1 00:00:01,290 --> 00:00:13,020 Well, good evening, everyone. This weekend, talking about the tough election, the unbossed Jewish Becci and Tocumwal. 2 00:00:13,020 --> 00:00:21,240 And this document ran for two years, 1929, 1930. 3 00:00:21,240 --> 00:00:25,170 Inside this plane, yellow cover with its banner heading. 4 00:00:25,170 --> 00:00:37,440 And these for a physiological labels Dufrene Archaeology Boso ethnography was an explosive visual mix of heterogeneous things. 5 00:00:37,440 --> 00:00:40,440 Ethnographic objects, archaeological remains. 6 00:00:40,440 --> 00:00:48,660 Cycladic figures, Chinese bronzes, sculpture, contemporary painting, photography, popular icons, film crime, 7 00:00:48,660 --> 00:00:56,850 detective novels together with articles by the foremost ethnographic and anthropological specialists in France and Germany. 8 00:00:56,850 --> 00:01:03,850 Articles by dissidents, realist writers and poets. And Articles by Joel Shabtai. 9 00:01:03,850 --> 00:01:14,340 It was described by the foremost realist and future ethnographer Michelle Davis as a war machine against accepted ideas. 10 00:01:14,340 --> 00:01:19,440 It occupies an important position in the intellectual and cultural history of the 20th century. 11 00:01:19,440 --> 00:01:26,550 It was not the voice of a specific group like the surrealist journals such as Herbalism Salvationist, 12 00:01:26,550 --> 00:01:35,880 but it was rather the crossroads of ideas about art, civilisation, material culture, the primitive and the sacred. 13 00:01:35,880 --> 00:01:45,420 And it was the inspiration for James Griffitts very important and influential concept of ethnographic surrealism. 14 00:01:45,420 --> 00:01:52,050 It also carried on an aggressive dialogue with Bluto and the Orthodox Surrealists, 15 00:01:52,050 --> 00:02:01,150 who were in the pages of doctoral, routinely characterised as evasive and utopian idealists. 16 00:02:01,150 --> 00:02:10,120 The list on the cover. Which was firstly, as I said, doctrine, that theme. 17 00:02:10,120 --> 00:02:15,350 Exactly what that meant is, is something of an interesting question. Archaeology Bouzar. 18 00:02:15,350 --> 00:02:22,500 I think if he was changed from the fourth issue, doctrine disappears from the top of the list and is replaced at the bottom by value. 19 00:02:22,500 --> 00:02:36,430 Okay. And value, it seems Ticketek covered shows spectacles and of various different kinds of of popular pursuits. 20 00:02:36,430 --> 00:02:45,150 Now you'll see on the left hand screen, which is actually upside down. 21 00:02:45,150 --> 00:02:51,330 Sorry about that. The cover of an exhibition that we organised. 22 00:02:51,330 --> 00:02:56,400 Here we are in 2006 called Undercover Surrealism. 23 00:02:56,400 --> 00:03:09,300 And what I was to about day is the problem of how you can translate something like a magazine like document into an exhibition. 24 00:03:09,300 --> 00:03:13,330 The kinds of problems that arise, 25 00:03:13,330 --> 00:03:23,580 the with the origins of this idea of making an exhibition around the she goes back to is that actually 30 years to an exhibition 26 00:03:23,580 --> 00:03:33,150 called Dada and Surrealism reviewed that I was involved in the also Hayward Gallery in 1978 and that that exhibition, 27 00:03:33,150 --> 00:03:41,430 Surrealist Works of Art Objects, shows not it's quite well organised in relation to a specific review magazine. 28 00:03:41,430 --> 00:03:45,660 So there was a rule of Larousse until at least a room of Minitel. 29 00:03:45,660 --> 00:03:50,790 And so we weren't sure whether to include Documenta or not. 30 00:03:50,790 --> 00:03:55,290 And so we went to see Michelle Levis in Paris who said, well, what about this? 31 00:03:55,290 --> 00:04:01,260 It's not really, you know, that I was on the fringes, but also the enemy of Sweden should be included. 32 00:04:01,260 --> 00:04:04,320 Oh, yes, absolutely. You should certainly include it. 33 00:04:04,320 --> 00:04:13,350 And I thought that that was actually the last final sort of push against Britain in the service, because after that exhibition, 34 00:04:13,350 --> 00:04:26,550 which included document and after document that were beginning to rub off with Henry, the shift was really very notable of interest from time to time. 35 00:04:26,550 --> 00:04:27,510 And in a way, 36 00:04:27,510 --> 00:04:39,570 the story of citizens receiving told in terms of a kind of battle between Bettye usually winning that is in a sense sort of contemporary take on it. 37 00:04:39,570 --> 00:04:43,140 Now, I'm not going to go up from and I just wanted to give that background. 38 00:04:43,140 --> 00:04:50,600 But ever since then, ever since that exhibition where the role of document stood out and it was quite extraordinary. 39 00:04:50,600 --> 00:04:55,650 It is very strong, very unusual, didn't belong anywhere. 40 00:04:55,650 --> 00:04:59,350 And I've always wanted since then to do an exhibition. 41 00:04:59,350 --> 00:05:06,420 But so the surrealism finally took place in 2006 at the Hayward Gallery. 42 00:05:06,420 --> 00:05:13,590 And everything in the in the exhibition was something reproduced in the pages of documents. 43 00:05:13,590 --> 00:05:19,870 And it was an extraordinary chase and the search to try and track all these things down. 44 00:05:19,870 --> 00:05:31,810 Now, what I want to do. Just to show you one thing that one artist dominates in document, and that is Picasso. 45 00:05:31,810 --> 00:05:36,560 And there's a whole issue devoted to the CSA, including this painting. 46 00:05:36,560 --> 00:05:40,460 And I should come back to this particular painting at the end. 47 00:05:40,460 --> 00:05:48,190 But what I want to do now is to mimic, in a way, what we tried to do in the catalogue of undercover surrealism. 48 00:05:48,190 --> 00:05:54,980 And that is still half with a kind of taster of what the magazine looks like. 49 00:05:54,980 --> 00:06:00,800 So I'm just going to run through an extraordinarily heterogeneous set of pictures. 50 00:06:00,800 --> 00:06:09,040 Obviously, it's very selective, but it's an attempt to show you the range of things that Bettye included. 51 00:06:09,040 --> 00:06:14,470 They're so modern artists. 52 00:06:14,470 --> 00:06:27,560 And this is Picasso's painting painter model, sort of pin up photographs of boxy ladies and also put up profiles of actors who's 53 00:06:27,560 --> 00:06:36,310 sort of ludicrous appearance was something that that document took great interest in. 54 00:06:36,310 --> 00:06:39,890 A juxtaposition of these of these actual pages long document, that's for sure. 55 00:06:39,890 --> 00:06:50,630 Two paintings by Salvador Dali, bathers on the bottom left and the female baby on the bottom right below, an anamorphic painting, 56 00:06:50,630 --> 00:06:55,100 an anonymous animal painting of Saint Anthony of Padua, an infant Christ, 57 00:06:55,100 --> 00:07:00,050 which you can actually see if you put your face right at the far side of the screen. 