1
00:00:02,320 --> 00:00:10,510
Good evening, everyone. Thank you for coming to the second slide lecture, can everyone hear me?

2
00:00:10,510 --> 00:00:15,700
I have just the position of the mike amphitheatres more easily.

3
00:00:15,700 --> 00:00:21,890
Audible Who is is it okay. Thank you. Thank you.

4
00:00:21,890 --> 00:00:27,770
I'm going to be talking about these collages.

5
00:00:27,770 --> 00:00:34,950
Objects installation is the top of the lettuce field painting on the spectrum.

6
00:00:34,950 --> 00:00:43,990
Last week's lecture already attended is quite general introduction to certain key concepts,

7
00:00:43,990 --> 00:00:52,900
strategies and practises and surrealism, which I think are heavy, still very vital today.

8
00:00:52,900 --> 00:01:05,050
Last week I saw the communism and chants and ended up discussing the Crystal Room in London, which has just been dismantled.

9
00:01:05,050 --> 00:01:13,240
And this week I want to circle around and come back at the end to talk about this quote by the Brazilian artist Sylvie Mirrorless,

10
00:01:13,240 --> 00:01:26,480
which is called How to Build Cathedrals. And I am going to be talking about how and why or how it is Whinfield painting

11
00:01:26,480 --> 00:01:35,760
for life and what what made it possible for just everyday things to be so,

12
00:01:35,760 --> 00:01:42,010
so expressive for artists in the 20th and 21st centuries?

13
00:01:42,010 --> 00:01:46,900
I have to say I'm afraid so. This week is something of a collage.

14
00:01:46,900 --> 00:01:58,720
It's it's a because there are so many wonderful passages from the surrealist writers about this topic, about beyond painting, about collage.

15
00:01:58,720 --> 00:02:10,750
I have wanted to do it in full. So so forgive forget that it might make for psychological progress.

16
00:02:10,750 --> 00:02:18,460
The beginning, the further back, though, as an introduction,

17
00:02:18,460 --> 00:02:24,410
another introduction to the two characters at the very beginning of the movement

18
00:02:24,410 --> 00:02:31,180
and the and the nature of this group that became called the settlers movement.

19
00:02:31,180 --> 00:02:42,490
This is a Pinkham Biomass Food local MP who does any meeting of friends and party just to

20
00:02:42,490 --> 00:02:46,640
allow you to put a face to some of the names of the artists that I should be talking about,

21
00:02:46,640 --> 00:02:55,700
Max, out himself. He's there sitting on the knee of Dostoyevsky.

22
00:02:55,700 --> 00:03:06,130
Buchtel, who's I've named many times as being the leader of the movement, is very appropriate place here, wearing a short red plup,

23
00:03:06,130 --> 00:03:14,580
mocking his hockey, his dominant position and holding his hands up in his in a gesture which I suspect somebody would identify for me.

24
00:03:14,580 --> 00:03:19,030
And I'm not sure it's to do with dumb language or whether it's actually a sacred gesture.

25
00:03:19,030 --> 00:03:28,150
One of the other possibilities for that is football. And if you Chirikure is behind it and you are valid, does that help?

26
00:03:28,150 --> 00:03:36,400
Our business is done here. Another someone who we shall meet at various points is at some point amongst Pepé.

27
00:03:36,400 --> 00:03:45,040
And the great service, in my view, is to seek it here. It's it's I hope you said about this.

28
00:03:45,040 --> 00:03:53,650
It's a it's a portrait of a group that was really quite close.

29
00:03:53,650 --> 00:04:00,040
They like to think of themselves as a collective. They were very, very close.

30
00:04:00,040 --> 00:04:05,260
And one of the things that I shall be talking about it is I developed the relationship with Latin America,

31
00:04:05,260 --> 00:04:12,720
which is going to be the longer term strand of the of electorate's will be the nature of the work of

32
00:04:12,720 --> 00:04:19,450
the groups or individuals who became affiliated and how they became affiliated with the surrealists.

33
00:04:19,450 --> 00:04:26,350
It wasn't easy because, as I say, it was quite farter and impose the exclusive group.

34
00:04:26,350 --> 00:04:31,420
And it was very easy to get excommunicated if you offended, put on it.

35
00:04:31,420 --> 00:04:38,530
For example, you published your work in the wrong magazine or if you produced a set for a ballet.

36
00:04:38,530 --> 00:04:43,690
These were things that were not actually allowed within the inside of it.

37
00:04:43,690 --> 00:04:55,840
This isn't this is not intended to. The group had just been experimenting with hypnotic chances and out a bit more about that in a moment.

38
00:04:55,840 --> 00:05:06,890
The movement itself was founded in 1924, and there are several photographs, often at various stages in the life of movement.

39
00:05:06,890 --> 00:05:17,250
So then just a little bit about the expansion of surrealism outside outside Paris, outside France,

40
00:05:17,250 --> 00:05:23,680
as shown in later lectures, be taking specific kind of case studies of particular places,

41
00:05:23,680 --> 00:05:39,370
the Mexico of Peru and so on, where we will look at exactly how a liberal group like adapted itself to affiliate himself with this this movement.

