literature (PNP), Prague
Franciszek Starowieyski
Alban Berg: Lulu, 1979
poster, 91,5 x 67 cm
Private collection
Rudolf Nemec
Jaromil Jireš: Valerie a týden divuů (Valerie and
Her Week of Wonders), 1970
Jan Švankmajer
Jan Švankmajer: Zahrada (The Garden)
1968
/Selected Installation shots
/9
Andrzej Klimowski
Fiodor Dostojewski: Biesy (The Devils), 1980
poster, 83 x 58 cm
Private collection
Yves Tanguy
Paul Éluard & André Breton: Dictionnaire
abrégé du Surréalisme, 1938
illustrated book, 24 ,2 x 16 cm
The Museum of Czech Literature (PNP), Prague
Brian Schorn
Kathy Acker, 1994
Private collection
/10
Zdenek Ziegler
Karel Zeman: Ukradená vzducholoď(The Stolen
Airship), 1967
poster, 82 x 58 cm
Karel Teige
Vítezslav Nezval: Žena v množném císle, 1935
book cover, 22 x 14 cm
Private collection
Grandpeople
Vagant no. 4, 2007
magazine cover and spread with illustration, 28
x 21 cm
Private collection
Roman Cieslewicz
Alphabet for the book Guide de la France
mystérieus, 1964
25 letters, 21 x 14,5 cm
Jindrich Heisler
Alphabet, 1952
25 letters, 21 x 14,5 cm
/11
Uncanny:
Surrealism
and Graphic
Design
1 Synopsis
The Moravian Gallery
Brno, Czech Republic
22 June - 24 October 2010
/1
/2
/3
/4
Kunsthal Rotterdam
Rotterdam, The Netherlands
24 September - 4 December 2011
Kunsthal Rotterdam
Kunsthal Rotterdam
/5
Kunsthal Rotterdam
Kunsthal Rotterdam
/6
Kunsthal Rotterdam
Kunsthal Rotterdam
Kunsthal Rotterdam
/7
Kunsthal Rotterdam
Kunsthal Rotterdam
/8
Uncanny:
Surrealism
and Graphic
Design
1 Synopsis
2 Selected List of Works
The Moravian Gallery, Brno, 23 June - 24 October 2010 Uncanny: Surrealism and Graphic Design
/Selected press cuttings
The New York Times, 4 August 2010
/1
The New York Times, 4 August 2010
/2
étapes: design et culture visuelle, July 2010
/3
/4
/5
/6
/7
/8
/9
/10
/11
/12
/13
/14
/15
/16
/17
/18
Divnost a grafick˘ design
aneb Cosi tísnivého: Surrealismus a grafick˘ design
Marta Sylvestrová
V˘stava Cosi tísnivého: Surrealismus a grafick˘
design, pfiipravená hostujícím britsk˘m
kurátorem Rickem Poynorem se tû‰í velkému
zájmu náv‰tûvníkÛ leto‰ního Bienále grafického
designu v Brnû. Vyvolala ohlas v˘znamn˘ch
zahraniãních médií – francouzskou verzi
v˘stavního katalogu otiskl francouzsk˘ ãasopis
Étapes No. 183, recenzi v˘stavy a rozhovor
Stevena Hellera s autorem v˘stavy pfiinesl
4. srpna deník The New York Times Today.
Moravská galerie v Brnû jedná nyní
o zahraniãních reprízách s lond˘nsk˘m
vystavovatelem Barbican Centre Enterprises.
Poprvé nav‰tívil Rick Poynor Bienále Brno pfied
deseti lety. Byl pfiedsedou mezinárodní poroty
a jeho prezentace manifestu First Things First
2000 o odpovûdnosti pÛsobení grafick˘ch
designérÛ vyvolala na brnûnském mezinárodním
designérském sympoziu nejÏivûj‰í diskusi. KdyÏ
byl pfied rokem osloven, aby na leto‰ním