58 00:07:00,050 --> 00:07:07,880 And in that sense, it's a distorted image and it only begins to make sense when you see it from the side. 59 00:07:07,880 --> 00:07:11,820 Now, I never how to find that picture. It turned up by chance. 60 00:07:11,820 --> 00:07:16,220 Sort of is a few months before the exhibition. So we've included we've been through that. 61 00:07:16,220 --> 00:07:25,340 But the idea that I think was true was picking up on the distortion that Darla operates on his on the body, 62 00:07:25,340 --> 00:07:35,150 suggesting this of the animal fit the kind of distorted perspective in the value of photographs commissioned. 63 00:07:35,150 --> 00:07:47,240 Usually, I think, by Bettye from the photographer Wafaa, this is one of the big toes that he did to accompany an article by Becci for loopholes. 64 00:07:47,240 --> 00:07:50,930 Also pay the big. Which I should be coming back to. 65 00:07:50,930 --> 00:08:02,870 And it's a full page photograph. In other words, larger than life. Quite a lot of images of Fox Follies and Hollywood movies. 66 00:08:02,870 --> 00:08:09,640 And I just want to draw your attention to something else very striking about the kind of visual, 67 00:08:09,640 --> 00:08:13,740 the visual language of Dockum all the way things are organised and put together. 68 00:08:13,740 --> 00:08:21,470 But there are quite often very striking visual analogies across the pages, 69 00:08:21,470 --> 00:08:28,430 some of which seem to make some sort of deliberate sense and some of which are just confusing. 70 00:08:28,430 --> 00:08:35,640 So just notice those legs cut off by the curtain at the bottom. 71 00:08:35,640 --> 00:08:45,090 And it's faced a couple of pages before this photograph by any star which accompanied an article on the slaughterhouse. 72 00:08:45,090 --> 00:08:51,240 By that, I and there are others like that. So it's a half legs. 73 00:08:51,240 --> 00:08:55,860 What is going on here? So it's a document. It's working. 74 00:08:55,860 --> 00:09:02,290 It's working its visual images very, very hard. And they're often extremely colourful. 75 00:09:02,290 --> 00:09:13,740 So as well as the heterogeneity of the material, there is a as a visual organic thing on that Volkova of a snow that I see over the top, 76 00:09:13,740 --> 00:09:17,190 the neighbour and another of the Hollywood scenes. 77 00:09:17,190 --> 00:09:27,330 And that little scene there is from a film that we included in the first room of the exhibition, which I hope to be able to show you later on. 78 00:09:27,330 --> 00:09:29,880 Again, you know, deliberately, 79 00:09:29,880 --> 00:09:40,440 not that that that is a striking similarity between this group of Chinese bronzes from the vile collection parents and the Jeff Amitay sculptures. 80 00:09:40,440 --> 00:09:48,250 It's not actually made explicit, but you become accustomed to to the kind of, you know, 81 00:09:48,250 --> 00:09:53,450 a set of parallels that are being you'll be invited to meet and you be invited to think about 82 00:09:53,450 --> 00:10:01,050 invited to wonder about a great deal of ethnographic material as well as archaeological material. 83 00:10:01,050 --> 00:10:08,560 This is a photograph which I was unable to track down, sadly, of of a child, 84 00:10:08,560 --> 00:10:19,040 a girl sitting on the city, one of the heads of a north west coast Indian carving school. 85 00:10:19,040 --> 00:10:32,610 Ordinary photograph, quite, quite a number of photographs of the northwest coast from the polls kakapos that often brought into connexion, 86 00:10:32,610 --> 00:10:38,510 you know, money beside these sort of parallels. I was talking about that contrasts. 87 00:10:38,510 --> 00:10:43,530 Some things you do simply completely disconnected. 88 00:10:43,530 --> 00:10:54,090 So a page of frontman's covers decided a coin mask and then other masks, masks of a contemporary kind. 89 00:10:54,090 --> 00:11:03,360 This is one of the illustrations again by by for an article by Limbaugh called Aeschylus and the Carnival Mask. 90 00:11:03,360 --> 00:11:10,560 And I think that also actually funny, you know, that there was a there was a kind of slightly hysterical quality to what you do. 91 00:11:10,560 --> 00:11:12,330 If you do turn the pages of documents, 92 00:11:12,330 --> 00:11:23,070 you will find it has a bursting out laughing every now and again because of the the the some shopping and something nature, some of these things. 93 00:11:23,070 --> 00:11:29,400 And the important article by Bettye on what he thought were Gnostic gems. 94 00:11:29,400 --> 00:11:35,360 This one, which is blown not here very large, is actually a couple of centimetres. 95 00:11:35,360 --> 00:11:44,580 The tiny little the sculptures from Afghanistan, from the Kabul Museum. 96 00:11:44,580 --> 00:11:54,600 I don't know if it's still the straight pages of comic pages like like this one sort of collage priess 97 00:11:54,600 --> 00:12:07,590 realist collage from a book called What Is Like a group from the Ivory Coast with wearing masks. 98 00:12:07,590 --> 00:12:14,910 These. This was a particular people that was visited in the course of the Dakar Djibouti mission. 99 00:12:14,910 --> 00:12:20,820 That was a very major and logical if ethnographic expedition. 100 00:12:20,820 --> 00:12:25,560 Several of the document contributors went home and was really I mean, 101 00:12:25,560 --> 00:12:31,500 really sort of was the source for so much of the ethnographic material that is now in Paris. 102 00:12:31,500 --> 00:12:42,260 And the final issue, the number eight, 1930, is entirely dedicated to heads, but none of them are straightforward. 103 00:12:42,260 --> 00:12:50,730 Hence, they are truncated heads or their souls or that they're kind of divine heads. 104 00:12:50,730 --> 00:12:59,910 And this particular one is one of the mortuary chapels in Rome, which is the months getting fed up with the sort of many, 105 00:12:59,910 --> 00:13:05,790 many, many bones lie about their deceased colleagues decided to turn them into decoration. 106 00:13:05,790 --> 00:13:14,250 So all those decorations, the ceiling decorations are bones, tibia and cells and so on. 107 00:13:14,250 --> 00:13:26,460 And the final image of this is the correct way out. In other words, she's inverted again by both of very, very beautiful photograph. 108 00:13:26,460 --> 00:13:30,390 And that's the last image in the in the in the whole magazine. 109 00:13:30,390 --> 00:13:35,360 And I think there is a sense that it is it is a. 110 00:13:35,360 --> 00:13:39,860 As a whole, it has a beginning, an edge. And this is. 111 00:13:39,860 --> 00:13:50,330 So in a way, trying to make an exception around it could take that as a sort of starting point that I didn't organise the ones by issue. 112 00:13:50,330 --> 00:13:55,560 I organised them by ideas born from betters writings. 113 00:13:55,560 --> 00:14:00,920 OK, so this is the page again. 114 00:14:00,920 --> 00:14:09,740 And you can see that I just wanted to name some of the people who were on the editorial committee because the background to this magazine, 115 00:14:09,740 --> 00:14:13,490 how it started is is really very interesting. 