42
00:05:39,370 --> 00:05:45,430
This is the Silver O'Toole du Monde. I'm not very good at putting the science together.

43
00:05:45,430 --> 00:05:54,100
It shows a selection of publications, exhibition catalogues and so on from really all over the world.

44
00:05:54,100 --> 00:06:05,080
Since about 1937 38, I think this, as you can see there, the surrealist in Japan, even Czechoslovakia surrealism and the salvia.

45
00:06:05,080 --> 00:06:17,630
And here is the exhibition that took place in 1935 and in in Peru.

46
00:06:17,630 --> 00:06:25,090
And I was able to talk more about Mexico.

47
00:06:25,090 --> 00:06:36,920
But, of course, what I will also be looking at is the way that there is or might be a local avant garde with which the three artists became attached.

48
00:06:36,920 --> 00:06:40,510
This is quite an interesting question, because doesn't it, in a sense,

49
00:06:40,510 --> 00:06:49,460
try to position itself separately from other advanced so both loops in their own field,

50
00:06:49,460 --> 00:07:00,850
but very often abroad, they they were presented to the public through magazines like this one most contemporaneous, which is a very rare magazine.

51
00:07:00,850 --> 00:07:09,480
Unfortunately, No. Of Mexico. It was the magazine that was published by a group of avant garde poets and.

52
00:07:09,480 --> 00:07:20,130
Writers and artists who were innocent sitting so culturally against the muralists and they provided a different kind of forum.

53
00:07:20,130 --> 00:07:28,220
They were amongst the first to reproduce of Atlanta, a rare Gramsci man, Ray, for example.

54
00:07:28,220 --> 00:07:33,310
And another example of an avant garde magazine, Vido Americana, May 1921.

55
00:07:33,310 --> 00:07:39,050
And you can see North, Central and South American, the ongoing review.

56
00:07:39,050 --> 00:07:46,020
And at the top, interest in it says, we shall not have a Hispanic Americans literature.

57
00:07:46,020 --> 00:07:50,080
What it means by that. I will talk about a bit later.

58
00:07:50,080 --> 00:08:03,120
I think they were they were trying to identify themselves with a specific Mexican literature that can run on one of it.

59
00:08:03,120 --> 00:08:11,060
So I would say a little bit more about the group's funding movements of the of the group with the experience.

60
00:08:11,060 --> 00:08:24,540
Is it hypnotic Trance's? And I also want to remind you perhaps of the debates that I talked about last week about painting this is be beyond painting.

61
00:08:24,540 --> 00:08:33,600
I was talking last week about the rejection of painting by Max Novis, by IBM and so on,

62
00:08:33,600 --> 00:08:39,640
and the kind of painting that they were rejected and say, you know, this cannot actually come as a kind of alternative.

63
00:08:39,640 --> 00:08:44,280
Just thinking is something like nascence. Great picture.

64
00:08:44,280 --> 00:08:47,700
Who picked up or evolution by night? It's in the tape gallery.

65
00:08:47,700 --> 00:09:02,310
It is a stunning painting. And despite the objections to this as to innocence, to descriptive, for something to be truly automatic,

66
00:09:02,310 --> 00:09:09,950
we're talking about the importance of automatism as a means to reach some other level of faught activity.

67
00:09:09,950 --> 00:09:18,350
Can Uncompress the default activity? The idea was that or to represent a dream, the problem was with dreams.

68
00:09:18,350 --> 00:09:28,500
That in order to narrate it or paint it, this is there often you have to as it will become conscious of what's going on.

69
00:09:28,500 --> 00:09:34,960
So it's no longer actually drawing this thread. I was trying to talk that last back into the unconscious.

70
00:09:34,960 --> 00:09:42,090
So this painting, I mean, one could spend a long time talking about this particular painting.

71
00:09:42,090 --> 00:09:47,970
It's so often in that sense, it's actually quite a learning painting.

72
00:09:47,970 --> 00:09:55,860
People are historians have spent many, many years digging out Mattson's sources, of which there are many.

73
00:09:55,860 --> 00:09:58,620
I just want another one for this, which I'm going to show you in a second.

74
00:09:58,620 --> 00:10:09,650
But the point really, I think, is that it was is referring to his very Freudian relationship with his father.

75
00:10:09,650 --> 00:10:17,700
It's very Oedipal painting, but it's that we can reverse beautiful painting in that it's not the son killing far,

76
00:10:17,700 --> 00:10:25,130
but it's the son actually being being carried apparently dead in the father's arms.

77
00:10:25,130 --> 00:10:35,440
And the reference is obviously to appear to one is more familiar with little Petare as a mother cradling the dead.

78
00:10:35,440 --> 00:10:42,840
But in fact, in in Germany, there are guitars with the father holding Christ.