Bienále Brno prezentoval svÛj projekt, kter˘
odráÏí jeho osobit˘ pohled na souãasn˘ grafick˘
design, oãekávali mnozí, Ïe se jako autor
zásadních publikací o nové digitální typografii
(Typography Now: The Next Wave, 1991;
Typographica, 2001; No More Rules: Graphic
Design and Postmodernism, 2003) zamûfií
na uvedené téma. Rick Poynor v‰ak uvedením
v˘stavy Cosi tísnivého: Surrealismus a grafick˘
design pfiiznává svÛj dlouholet˘ zájem
o umûleck˘ smûr, kter˘ ho, jak pfiiznává,
od ‰kolních let fascinuje. „Surrealistické hledání
„zázraãna“ je v˘zvou k hledání poezie, intenzity
a smyslu pro „podivno“ v kaÏdodenním Ïivotû.
Vûfiím, Ïe odpovídá na‰im hlubok˘m vnifiním
potfiebám, které v‰ichni jako humánní bytosti
máme,“ sdûluje Rick Poynor. Název v˘stavy
„Uncanny“ (v nûmãinû unheimlich — nezvykl˘,
divn˘, podivn˘) zvolil autor podle ménû
známého eseje Sigmunda Freuda,
publikovaného v ãe‰tinû v roce 1919 pod
názvem Cosi tísnivého, neboÈ podle jeho názoru
nejlépe vystihuje pocit tûÏko vysvûtlitelného
psychického rozru‰ení, podivn˘ch pocitÛ
vyvolan˘ch vnímáním surrealistického umûní.
Divnost je konceptem, kter˘ stojí v popfiedí
zájmu souãasného kulturního kriticismu a fiada
kurátorÛ se tomuto fenoménu soustavnû vûnuje
(viz souãasn˘ zájem o dekadenci anebo
tzv. shocking art). Poynora v‰ak nezajímají
autofii, ktefií ve své grafické tvorbû vyuÏívají
surrealistické symboliky jako v˘razového
prostfiedku grafického sdûlení. Podrobil v˘bûr
autorÛ pro v˘stavu pfiísnému kritériu
„autenticity“, jíÏ je soustavná surrealistická
mentalita umûlce, jeho „surrealistick˘“ zpÛsob
Ïivota a osobité nazírání svûta spektrem
surrealismu. Autory zastoupené na v˘stavû
necharakterizuje spoleãn˘ systémov˘ vizuální
jazyk, ale existují v jejich tvorbû po desetiletí
se navracející témata, jimiÏ se soustavnû
zaobírají, jako napfiíklad polymorfní
transformace obrazÛ, fragmentace tûlesn˘ch
ãástí a vnitfiní tûlesná anatomie, symbol oka jako
ikony surrealistické obraznosti, slovníkové
Toyen, âeskoslovensko, André Breton, Spojité nádoby, 1934
Karel Teissig, âeskoslovensko, Mlad˘ Törless, 1967
Franciszek Starowieyski, Polsko, Mademoiselle, 1970
kniÏní obálka, 19,7 x 13,5 cm, 1934, soukromá sbírka
plakát, 79,5 x 57,5 cm, 1967, Moravská galerie v Brnû
plakát, 84 x 58 cm, Dydo Poster Gallery, Krakov
Foto: Moravská galerie v Brnû
Typografia, no. 1217, vol. 113, October 2010
/19
Lidove noviny, 17 Sep 2010
/20
The Moravian Gallery, Brno, 23 June - 24 October 2010 Hospodarske noviny , 17 Aug 2010
Brnensky denik , 14 Aug 2010
/21
A2 Magazine, 18 Aug 2010
/22

Uncanny: Surrealism and Graphic Design

Transkript

Podobné dokumenty

Československý a polský filmový plakát 28. 6. – 9. 9. 2012

grafický design a petr babák

Stáhnout - Jurisprudence

16 stran / pages

TANEâNÍ NÁM SKONâILY VůNEâKEM Moudrá slova