116 00:14:13,490 --> 00:14:21,630 There were several people from the from the property or the old ethnographic was in the property area, but basically they and drove RV live. 117 00:14:21,630 --> 00:14:31,830 Yeah, very important call. Einstein was a German critic who was brought in by my building sign, and there was one himself. 118 00:14:31,830 --> 00:14:36,410 Their daughter and son was the financial backer, the document. 119 00:14:36,410 --> 00:14:48,430 And he was also the director of the Gazette blows up and I'll come back and say that is named as the secretary general. 120 00:14:48,430 --> 00:15:02,900 The I think in the course of document, in the course of the of the magazine, the apparently distinct categories on the cover become kind of blurred. 121 00:15:02,900 --> 00:15:11,650 As Professor Reavie said, he was an ethnographer specialising in Precambrian America and the founder of the museum along in the 1930s. 122 00:15:11,650 --> 00:15:15,520 And he read from the third is to document the study. 123 00:15:15,520 --> 00:15:24,380 So the boundaries between these sciences, ethnography, archaeology, prehistory are absolutely artificial. 124 00:15:24,380 --> 00:15:33,050 All are geared towards the study of man. His approach was evolutionary and diffusion is his ideal of his ideal music. 125 00:15:33,050 --> 00:15:37,430 Long Museum of Mankind actually belongs to the era of the Popular Front, 126 00:15:37,430 --> 00:15:46,970 1936 to seven and survived baptised pessimistic view of humankind, which is straight through the pages of document. 127 00:15:46,970 --> 00:15:57,830 Not document. This is the first article that that I contributed to document of the academic horse. 128 00:15:57,830 --> 00:16:07,240 Bill chemos split from the start, as Charles Miller writes in his essay on archaeology in the catalogue of the undercover surrealism exhibition. 129 00:16:07,240 --> 00:16:16,480 It was split in terms of Betty's own proclivities. On the one hand, the transfer effort and the transgressive, erotic and excessive. 130 00:16:16,480 --> 00:16:21,580 And on the other, the scholarly and scientific as a new. 131 00:16:21,580 --> 00:16:24,050 He worked in the cabinet may die at the Bibby Technics. 132 00:16:24,050 --> 00:16:30,070 You know where at the time of document he wrote some of his most aggressive anti idealist texts, 133 00:16:30,070 --> 00:16:36,230 such as the language of flowers or the human face on the backs of tickets. 134 00:16:36,230 --> 00:16:41,610 And I think that some of the pages, a story the I've also written on the cabinet may die. 135 00:16:41,610 --> 00:16:50,080 A stationary document was also split between the academic contributors and the unclassifiable writers, 136 00:16:50,080 --> 00:16:54,970 many of them former surrealists such as Hobel Business Misher Livy's, who, 137 00:16:54,970 --> 00:16:59,320 like beti, were pushing at the margins of art, sociology, 138 00:16:59,320 --> 00:17:10,690 philosophy and anthropology so that I was probably recommended to build Stein because of a recent very much admired scholar. 139 00:17:10,690 --> 00:17:18,310 The article he wrote on coins through Central Asia, the promotional pamphlet for the new magazine, 140 00:17:18,310 --> 00:17:25,540 announced that in document the most irritating as it unclassified works of art and certain heterogeneous, 141 00:17:25,540 --> 00:17:33,280 hitherto neglected productions will be the object of studies as rigorous, as scientific as those of archaeologists. 142 00:17:33,280 --> 00:17:41,050 Now, it's still just possible to see that description from those Einsteins point of view as a scholarly enterprise, 143 00:17:41,050 --> 00:17:47,310 addressing rare and unfamiliar works of primitive art with possibly some folk art thrown in. 144 00:17:47,310 --> 00:17:57,550 After his first article, the Suomi academic course immediately shattered the illusion that in the course on the classical Greek representation 145 00:17:57,550 --> 00:18:05,410 of the course and its degeneration on the coins of the goals sets a tone at odds with academic objectivity. 146 00:18:05,410 --> 00:18:17,320 You notice the illustrations here. There's the the very fine and ideally proportioned horse on the left hand side, 147 00:18:17,320 --> 00:18:30,700 and then it begins to disappear as it's repeatedly copied and ends up as a kind of spider or monster on the right hand side. 148 00:18:30,700 --> 00:18:37,810 So drawing attention to what he describes as the debased forms on the Gallic coins like spiders or monsters, 149 00:18:37,810 --> 00:18:46,290 that's highballs a comparison between the so-called barbaric and civilised peoples in which the veil is attached to each or inverted. 150 00:18:46,290 --> 00:18:53,590 And I quote, the absurdities of barbaric peoples existing contradiction with arrogant academic certainties, 151 00:18:53,590 --> 00:18:59,420 nightmares and contradiction geometries the monster horse with the academic course. 152 00:18:59,420 --> 00:19:07,980 And we see here the origins, the baptised notion of the of the form or the form this. 153 00:19:07,980 --> 00:19:13,260 I will just read this because it's such it's such an important short text from the critical 154 00:19:13,260 --> 00:19:19,380 dictionary in document addiction begins when it no longer gives the meaning of words, 155 00:19:19,380 --> 00:19:25,290 but their tasks. Thus, fondness is not only an adjective having a given meaning, 156 00:19:25,290 --> 00:19:32,970 but a term that serves to bring things down in the world, generally requiring that each thing have its form. 157 00:19:32,970 --> 00:19:40,830 What it designates has no rights in any sense and gets itself squashed everywhere, like a spider or a worm. 158 00:19:40,830 --> 00:19:45,790 In fact, for academic men to be happy, the universe has to take shape. 159 00:19:45,790 --> 00:19:53,520 All of philosophy has no other goal. It is a matter of giving a frock coat to what is a mathematical Fox-Pitt. 160 00:19:53,520 --> 00:19:59,190 On the other hand, a affirm that the universe resembles nothing is only formless amounts to saying that 161 00:19:59,190 --> 00:20:07,920 the universe is something like a spider or sit so against order and against authority. 162 00:20:07,920 --> 00:20:13,110 And I'll come back to that in a minute. 163 00:20:13,110 --> 00:20:20,580 Now, a member of the editorial board also from the cabinet in today objected to Satie's article on the academic course, 164 00:20:20,580 --> 00:20:28,680 and he wrote in the title you've chosen for this review is justified only in the sense that it gives us documents. 165 00:20:28,680 --> 00:20:36,030 And your state of mind is essential to return to the spirit, which is Fata's in the first project for the review. 166 00:20:36,030 --> 00:20:44,790 When you and I talked about it with me. So it doesn't stand now that I was determined that document should not become as building signed. 167 00:20:44,790 --> 00:20:50,550 Probably hoped it would. I guess it goes up for me teeth. 