79
00:10:42,840 --> 00:10:48,420
And I think so it would be interesting to consider how far this might change.

80
00:10:48,420 --> 00:10:54,990
The way we look at the safety of Astros' itself turned to stone because it went catatonic state.

81
00:10:54,990 --> 00:11:07,050
The father has turned up with stoushes and a bowler hat is wearing the white coat of an inmate of the of the mental hospital Salpetriere.

82
00:11:07,050 --> 00:11:13,450
And this is one track, the source of that, too.

83
00:11:13,450 --> 00:11:24,750
Berton's description of these senses in a magazine called Beat about your ironic they call Richard UCU in 1922,

84
00:11:24,750 --> 00:11:32,970
called into the Mediums and he records the conversations that took place between the different members of the group,

85
00:11:32,970 --> 00:11:40,570
one of whom would be in a trance, one who would be completely, completely unconscious of what was going on.

86
00:11:40,570 --> 00:11:42,000
The self never managed it.

87
00:11:42,000 --> 00:11:53,970
Only a few people were able to put themselves into this funk state, and those who did would would be asked questions by the others.

88
00:11:53,970 --> 00:11:59,130
And they could answer. They could actually it was wrong. Although they were not aware of what they were doing.

89
00:11:59,130 --> 00:12:05,550
And all of the exchanges is about. And the and the answer from I did not think, well.

90
00:12:05,550 --> 00:12:17,870
He's wearing the white coat of the south at the. Is actually, you know, he he's referring very directly to those exchanges.

91
00:12:17,870 --> 00:12:25,020
It is a it could also be a painting that emerged from a dream.

92
00:12:25,020 --> 00:12:34,440
I also am fascinated by the possibility that it's it doubles or triples, in a sense.

93
00:12:34,440 --> 00:12:42,510
It is for some Holy Ghost. You could say it's also such a painting drawing.

94
00:12:42,510 --> 00:12:57,340
It's very fascinating, multilayered thinking. But it did not conform at this moment in the early 20s and conform to this notion of automatism.

95
00:12:57,340 --> 00:13:11,640
And so it sense set himself, in a sense, to exploring something that would be an equivalent to automatic writing.

96
00:13:11,640 --> 00:13:17,310
And he discovers what he called photomontages problems forte's to box.

97
00:13:17,310 --> 00:13:24,570
It's like it's like making making copies of rubbing, rubbing it to a tombstone.

98
00:13:24,570 --> 00:13:33,600
And this is the first page of what he published as an album called Unnatural Natural History.

99
00:13:33,600 --> 00:13:38,700
And there is there is a subject, sort of a natural history,

100
00:13:38,700 --> 00:13:47,130
which I which I which I think needs to be new to a lot of very, very, very interesting material in this area.

101
00:13:47,130 --> 00:13:53,100
So I'm going to read in that sense description.

102
00:13:53,100 --> 00:14:07,380
This is from his book, which is one of the sources for the phrase beyond paper with until he published this in 1936 in Cadeau Beyond Painting.

103
00:14:07,380 --> 00:14:13,530
He places photos and collage under the sign of soonish automatism.

104
00:14:13,530 --> 00:14:21,690
And I'm going to quote this description of the discovery of Polish, because, as he puts it, it's very precise.

105
00:14:21,690 --> 00:14:30,960
He wants to document it like a diary. Whether that's just a joke or not, he wasn't there on the 10th of August 1925.

106
00:14:30,960 --> 00:14:39,360
And insupportable visual obsession caused me to discover the technical means which have a carbonisation of Leonardo's lesson.

107
00:14:39,360 --> 00:14:49,380
He's just going to say this is not his lesson. Reading into a most evil read factors into one of the scenes into it.

108
00:14:49,380 --> 00:15:00,720
And he is love. Luckily for college and what he does with it, to learn all those lessons, beginning with a memory of childhood.

109
00:15:00,720 --> 00:15:08,360
In the course of which, a panel of false mahogany situation in front of my bed that played the role of optical provocateur,

110
00:15:08,360 --> 00:15:14,040
of a vision of prophecy and finding myself one rainy evening in a seaside inn.

111
00:15:14,040 --> 00:15:22,200
I was struck by the session that showed my psychic gaze, the floorboards upon which a thousand scrubbing could deepen the grooves.

112
00:15:22,200 --> 00:15:29,670
I decided then to visit the symbolism of this obsession. And in order to aid my meditative and hallucinatory faculties,

113
00:15:29,670 --> 00:15:36,480
I made the boards a series of drawings by placing on them at random sheets of paper, which I took.

114
00:15:36,480 --> 00:15:40,950
I'm Robert Blackleg. Besides the fact that the drawings.

115
00:15:40,950 --> 00:15:48,600
That's a shame. Stephanie Luce, thanks to a series of suggestions and transmutations appearing to them spontaneously.