168 00:20:50,550 --> 00:20:54,840 It's also clear that he and the ethnographies associated with the review wanted to distance 169 00:20:54,840 --> 00:21:00,720 themselves from the primitive ising tastes of the time of the lure of the exotic. 170 00:21:00,720 --> 00:21:03,180 And this, I think, takes two forms and document. 171 00:21:03,180 --> 00:21:11,220 On the one hand, the rigorous analysis of different civilisations separated in space and time, and on the other by bringing your own culture. 172 00:21:11,220 --> 00:21:18,570 Hollywood, for instance, in juxtaposition with each other to render them unfamiliar and to provoke the unexpected. 173 00:21:18,570 --> 00:21:26,580 It wasn't the only job in the twenties that offered a mixture of contemporary long Western art, architecture, film, music. 174 00:21:26,580 --> 00:21:32,790 One of them, which is actually quite clifftop one way, was with jazz. 175 00:21:32,790 --> 00:21:42,340 This was founded by the woman explorer Tyner and the two magazines advertised each other and had some of the same contributors. 176 00:21:42,340 --> 00:21:46,920 However, I think that Jazz subscribe to a stereotype view of the primitive. 177 00:21:46,920 --> 00:21:56,460 For example, it published a special issue on the exotic. It filled with examples of so-called primitive sculpture. 178 00:21:56,460 --> 00:22:02,290 Just before document began, this is a I just have to choose who she is. 179 00:22:02,290 --> 00:22:09,270 She's seems to be completely slipped out of the history of the 20th century journals to Diana, who is a woman explorer. 180 00:22:09,270 --> 00:22:19,530 And she's that this is a leather jacket. She's to go off on her jaunts around Asia and America. 181 00:22:19,530 --> 00:22:27,660 And this is a page which advertises it from jazz that advertises doctrinal doctrine, Fauji Bouzar ethnography. 182 00:22:27,660 --> 00:22:35,190 And it says that it's the Encyclopaedia of the 20th Century presented according to new methods. 183 00:22:35,190 --> 00:22:42,360 And it's the sum of all past and current research in all the fields of the mind. 184 00:22:42,360 --> 00:22:46,440 I think it might be a slight parody there, but it's that's what it's suggesting. 185 00:22:46,440 --> 00:22:56,910 Document was the deputy director of the top Dero Museum, Jovel, who archive the year, 186 00:22:56,910 --> 00:23:04,050 asked in the first issue of documents what the new Trocadero, the new museum of Ethnography which was planned, 187 00:23:04,050 --> 00:23:13,890 what it should be one direction was offered by the elite taste for the so-called primitive, and I quote, In the wake of our latest poets, 188 00:23:13,890 --> 00:23:21,750 artists, musicians, the favour of the elite is turning towards the art of peoples reputed to be primitive and savage and imperious. 189 00:23:21,750 --> 00:23:31,380 That versatile taste awards beauty certificates to the money on a mannequin to a Congo Ivory Vancouver mask, 190 00:23:31,380 --> 00:23:38,500 while the stone capitals of Bisley and Greek marbles are relegated to the admiration of old fogeys. 191 00:23:38,500 --> 00:23:47,310 The troubled era could therefore have built itself on this country's non-profit and become a Museum of Fine Art Museum of Bouzar Plumy teeth, 192 00:23:47,310 --> 00:23:51,360 where the objects will be raised according to a single aesthetic. 193 00:23:51,360 --> 00:23:58,250 This would, he argues, is a very core principle as it would reveal very limited aspects of the object in question. 194 00:23:58,250 --> 00:24:08,150 Yeah. As for LBB, the collection is needed research and explanation and should include European folk art and craft. 195 00:24:08,150 --> 00:24:16,660 Oh, yeah, also did contribute an essay to jazz called The Folklore of Ethnography, 196 00:24:16,660 --> 00:24:20,830 and this is about the end of the old Soviet era museum, which he was overseeing. 197 00:24:20,830 --> 00:24:30,370 He was he was overseeing the modernisation of the museum. And this is a kind of a very curious meditation on the old museum. 198 00:24:30,370 --> 00:24:37,740 The museum has dusted dusty and deserted rooms. Picasso and Devout had discovered African sculpture. 199 00:24:37,740 --> 00:24:47,350 The exotic Riviere writes that he wants to record before it goes forever is that of a certain type of ethnographic museum 200 00:24:47,350 --> 00:24:56,230 about to be swept away in the great modernising programme that lit the wax figures of different physical and racial types, 201 00:24:56,230 --> 00:25:03,910 shrouded or dilapidated, eaten by moth and rust. The old Soviet era offered as picturesque and exotic a sight as anything. 202 00:25:03,910 --> 00:25:10,280 The programme islands goodbar. He writes, The Pyrenees is of the dark. 203 00:25:10,280 --> 00:25:16,210 The old proper dero should have been kept as an historic monument. The last witness of an ancient John. 204 00:25:16,210 --> 00:25:34,690 The folklore of ethnography. And I think building on that particular article, the notion this dust cover museum that I chose to reproduce, 205 00:25:34,690 --> 00:25:39,220 photographs of these mannequins stacked up and now useless, 206 00:25:39,220 --> 00:25:46,780 unwanted, the ones that used to show different costumes of tribes and so on in the museum together with the article on dust. 207 00:25:46,780 --> 00:25:52,690 And it's very interesting how often that tie is actually responding to something that happened in one of the other magazines, 208 00:25:52,690 --> 00:26:01,300 such as Cadeau or Jazz in the disputed area of art and the graphic object. 209 00:26:01,300 --> 00:26:04,210 The question of authenticity was a major cause of disagreement, 210 00:26:04,210 --> 00:26:11,870 both with regard to aesthetic response and to the issue of an object untouched by the colonial culture. 211 00:26:11,870 --> 00:26:18,250 Stein, who wrote the important book, quite puzzling book Nager Plastique in 1915, 212 00:26:18,250 --> 00:26:28,410 mourned the loss of an intact sculptural vision in African art because of the colonial invasion invasions. 213 00:26:28,410 --> 00:26:35,170 Now, due to his did he attempt to speak purely of sculptural form so that some thought a study of sculpture as such? 214 00:26:35,170 --> 00:26:42,460 Not of African sculpture. He also was wholly uninterested in the kinds of enquiry pursued by ethnographies. 215 00:26:42,460 --> 00:26:55,550 And I quote, We will bracket out subject matter and the contextual associations related to it and instead analyse these objects as formal constructs. 216 00:26:55,550 --> 00:26:59,760 However, in Tocumwal, he did write about an equal ritual dance smiles. 217 00:26:59,760 --> 00:27:07,220 That's this one. In fact, it's a genius Janus faced mask, which he said are of a terrifying naturalism. 218 00:27:07,220 --> 00:27:14,210 But he he was completely detached from the side of DR moments, interested in the. 219 00:27:14,210 --> 00:27:19,920 And in contemporary culture, except for painting. 220 00:27:19,920 --> 00:27:27,920 Muscle View, on the other hand, criticises purists and collectors of primitive art for denying the large, 221 00:27:27,920 --> 00:27:33,770 primitive public the right to employ the new objects imported by the colonialists. 