116
00:15:48,600 --> 00:15:53,400
The character of the material being studied would assume yes,

117
00:15:53,400 --> 00:16:03,360
it unbelievably kit images of a nature probably aim to reveal the first cause of the obsession of Jews for seniors up there.

118
00:16:03,360 --> 00:16:09,060
So he he does hundreds of these drawings, beginning with an engaging tend to be the drawings that's obtained,

119
00:16:09,060 --> 00:16:17,430
the dark passages, and there's a lot of penumbra. I was surprised by the sudden intensification, by visionary capacities,

120
00:16:17,430 --> 00:16:21,840
by the hallucinatory succession of conflict images superimposed one upon the

121
00:16:21,840 --> 00:16:27,570
other with the persistence of quiddity characteristic of amorous memories.

122
00:16:27,570 --> 00:16:33,120
My curiosity awakened and astonished. I began to expand in different kit into question,

123
00:16:33,120 --> 00:16:40,830
utilising the same means all sorts material too far to my visual field leaves and there things the regulators with it,

124
00:16:40,830 --> 00:16:47,390
meaning the brush strokes, brushstrokes with modern painting. Young ones read school, etc.

125
00:16:47,390 --> 00:16:56,050
Then I discovered human heads. Animals that baffled ended with a kiss.

126
00:16:56,050 --> 00:17:06,720
Did he choose? He selected a group of these four parties and put them together in Nowthen, which actually has a sequence.

127
00:17:06,720 --> 00:17:11,650
There's no doubt that he doesn't. His final two Olympic history.

128
00:17:11,650 --> 00:17:22,740
London. It is a kind of natural history. References Kinney references before in his own way as a kind of irony.

129
00:17:22,740 --> 00:17:31,890
All. It's a question, if you like, of categories questioning of how the soul of the world,

130
00:17:31,890 --> 00:17:37,740
the growth of the world, the history of the world has been told in the past. Few articles have changed many, many times.

131
00:17:37,740 --> 00:17:48,790
So this is a. So now I count to five of the of the of the plates that I other through a selection I hope to have underlined.

132
00:17:48,790 --> 00:17:57,060
I mean, I think that one has to admit that they are to a degree automatic and heat.

133
00:17:57,060 --> 00:18:02,110
He emphasises that Thomas is not in that text and say he didn't know what he did.

134
00:18:02,110 --> 00:18:07,290
He didn't understand why these these very deeply moved fútbol fascinated him.

135
00:18:07,290 --> 00:18:15,980
Everybody loved it. But something emerged that suggested an image that suggests because of the obsession,

136
00:18:15,980 --> 00:18:22,830
they are actually closure's, but they are so extraordinarily delicately done.

137
00:18:22,830 --> 00:18:30,570
Even when you see the original before the prints that were made for the album, did you have to 100 percent to prove that it was allowed to see?

138
00:18:30,570 --> 00:18:37,640
Can't really tell. But they that they are very, very carefully put together.

139
00:18:37,640 --> 00:18:43,850
Collages. So don't imagine that that was all produced in one session with the floorboard.

140
00:18:43,850 --> 00:18:49,590
It wasn't quite at this. I think is is quite typical in a sense.

141
00:18:49,590 --> 00:19:01,620
It's like something emerging from the darkness, from the water's light in in the form of this square in the centre, which is is also the page itself.

142
00:19:01,620 --> 00:19:13,170
So it's very self-referential about the way the photo was made and the extraordinary the grooves and background and take on a of cosmic aura.

143
00:19:13,170 --> 00:19:20,310
And then the next one is very close. And it's it's it's as if it's the creation of the song.

144
00:19:20,310 --> 00:19:22,710
Something like that is not literal,

145
00:19:22,710 --> 00:19:34,770
but it's he he's taking one on a kind of an imaginary as it was spontaneously produced in his idea, a natural history.

146
00:19:34,770 --> 00:19:40,590
Then there's the the emergence from the waters of the lances called the Pampas.

147
00:19:40,590 --> 00:19:49,830
And I think recognising probably or at least he wants you to see in the upper part of that tree a fossil,

148
00:19:49,830 --> 00:19:56,790
it looks as if he's actually rubbed a fossil on the fossil has then become the the branches and beliefs of trees.

149
00:19:56,790 --> 00:20:00,840
But you can see the transformative nature of the of the effect.

150
00:20:00,840 --> 00:20:07,640
The rubbing with the material actually begins to metamorphosed into something else.

151
00:20:07,640 --> 00:20:19,210
There is a whole series of plates on plants and like this one.

152
00:20:19,210 --> 00:20:30,750
She calls her secret. That is a collage in the main, the kind of errantly phallic shape is his home to another sheet of paper.

153
00:20:30,750 --> 00:20:35,500
And there's a different kind of material, different texture behind it with the shadow.

154
00:20:35,500 --> 00:20:45,460
And then this is very fascinating how often he echoes a shape in the far distance does it to try to create a sense of space and great depth.

155
00:20:45,460 --> 00:20:50,370
It's not really an echo. It's a different shade, something different. The he's in the back.

156
00:20:50,370 --> 00:20:56,530
There is one called the habit of leaves, presence and absences.

157
00:20:56,530 --> 00:21:02,890
Chestnut leaves one of my favourites, which is a kind of chestnut insect.

158
00:21:02,890 --> 00:21:07,540
It's a kind of plaque insect. This is really fascinated by these hybrid,

159
00:21:07,540 --> 00:21:15,580
these things that can't quite be categorised properly as either plant or animal, as either animal or vegetable.

160
00:21:15,580 --> 00:21:24,970
And so on. So this is a teenage lichen. And the wheel of light, which is a very elaborate.

161
00:21:24,970 --> 00:21:33,580
Which, as you can see, the veins, is it. And he's killing him with it with a metaphore of the veins and an eye and the veins of the leaf.

162
00:21:33,580 --> 00:21:39,940
He's he's rubbed the leaf, which produces the background to the eyes of the eye.

163
00:21:39,940 --> 00:21:48,880
And, of course, the surrounding also, which is not really seen something else that has been rubbed, abuses of this extraordinary image.

164
00:21:48,880 --> 00:21:58,880
There are there are there kind of a bringing together of the metamorphosis of materials,

165
00:21:58,880 --> 00:22:09,190
a sort of magically consternation, materials and juxtapositions that are quite striking, metaphorical juxtapositions.

166
00:22:09,190 --> 00:22:13,540
And the fun was the beginning with the creation of the world and the woman.

167
00:22:13,540 --> 00:22:18,110
This is very much so through its natural history and with Eve.

168
00:22:18,110 --> 00:22:21,920
The one next to us, which actually. So this is a painting.

169
00:22:21,920 --> 00:22:33,370
So proctology is, well, very important for artist as well to affirm his position in relation to the to the smallest movement.

170
00:22:33,370 --> 00:22:40,640
And in the same TextField painting, he also talks about his collages.

171
00:22:40,640 --> 00:22:58,870
And this one I just went to. Mention a very important essay by Bulford, Benyamin, the 1928 and demands are taking on surrealism.

172
00:22:58,870 --> 00:23:06,480
Latest shoot snapshot of the European intelligentsia. It's often translated, this is lost.

173
00:23:06,480 --> 00:23:11,160
Snapshots go to feel pain, intelligence as though Susan was already at an end.

174
00:23:11,160 --> 00:23:22,240
In fact, it's the latest slips, the latest set for Europe intelligentsia and observe that intellectual currents can generate

175
00:23:22,240 --> 00:23:29,180
a sufficient headed water for the critic to install his power station and the current.

176
00:23:29,180 --> 00:23:34,670
He felt that power, his appreciation through Amazon was flowing somewhere else.

177
00:23:34,670 --> 00:23:43,610
And he felt the heat in Germany was a very low level and everything was coming from Paris and that he could gauge the energy use of this transmission.

178
00:23:43,610 --> 00:23:50,460
And he said the level of revolution energy in surrealism was profound and profound illumination.

179
00:23:50,460 --> 00:23:55,430
A materialistic anthropological investigation. Magical experiments with words.

180
00:23:55,430 --> 00:24:03,500
The radical concept of freedom. The purpose in the city. Esoteric law or face realism with the head of the gradient.

181
00:24:03,500 --> 00:24:13,640
Now he just read three of the most important sort of books that really establish surrealism as the foremost intellectual,

182
00:24:13,640 --> 00:24:27,210
poetic movement of the time in Europe. He had read an idea addles Paris peasant and others on his treatise on style.

183
00:24:27,210 --> 00:24:33,080
And is about is this is it the ruffians of the circle? Not literature, but something else.

184
00:24:33,080 --> 00:24:37,890
Demonstration's what further documents Bluff's forgeries, if you will.

185
00:24:37,890 --> 00:24:47,510
But anyway, not literature. That is some literature with experiences, not the periods and stillness with phantasms.

186
00:24:47,510 --> 00:24:53,720
So I think it's very interesting that this is not literature is somebody else's documents that some of the kind.

187
00:24:53,720 --> 00:25:02,960
And so the question that when I began to if I'm going on collaging objects, the question is what?

188
00:25:02,960 --> 00:25:10,310
What were the artists doing? Similarly, to avoid the more traditional forms of expression.

189
00:25:10,310 --> 00:25:20,570
How are they going to produce something that was related more directly to experience?

190
00:25:20,570 --> 00:25:30,290
Now, the. This is one lucky 21.

191
00:25:30,290 --> 00:25:36,440
Oh, yes, 19 to 21 colleges that Max made while he was still in Germany.

192
00:25:36,440 --> 00:25:40,190
He's not unable to leave under the British occupation.

193
00:25:40,190 --> 00:25:49,270
Finally, he got out using any false passport and lived under undercover footage in Paris.

194
00:25:49,270 --> 00:25:52,820
But these these collages can't close.