222 00:27:33,770 --> 00:27:41,060 Apparently, there was an objection to the wooden sign from the Ivory Coast, which I assure you would detail here, 223 00:27:41,060 --> 00:27:49,980 because it represented a gun, anything that showed any sort of contamination from from the culture. 224 00:27:49,980 --> 00:27:54,380 The West was, according to some of us, were purists and collectors in Paris. 225 00:27:54,380 --> 00:27:57,710 Absolutely unacceptable. It is grotesque. 226 00:27:57,710 --> 00:28:07,340 Real says to call it impure because it represents this European artefact and grill protests by turning the situation around. 227 00:28:07,340 --> 00:28:14,630 If a black artist cannot, without demeaning himself, use an exotic element, a European that he knows. 228 00:28:14,630 --> 00:28:29,140 What should we think about our blind borrowings? For a world exotic to us, which in our own defence we insist we know nothing about? 229 00:28:29,140 --> 00:28:38,860 From every quarter in document, the conventions and values underpinning Western culture are called into question within the graphic context. 230 00:28:38,860 --> 00:28:43,480 This took the form of turning the critical gaze onto their own world. 231 00:28:43,480 --> 00:28:50,980 The juxtaposition of modern popular culture, film and art with the objects of African, oceanic and other civilisations operated, 232 00:28:50,980 --> 00:28:57,760 as James Clifford has argued, like surrealist collage, ethnographic surrealist practise in his words. 233 00:28:57,760 --> 00:29:05,290 And he was taking documents. His model attacks the familiar, provoking the erupt from otherness of the unexpected. 234 00:29:05,290 --> 00:29:09,890 This is to turn the myth of illogical assumptions or ethnography on their head 235 00:29:09,890 --> 00:29:15,910 while rendering the different exotic familiar by the processes of naming, 236 00:29:15,910 --> 00:29:20,590 classifying, describing and interpreting according to well-meaning criteria derived from a 237 00:29:20,590 --> 00:29:26,710 known document provoked unsettling studies of the West's own issues and habits, 238 00:29:26,710 --> 00:29:34,060 suggesting we know less than we think about our civilisation and human nature in general. 239 00:29:34,060 --> 00:29:49,090 This is a page celebrating the arrival of lunacies blackbirds in Paris, which Bedtime's levees were absolutely enchanted by. 240 00:29:49,090 --> 00:29:54,280 It's also a very loaded pair of images. 241 00:29:54,280 --> 00:30:00,940 On the right hand side, we've got the arrival of the of the backboards troop of the bottom on a ship called 242 00:30:00,940 --> 00:30:08,830 the France and the Gharazi of a penitentiary penitentiary in New Caledonia. 243 00:30:08,830 --> 00:30:17,460 Above it. And you're invited to sort of think about why these two are put in juxtaposition with each other. 244 00:30:17,460 --> 00:30:26,200 What what what is going on? Why is this the case? And I think although I'm not trying to suggest that document is is is tremendous 245 00:30:26,200 --> 00:30:32,050 ahead of its time in terms of an anti colonialist state of state of mind, 246 00:30:32,050 --> 00:30:36,280 I think there is something there about contrasting it. 247 00:30:36,280 --> 00:30:44,540 What is exported. That is the sort of penitentiary and a certain kind of justice, if you like, to the colonies. 248 00:30:44,540 --> 00:30:51,040 But what is important is, is this art and music? 249 00:30:51,040 --> 00:30:57,010 The very concept of civilisation, which is constantly put to work in the use of the terms primitive or primitive lives, 250 00:30:57,010 --> 00:31:02,200 is in question is there is wrote in his text civilisation. 251 00:31:02,200 --> 00:31:08,680 Civilisation could be compared to the land of green scum that settles on still waters. 252 00:31:08,680 --> 00:31:15,340 All our moral habits like customs, all that brightly coloured clip fails the crudity of our dangerous instincts. 253 00:31:15,340 --> 00:31:18,460 All these lovely forms of cultures have proud of it. 254 00:31:18,460 --> 00:31:26,470 Thanks to this that we call ourselves civilised convention at the slightest Tobins break up at the slightest shock revealing cracks, 255 00:31:26,470 --> 00:31:31,030 terrifying savagery. In this article civilisation. 256 00:31:31,030 --> 00:31:36,330 Livy's then sets about undermining pride in European civilisation from another perspective. 257 00:31:36,330 --> 00:31:43,600 Not only is the veneer thin, but the capacity of the European imagination is feeble and sclerotic. 258 00:31:43,600 --> 00:31:52,990 So writing about the Blackbird's, he says what is beautiful about support is not just exotic aspect, nor even its highly modern content. 259 00:31:52,990 --> 00:31:59,500 This modernism is simply coincidental, but the fact that it doesn't really constitute an art at all. 260 00:31:59,500 --> 00:32:02,230 Reviews like that, that those take us to a point. 261 00:32:02,230 --> 00:32:09,100 On the other side of art, to a point of development which sent bust of some of the illegitimate love of magic. 262 00:32:09,100 --> 00:32:20,500 And Freeplay has not yet been hypertrophied, implying that art, as it were, which we've still retained magic and Freeplay has atrophied in the West, 263 00:32:20,500 --> 00:32:31,090 that it has not patrica there as it's a notion that it's something on the other side of art, not what we necessarily think automatically is art for. 264 00:32:31,090 --> 00:32:37,750 That is a concept that is under the question. 265 00:32:37,750 --> 00:32:50,170 Now, I'm going to look very briefly at a sequence of articles by Becci addressing 266 00:32:50,170 --> 00:32:58,420 particular ideas for or images which are then used as a basis for the exhibition. 267 00:32:58,420 --> 00:33:05,650 This here on the right hand side is a patient document showing the tiny little 268 00:33:05,650 --> 00:33:12,130 glass figures which were put inside Paschen bottles from knocking them down. 269 00:33:12,130 --> 00:33:22,270 Yes, these passione bore holes. It's passion in the sense of religion, not in the sense of erotic passion, contained holy water. 270 00:33:22,270 --> 00:33:29,670 And they were collector's items as well. I managed to find some of these in the museum that Riviere had founded in Paris. 271 00:33:29,670 --> 00:33:36,190 Music is Arkless and popular, though he's very glass bottles that are reproduced in document. 272 00:33:36,190 --> 00:33:45,050 And they could fit these tiny little glass things that represent because of fiction or Judas or Christ or angels. 273 00:33:45,050 --> 00:33:49,690 And they rise up and down according to the temperature of the water. 274 00:33:49,690 --> 00:33:56,360 But that's that's another another point that I and very is went to Rotterdam 275 00:33:56,360 --> 00:34:00,470 Delius to investigate what they call the senseor piece of these central pieces, 276 00:34:00,470 --> 00:34:10,140 the church in Paris, which produces most sort of most objects associated with devotion in the Catholic faith. 277 00:34:10,140 --> 00:34:13,190 And they get to write an article about this as a pilgrimage site, 278 00:34:13,190 --> 00:34:19,000 that it was censored by Wildenstein who found it to set religious so that we never know what they going say about it. 279 00:34:19,000 --> 00:34:27,250 But Bettye compares this as a site of pilgrimage with Hollywood and says that Hollywood really is not all true. 280 00:34:27,250 --> 00:34:36,330 Place of pilgrimage is the place where we throw money at the goddesses and, you know, it's similarly decked out in tinsel and. 281 00:34:36,330 --> 00:34:44,020 And then Jones, another article by Bettye is called The Language of Flowers. 282 00:34:44,020 --> 00:34:55,960 And this is illustrated with these extraordinary photographs by Karl Belt, which are close ups, enormously magnified photographs of parts of flowers, 283 00:34:55,960 --> 00:35:06,700 stamens, pistols and so on, which was intended as a ticket aid for his students, but also obviously of scientific interest. 284 00:35:06,700 --> 00:35:10,690 And that's had to source the purpose of these photographs. 285 00:35:10,690 --> 00:35:16,390 And he talks about them as the title of their essay is The Language of Flowers. 286 00:35:16,390 --> 00:35:22,660 And he say, What is the language of flowers? Well, red roses for love, for example. 287 00:35:22,660 --> 00:35:26,890 And then he says, well, it's very appropriate that the rose should be chosen. 288 00:35:26,890 --> 00:35:38,530 The flower should be chosen as the symbol of human love and devotion because roses fade so fast and turn very quickly into tatters of Ariel Nual. 289 00:35:38,530 --> 00:35:50,210 So it's his way of turning turning the notion about the flowers around so that rather than being this ideal symbol, because it. 290 00:35:50,210 --> 00:35:54,530 Because the symbol, as it were, is symbolising something, it is not ideal. 291 00:35:54,530 --> 00:36:02,800 Then the substitution of this of his herry inside of the flower that I felt was appropriate. 292 00:36:02,800 --> 00:36:11,980 I'm thinking that there's a flavour of the sort of of the sort of really unclassifiable essay's that that that I contributed to documents. 293 00:36:11,980 --> 00:36:22,250 The language of Telles is one of them. The big toe. I've shown you one of these three illustrations from this article already in the big toe again. 294 00:36:22,250 --> 00:36:34,790 That's right. Sets out to really undermine our fixed categories of high and low base and ideal. 295 00:36:34,790 --> 00:36:46,690 And so on. And he says that the big toe is that part of the human anatomy that distinguishes us most clearly from the anthropoid ape, 296 00:36:46,690 --> 00:36:53,570 our nearest relative otherwise. And this is the thing that is anchored and goodness firmly in the mouth. 297 00:36:53,570 --> 00:37:07,310 So you get the idea that he's that that it insofar if he's trying to suggest that something that that mankind is not necessarily, 298 00:37:07,310 --> 00:37:12,470 as it were, entirely dedicated to the to the navel and the ideal. 299 00:37:12,470 --> 00:37:19,040 Another of his essay is a little critical dictionary entry on the slaughterhouse. 300 00:37:19,040 --> 00:37:28,220 This photograph accompanies this is the part of the one I showed you earlier on with the very neatly stacked up calls legs. 301 00:37:28,220 --> 00:37:36,220 So the contrast between the high gene appearance and swept clean appearance of the slaughterhouse on the outside. 302 00:37:36,220 --> 00:37:45,770 You got that proportioned you and the complete chaos that the repellent miss of the inside of the slaughterhouse. 303 00:37:45,770 --> 00:38:00,380 And his argument in his dictionary entry picture is that slaughterhouses are not is tucked away in in in remote parts of a town that nobody knows. 304 00:38:00,380 --> 00:38:04,910 Really, where they are hidden is where their food comes from. Heaven is where the abattoirs are. 305 00:38:04,910 --> 00:38:19,790 And that's because we can't face the sort of of all of the blood that still supports that supports our cities and our civilisation. 306 00:38:19,790 --> 00:38:28,270 And he says that there was a time, though, when so when temples with those slaughterhouses and places of worship. 307 00:38:28,270 --> 00:38:38,180 And so he's he's got a very interesting looking at what has happened to the slaughterhouse in in modern culture based on terrorism. 308 00:38:38,180 --> 00:38:47,350 Gnosticism, a different kind of article this time because it purports to be addressing a proposal with archaeological area. 309 00:38:47,350 --> 00:39:00,110 These very, very strange Gnostic ends. What he's interested in here is the fact that they seem to him to be representing not an eye, 310 00:39:00,110 --> 00:39:11,030 an ideal God of the goodness and light, but gods of darkness and evil. 311 00:39:11,030 --> 00:39:20,010 This is not necessarily how we think of not. Is that help? Help. I was thinking about. 312 00:39:20,010 --> 00:39:31,200 So for that, I should not offer the illusion of harmony and comfort in his final essay in the last issue of document. 313 00:39:31,200 --> 00:39:34,500 While it was under his control, there was a bit of interesting continuation, 314 00:39:34,500 --> 00:39:40,290 the early 1930s, the ethical, the modern spirit and the game of transpositions. 315 00:39:40,290 --> 00:39:45,270 He explores his twin theme of the Kraven human policies, 316 00:39:45,270 --> 00:39:54,000 of the work of art to complement of illustrations of the skull decorated Mauceri chapels in Rome because that's civili the fly and fly paper, 317 00:39:54,000 --> 00:40:01,660 which this is. This is one and I quote what one truly loves, one loves in shame. 318 00:40:01,660 --> 00:40:07,050 And I defy any number of painting to love a canvas as much as a fetishist loves a 319 00:40:07,050 --> 00:40:12,360 shoe for painting and bedtime's views beyond the level of the human condition. 320 00:40:12,360 --> 00:40:18,760 It has to be stupefyingly ugly, incoherent or bombed. 321 00:40:18,760 --> 00:40:25,860 And this this painting by mirro. I'm not I'm not saying this is how I feel. 322 00:40:25,860 --> 00:40:33,240 These paintings should be locked. I'm simply giving you an example of how they were looked at by Betar. 323 00:40:33,240 --> 00:40:37,680 This is a very Sulkin painting. I mean, it is extraordinarily minimal. 324 00:40:37,680 --> 00:40:43,170 Well, it is. But you could see it just it that pure painting. 325 00:40:43,170 --> 00:40:54,150 It's very powerful. It's quite large. But I wrote that these that mirror begins with the representation of objects. 326 00:40:54,150 --> 00:41:02,630 Senator Arculus, that at a certain point this is the text. Then you hear a certain point, they turn reality sort thus to sort of some dust. 327 00:41:02,630 --> 00:41:09,690 Subsequently, these tiny objects individually liberate themselves from all reality and disappear as a throng of decomposed elements, 328 00:41:09,690 --> 00:41:11,880 which are also not more agitated. 