195
00:25:52,820 --> 00:26:05,740
This particular one is called Fizi Mythological Flood Picture, and it consists of couple photographs and cut out reproductions.

196
00:26:05,740 --> 00:26:14,450
So I think what it probably is, is a kind of parody of the mission of the new man.

197
00:26:14,450 --> 00:26:20,890
This shows a human with a dinosaur's pull with a book.

198
00:26:20,890 --> 00:26:26,300
There's a dinosaur in the background. I like to mention that some great dinosaurs here.

199
00:26:26,300 --> 00:26:31,290
And a bird head. So it's a hybrid creature.

200
00:26:31,290 --> 00:26:37,640
It's a it's a you know, it's an exotic conjunction of different things.

201
00:26:37,640 --> 00:26:45,570
And so I mention this because there is a great deal of of anachronism in service.

202
00:26:45,570 --> 00:26:52,810
So it was it was not modern. And I think that it's it's something that I want to pick up as we go on.

203
00:26:52,810 --> 00:27:10,450
What one might mean by using this is another pullovers, a kind of joke layer upon the face in the foreground with the hand scratching its head.

204
00:27:10,450 --> 00:27:19,720
And at the top, on his old masters, the master's bedroom uncuff, a lot of these collages, so-called collages are actually over paintings.

205
00:27:19,720 --> 00:27:32,570
This is and some so called them. And you can see here the sheet from a child sort of natural history lesson which has used.

206
00:27:32,570 --> 00:27:39,550
You can you can pick up one or two of the creatures at the well in the bottom left hand corner and the.

207
00:27:39,550 --> 00:27:47,440
Is it a rhino or a hippo in the in the background, which he has he has his elimination, everything else over pinched everything else.

208
00:27:47,440 --> 00:27:54,970
It's not a question of adding. It's a question of taking well and making some very strong perspective room.

209
00:27:54,970 --> 00:27:58,740
It is an effort to chirikova above it.

210
00:27:58,740 --> 00:28:08,950
And I know another quotation of which I think is extremely important from the preface that read en route to the exhibition.

211
00:28:08,950 --> 00:28:21,700
These collages that took place in Paris in 1921. These these collages sort of ontologies over paintings were unpacked by the

212
00:28:21,700 --> 00:28:28,190
little surrealist group and with the reference sensation of absolute amazement,

213
00:28:28,190 --> 00:28:38,120
didn't see anything quite like this before. And this is what Republicans preface the invention of photography with the

214
00:28:38,120 --> 00:28:43,620
invention of it has dealt a mortal blow to the old modes expression in paintings,

215
00:28:43,620 --> 00:28:50,700
letters and poetry. The belief in an absolute time and space seems to be vanishing.

216
00:28:50,700 --> 00:28:57,560
That does not pretend to be modern. If it was submission, the laws of any given perspective as useless.

217
00:28:57,560 --> 00:29:04,450
It is the marvellous faculty of tending to why this set of realities that healthy from the realm of our experience,

218
00:29:04,450 --> 00:29:10,040
of bringing them together and drawing thought from that content govern within reach of our senses.

219
00:29:10,040 --> 00:29:15,180
Abstract figures in dub, the same intensity, the same relief as other peoples.

220
00:29:15,180 --> 00:29:24,160
And of this, or impious in our own memory by the previous frame of reference, is this fact to present sustained sutta today?

221
00:29:24,160 --> 00:29:30,880
And more. We know how to make a locomotive alive in a picture as the use of slow motion,

222
00:29:30,880 --> 00:29:39,310
fast motion cameras becomes more gine as we grow accustomed to seeing apes and antelopes flying through the air.

223
00:29:39,310 --> 00:29:45,190
We begin to falsey with extreme emotion. What this time space which people are talking maybe.

224
00:29:45,190 --> 00:29:51,730
Who knows what we may be preparing for escape one day from the principle of identity

225
00:29:51,730 --> 00:29:56,080
because of his determination to have done the swindling mysticism of a still life.

226
00:29:56,080 --> 00:30:02,320
He projects before our eyes the this captivating film in the world.

227
00:30:02,320 --> 00:30:05,840
So what? What, what?

228
00:30:05,840 --> 00:30:12,700
So what reference is to see in these in these collages?

229
00:30:12,700 --> 00:30:19,600
Is a collapsing of the kind of rules of the old rules of time and space, a capsule setting.

230
00:30:19,600 --> 00:30:30,790
And this image supposed to image, which was most famously described by the surrealists in terms of the 19th century,

231
00:30:30,790 --> 00:30:40,250
put Isidore did pass the company look FAMIL, who wrote a very violent Gothic prose poem called The Songs about the whole.

232
00:30:40,250 --> 00:30:46,860
They're showing the mouldable and one of the phrases in that which follows up food minifie.

233
00:30:46,860 --> 00:30:52,820
You know this as beautiful as the chance encounter on a bus, it can take all the same.

234
00:30:52,820 --> 00:30:58,680
She and an umbrella. I mentioned the songs with I mentioned eighty seven point three together.

235
00:30:58,680 --> 00:31:03,100
Complete like things on a sub, thanks to both of them.

236
00:31:03,100 --> 00:31:11,830
The idea was that this this conjunct could only really come unconsciously, that it couldn't actually be false.

237
00:31:11,830 --> 00:31:20,120
And it's that kind of image that that made man identified in in its collages.

238
00:31:20,120 --> 00:31:26,600
This extraordinary selection of unlike things which produces this perfect magic,

239
00:31:26,600 --> 00:31:36,340
iStock, which he thought was really was the equivalent of automatic poetry.

240
00:31:36,340 --> 00:31:45,820
Louis Havel wrote an essay about collages in the preface to an exhibition called The Control or Defeat.

241
00:31:45,820 --> 00:31:55,660
This, again, is kind of challenging painting. And he said that if their demands are Tinchy because of the way it has nothing against

242
00:31:55,660 --> 00:32:04,480
is absolutely opposed to painting a painting he says has a beginning and also an end.

243
00:32:04,480 --> 00:32:15,780
It is, he said, can't be a luxury product. Whereas collage is made from poor materials and Argo tells a little incident.

244
00:32:15,780 --> 00:32:25,910
He's talking about the way so many different artists are using collage of some kind, using some kind of extraneous material on the picture.

245
00:32:25,910 --> 00:32:30,880
He trace it back to Kubis, who, of course, introduced real things into their paintings,

246
00:32:30,880 --> 00:32:38,770
introduced a cigarette packet or introduced a bit of sound or introduced newspaper.

247
00:32:38,770 --> 00:32:49,360
And that, Aragon says, was actually more to do with testing out reality, with introducing the individuals into the into the painting.

248
00:32:49,360 --> 00:33:02,380
These are the face off of all the different colours. And he talked about Picasso also using Sakshi on his paintings using very, very rough materials.

249
00:33:02,380 --> 00:33:09,290
And apparently, one of the cases of Moreau's Kaminen was an extremely beautiful silk.

250
00:33:09,290 --> 00:33:17,510
And so if to use this instead of a between the point at the end of the 20s,

251
00:33:17,510 --> 00:33:32,980
next insulted a series of novels in which he cut up 19th century engravings and constructed these extraordinary little mini narratives of of a very,

252
00:33:32,980 --> 00:33:36,340
very strange, extremely to. These engravings.

253
00:33:36,340 --> 00:33:41,890
This one is from the first of these collection, more hopeful that found some text, which translates hard.

254
00:33:41,890 --> 00:33:50,200
Was that hit this woman or woman the hundred? It's not quite the immaculate conception.

255
00:33:50,200 --> 00:34:13,760
And I, I just want here to refer to a group in Chile, the main federal group, which I took briefly last week, and a lot of other curious,

256
00:34:13,760 --> 00:34:20,360
curious the critical relationship that occurred as a result of one of the artists

257
00:34:20,360 --> 00:34:27,880
linked to this group practising a coloured engravings based on access mandragora.

258
00:34:27,880 --> 00:34:34,030
This is, of course, a photo collage by this office for Exodus.

259
00:34:34,030 --> 00:34:42,340
This is the part of the one that some of his photographs reproduced in Mandragora.

260
00:34:42,340 --> 00:34:47,720
And this is one of the engravings in in the Devora.

261
00:34:47,720 --> 00:34:56,980
And he's Cassius wrote a book of poems which he illustrated with engravings and photographs that he called Monument to the Birds.

262
00:34:56,980 --> 00:35:00,040
And he sent copies to people in Mexico.

263
00:35:00,040 --> 00:35:12,820
Benjamin Petitt, who is some of the greatest friend we could keep, and the warning in a letter of December 1942 to Exodus and Paris follows.

264
00:35:12,820 --> 00:35:19,600
Everyone at some time has been more or less influenced by the works of his predecessors in Monument to the Birds.

265
00:35:19,600 --> 00:35:25,860
I think the influence in that sense is so invasive that it hides in tongue pocket hazardous.

266
00:35:25,860 --> 00:35:33,880
This is serious at any price. You must forget that sense from the other surrealists in order to find yourself.

267
00:35:33,880 --> 00:35:41,380
Otherwise, you risk paraphrasing someone or rather without the personality of hawking hazardous managing to detach itself,

268
00:35:41,380 --> 00:35:49,870
I think to the collage has become very difficult to use as a means of expression unless its elements can be completely removed.

269
00:35:49,870 --> 00:35:55,480
It is used by militants have become obviously unusable by anyone else.

270
00:35:55,480 --> 00:36:01,420
The best thing would be, in my opinion, to look for new automatic procedures.

271
00:36:01,420 --> 00:36:09,040
Surely there was some, but no sort of yet. Well, I'm fortunate I didn't have a happy ending to this story.