329 00:41:11,880 --> 00:41:19,560 Finally, as Mary himself professed to want to kill painting, the decompositions pushed to such a point that nothing else remained. 330 00:41:19,560 --> 00:41:29,610 But a few formless stains to few formless stains on the lid or the tombstone, if you prefer, of the box of tricks. 331 00:41:29,610 --> 00:41:38,400 The little angry alienage elements proceeded to a new eruption before once more, disappearing today into these paintings, leaving only the traces. 332 00:41:38,400 --> 00:41:55,930 Who knows what disaster? So I'm just going to look at three artists in relation to two, Bettye Miro and Dulli. 333 00:41:55,930 --> 00:42:01,870 This painting we've already seen very briefly, it's cool. A group is game visually group. 334 00:42:01,870 --> 00:42:14,190 This is Mitt. So Hoffs through 1929 Done is the hottest property in Paris and everybody really wants him on their side. 335 00:42:14,190 --> 00:42:21,340 But I want to adopt him. Even the first group to write about Sholder Lou in the pages of document. 336 00:42:21,340 --> 00:42:27,460 But Dulli has decided that that really his best interests will be served by signing up with 337 00:42:27,460 --> 00:42:33,190 Britain and the surrealists because they really can command more Mausam gallery space. 338 00:42:33,190 --> 00:42:34,570 Basically, I think. 339 00:42:34,570 --> 00:42:44,680 And so when I asked Danny if he could reproduce, should rule the magazine, but he said no because nobody could collaborate on both magazines. 340 00:42:44,680 --> 00:42:51,670 You couldn't you couldn't be a member of the serious group and also a member of the document circle. 341 00:42:51,670 --> 00:42:53,950 So instead of reproducing the painting, 342 00:42:53,950 --> 00:43:05,980 that's how reproduced a sketch that he made of it in which he interprets the painting in very strictly and psychoanalytical terms. 343 00:43:05,980 --> 00:43:17,680 He sees it. He talks about the the degraded appearance of the couple on the bottom right hand side, 344 00:43:17,680 --> 00:43:26,820 the torn body in the centre, which is which is in fragments, in pieces which sweep up through the canvas. 345 00:43:26,820 --> 00:43:33,040 His own head is in the centre with the nose pointing downwards and above it as it was at the heads opened up. 346 00:43:33,040 --> 00:43:47,290 Things are floating out of it now that I sees it as a painting about castration, about violence, about fear. 347 00:43:47,290 --> 00:43:56,260 And he's deliberately pitting himself against the way that Tom wrote about this painting in that in the preface to the capital of the 1929 exhibition. 348 00:43:56,260 --> 00:44:06,930 Again, this guy who wrote that with this painting, with these paintings of done the the windows of the mind open wide for the first time, 349 00:44:06,930 --> 00:44:16,740 there's a freedom and depth that Britain's is a completely different way as a form of liberation. 350 00:44:16,740 --> 00:44:23,140 What's actually quite interesting from the point of view of of something that we talk about later on in the lectures, 351 00:44:23,140 --> 00:44:31,030 is that both of them miss the fact that there is considerable gender ambiguity in this painting. 352 00:44:31,030 --> 00:44:33,190 The figure of the deception, for example, 353 00:44:33,190 --> 00:44:41,920 who has ossified piece that addressed this in a robe and the torn figure is actually not know probably, but FEMA. 354 00:44:41,920 --> 00:44:46,500 So so there are I mean, this is actually a painting of great complexity. 355 00:44:46,500 --> 00:44:58,120 And when I'll come back to that, the point really is that. But I made a great point of insisting on its ugliness. 356 00:44:58,120 --> 00:45:12,660 And he said, without any preamble, I will say that Picasso's paintings are hideous and those by Delhi are of a terrifying otherness. 357 00:45:12,660 --> 00:45:18,460 Well, I'm going to end, though, I hope not peak end, because I hope we didn't go to see the foot of the film, 358 00:45:18,460 --> 00:45:28,600 the exhibition I with this painting by Picasso, which was reproduced in the document. 359 00:45:28,600 --> 00:45:39,370 Now, missionary's writing about Picasso in document. There's a special issue devoted to insist on the opposition between Picasso and through realisms. 360 00:45:39,370 --> 00:45:44,980 So poetic evasions its belief in the reconciliation contradictory states like Primo 361 00:45:44,980 --> 00:45:51,700 Waking lives must as a materialist critique of his paintings because his paintings, 362 00:45:51,700 --> 00:46:00,840 which is a good if not compete position from which to look at some of those in the special issue on Picasso as what is the phrase down to earth. 363 00:46:00,840 --> 00:46:06,450 Livy's contrasts because there's new objects, new combinations of forms which are the most concrete, 364 00:46:06,450 --> 00:46:15,340 the most dense, the most living with Fentons monsters and the Lucille Selema Picasso, 365 00:46:15,340 --> 00:46:21,250 by contrast with the surrealists, he says, stands on the ground since my sends things on the ground, 366 00:46:21,250 --> 00:46:29,230 sets them apart, knows the exact weight of things, then materiality. 367 00:46:29,230 --> 00:46:39,340 This painting, which is now known as Woman in an Armchair, was reproduced in Stockholm without a title like the vast majority of his recent works, 368 00:46:39,340 --> 00:46:49,790 identifications by a date, size and occasionally medium inscribed on the stretched from the back of this painting is the word metamorphosis. 369 00:46:49,790 --> 00:46:59,680 And this was the title because his first markets for the monument to Apollinaire of 1927, 228 to Continent, had died in 1918. 370 00:46:59,680 --> 00:47:05,380 The immediate impression this painting is a front talenti, an upright figure, solid, severe, 371 00:47:05,380 --> 00:47:14,020 a monumental construction of precision with keen lines, reduced palette so long one looks less secure. 372 00:47:14,020 --> 00:47:21,340 This response because all that repeatedly shatters and returns the figures into one of the least human. 373 00:47:21,340 --> 00:47:30,700 Picasso's women appears poised on the edge of something other than a chair, apparently a hollow, grey box. 374 00:47:30,700 --> 00:47:37,550 The two strong red curves of the chair frame, but do not embrace the woman, 375 00:47:37,550 --> 00:47:46,590 which, although there is a shadow behind the ball, joined the stomach here of. 376 00:47:46,590 --> 00:47:53,430 Which is the softness in the whole painting. And if it is not that hard, even surface, 377 00:47:53,430 --> 00:48:02,370 the right hand sweep of paint elegantly matches the arm of the chair and is thus angled away from the viewer. 378 00:48:02,370 --> 00:48:12,750 And it's a shriller and lighter red than that on the left. This is flat and then indicates a chair of a different scale to the body. 379 00:48:12,750 --> 00:48:19,620 The upper edge of the left red band exactly meets the junction here. 380 00:48:19,620 --> 00:48:28,080 The junction of the background, the white face and grey torso sneak sneaky, summarising the oval impression of interlocking canes. 381 00:48:28,080 --> 00:48:40,170 But how these four planes red, black, white and grey here actually are oriented spatially in relation to each other is highly ambiguous. 382 00:48:40,170 --> 00:48:44,730 You take the white shape that I referred to as a face. 383 00:48:44,730 --> 00:48:52,590 The arrest starts with the central figure. This sort of phallic woman emphasised by the Dunwood pointing which shape inclines thumbs read. 384 00:48:52,590 --> 00:49:02,700 This is vertical with the holes one above, one above another, because of often frequent his sex eyes vertically in an upright profile face. 385 00:49:02,700 --> 00:49:10,890 So this doesn't seem too old. However, it also reads as a face or mask turn sideways and upwards. 386 00:49:10,890 --> 00:49:18,920 The iPhone is therefore not anatomically correct, so the face is turned on its side. 387 00:49:18,920 --> 00:49:23,220 Read at this angle, the great are rising from the red chair to me. 388 00:49:23,220 --> 00:49:30,620 One of the angles of white face. Could be the woman's left arm raised over in supporting her head. 389 00:49:30,620 --> 00:49:39,200 As in so many of the women in lawn chair seen either way the two of perforations, that's the preferred. 390 00:49:39,200 --> 00:49:42,900 His eyes are quite unlike the dots. 391 00:49:42,900 --> 00:49:49,010 Lines, almond shapes or black smudges that usually signify in Picasso's paintings. 392 00:49:49,010 --> 00:49:53,060 While the shift at this period and because his work between Línea and Volumetric, 393 00:49:53,060 --> 00:50:02,060 even within a single sketchbook, a well-known, these holes are unusual with other monumental figures. 394 00:50:02,060 --> 00:50:06,500 Eyes born on the surface or integrated into the form itself as if eroded. 395 00:50:06,500 --> 00:50:14,360 Here they reveal the white facemask was hollow with a thick skin surface through which they'd been punched. 396 00:50:14,360 --> 00:50:23,300 Although the absence of eyes, as in the skull, the blackness within and behind the bones is painted as separate brush strokes, 397 00:50:23,300 --> 00:50:31,720 which contrasts with the other black areas on the canvas and cannot leave is identical with the background or with a shadow chamber. 398 00:50:31,720 --> 00:50:39,030 If the whole thing you see through the local would in fact give onto the red chair, it has to be anterior to the form. 399 00:50:39,030 --> 00:50:45,360 That's Pumpkin's to see it as a skull wanted as this and other works by Picasso at the time of the problem, 400 00:50:45,360 --> 00:50:50,480 the a monument, the demand memory of the poet who's probably his greatest friend. 401 00:50:50,480 --> 00:51:02,140 The face of death seems to reside here. The curve of the flat white faces five to ten light and dark grey triangular shape. 402 00:51:02,140 --> 00:51:12,780 This momentarily appears to read either as concave. That's this with this concave or convex, but it's abruptly fixed. 403 00:51:12,780 --> 00:51:19,130 The bottom here as a pointed wench with a low, sharp end. 404 00:51:19,130 --> 00:51:25,320 Any doubt about this is sculpture, by the way. It overlaps the hollow ball from which it rests. 405 00:51:25,320 --> 00:51:29,390 There's no resolution. There's Robert. An indecisive reunion. 406 00:51:29,390 --> 00:51:33,590 A conjunction of incompatible shapes. Inexhaustibly. Fascinating. 407 00:51:33,590 --> 00:51:41,090 Keep on looking. In a manner reminiscent of the great Cubas pictures where the surface constantly intrudes and impinges on attempts. 408 00:51:41,090 --> 00:51:44,210 Patient to construct consistent forms. 409 00:51:44,210 --> 00:51:51,770 Here it is, as though the metamorphosis that might be the pitcher's subtitle is visibly performed through the paint. 410 00:51:51,770 --> 00:51:56,030 This is another level of metamorphosis. Shapeshifting over and above the past. 411 00:51:56,030 --> 00:52:02,230 Success and transformation of men into slime or driven bulls, into gods, into bulls or swans, 412 00:52:02,230 --> 00:52:10,480 a form visible shifts and alters under one's eyes and contradicts itself. 413 00:52:10,480 --> 00:52:16,870 The alterations in the way we read the great things, all the white woman in an armchair are not clear alternatives. 414 00:52:16,870 --> 00:52:19,330 They hover between indecisions. 415 00:52:19,330 --> 00:52:29,590 There is such a very strikingly confident when in a thoroughly paradoxical manner, destroying any fixative, meaning and by time. 416 00:52:29,590 --> 00:52:34,120 Put this. I think what I tried to to see in this painting. 417 00:52:34,120 --> 00:52:41,350 He put this in its larger context. And I quote, when because it paints the dislocation of forms. 418 00:52:41,350 --> 00:52:44,110 France with the dislocation thought. 419 00:52:44,110 --> 00:52:54,310 This is to say that the immediate intellectual movement, which in other cases leads to ideas, aborts the idea for Bhattarai in his document texts. 420 00:52:54,310 --> 00:53:05,180 And he became anti philosophy is restrictive, authoritarian, abstract, and its abortion was thus a kind of freedom. 421 00:53:05,180 --> 00:53:18,940 OK. I was hoping to be able to show you one section from the exhibition on the cover surrealism. 422 00:53:18,940 --> 00:53:27,370 Whose rooms were arranged. As I said, according to some of the governing ideas of excise. 423 00:53:27,370 --> 00:53:33,160 And in relation to some of the artists that appear in and got him off a room, Picasso. 424 00:53:33,160 --> 00:53:39,100 There was Dali Miro. And the first film was called Places of Pilgrimage. 425 00:53:39,100 --> 00:53:50,260 And there was to show a different that museum objects in relation to other kind of ritual objects. 426 00:53:50,260 --> 00:53:57,340 And contemporary paintings like Picasso's dancers. So I think you're welcome to leave. 427 00:53:57,340 --> 00:54:01,570 But you also say, well, we'll play it and there's music with it. 428 00:54:01,570 --> 00:54:10,360 Because the exhibition included music, jazz, Stravinsky and contemporary music and also film. 429 00:54:10,360 --> 00:54:25,120 So at the very end of this sequence, you see a film of from The Hollywood Review, it's this little piece is about some six minutes long. 430 00:54:25,120 --> 00:54:39,370 It's a bit long. So you. So it was the first person to think of the exhibition and the films, 431 00:54:39,370 --> 00:54:45,930 you see what they do when you came in and at the end of the film, you, Buster Keaton appears. 432 00:54:45,930 --> 00:54:58,830 It's that it's that. It's that he was the comic. So it's trying to, you know, try to somehow play with humour, 433 00:54:58,830 --> 00:55:13,170 with Wooden Soldier Advance that they will take and visit you in this story, heterogeneous collection of things. 434 00:55:13,170 --> 00:55:15,090 This is quite difficult. 435 00:55:15,090 --> 00:55:24,490 I think many people in the world, the puzzle for the first film that gradually it made it made sense as you get around, it can take tennis to again. 436 00:55:24,490 --> 00:55:29,796 Thank you.