272
00:36:09,040 --> 00:36:13,660
I didn't Pessaries, as far as I know, it veridical more.

273
00:36:13,660 --> 00:36:19,090
In fact, he took up ballet and died quite young.

274
00:36:19,090 --> 00:36:26,010
I think this letter confirms the point that surrealism never sought to establish style.

275
00:36:26,010 --> 00:36:33,040
That's that's one of the things I want to insist on. And it never sought to spread a given form of expression.

276
00:36:33,040 --> 00:36:42,090
It wanted people to discover their own form of work, to explore their own automatism, if you like,

277
00:36:42,090 --> 00:36:48,070
and emphasise that because it's very contrary to quite malicious characterisations,

278
00:36:48,070 --> 00:36:55,600
surrealism by Electro Carpentier, who was the kind of inventor of magical realism.

279
00:36:55,600 --> 00:37:02,060
And he describes it as follows. The dream technicians became bureaucrats fault poverty of the imagination.

280
00:37:02,060 --> 00:37:09,110
Munoz said his learning codes by heart. Today, there are codes for the fantastic.

281
00:37:09,110 --> 00:37:13,730
It may be that this actually has become a problem with surrealism.

282
00:37:13,730 --> 00:37:16,880
When you say surrealism, as people think Salvador Dali,

283
00:37:16,880 --> 00:37:24,800
you don't think of really anybody very much film that there is a kind of codifying the fantastic,

284
00:37:24,800 --> 00:37:35,980
if you like, a codified degree with Dulli, which which is the more damage to a patient's rooms of them than anything else.

285
00:37:35,980 --> 00:37:40,610
So this is something that there is no such thing as a sort of subtle. OK.

286
00:37:40,610 --> 00:37:51,980
Everything in the senses is a certain degree, not the way I want to look at is objects.

287
00:37:51,980 --> 00:38:02,260
And I want to leap from that to insulations. 1936 was the history of objects crime in all its diversity.

288
00:38:02,260 --> 00:38:08,060
And there's a special issue of the review I had just given every time to it.

289
00:38:08,060 --> 00:38:14,480
And this is a method you can see. You see the caption there.

290
00:38:14,480 --> 00:38:23,960
This is one of the mathematical objects that memory and a friend has discovered in the Plunker Institute in Paris.

291
00:38:23,960 --> 00:38:32,230
These are quite extraordinary objects. And they were there to demonstrate certain kinds of mathematical geometrical equations.

292
00:38:32,230 --> 00:38:35,210
Did a series of photographs of them.

293
00:38:35,210 --> 00:38:48,230
And this is another illustration from the KDAF is issue, including sculptures with incorporated ready-Made elements.

294
00:38:48,230 --> 00:38:52,920
Another page with with with a telephone, a sardine can.

295
00:38:52,920 --> 00:39:01,220
Bottom left is a time of the object bulges at Como, which is on the bones with Victorian glass cases.

296
00:39:01,220 --> 00:39:04,850
Top brass is the work I talked about a little bit last week.

297
00:39:04,850 --> 00:39:15,200
The three stand is Socrates by Marcel Duchamp. And at the bottom, a photograph by himself, a photograph of the doll.

298
00:39:15,200 --> 00:39:21,190
And as if the work is a photograph of the doll, the doll exists as a physical object.

299
00:39:21,190 --> 00:39:25,070
But there's always negation, different positions.

300
00:39:25,070 --> 00:39:37,010
So these very various things are there as part of the exhibition and the catalogue arranged these objects in the following categories.

301
00:39:37,010 --> 00:39:47,330
Natural objects interpreted natural objects, incorporated natural objects, perturbed objects, far objects, interpreted found objects,

302
00:39:47,330 --> 00:39:56,030
American objects as Ziani objects, mathematical objects, readymades and assisted readymades unserviced objects.

303
00:39:56,030 --> 00:40:15,770
So if objects are another category within this much broader group of four objects and in 1941 several value had

304
00:40:15,770 --> 00:40:24,050
introduced to the idea of a sort of object in the magazine silvania themselves Stockholm assume with example,

305
00:40:24,050 --> 00:40:32,240
find himself. Can you go to any law and apply himself now?

306
00:40:32,240 --> 00:40:41,690
I think these can be traced back. The values should be objects and the great glass of the objects in the mid 30s to a very

307
00:40:41,690 --> 00:40:47,540
important text of bookings for the introduction to the discourse on the paucity of reality.

308
00:40:47,540 --> 00:41:01,430
1924, same year in Memphis. And in this text, he leaks two apparently incompatible human needs, needs, greed and the desire for verification.

309
00:41:01,430 --> 00:41:08,910
He's complaining that we didn't give so much credit to the testimony of a poet because

310
00:41:08,910 --> 00:41:14,990
he do the testimony of an explorer and he thought it was it's as as a human experience.

311
00:41:14,990 --> 00:41:21,800
That testimony is just as real as the testimony of somebody who's taking a pill and then unconscious.

312
00:41:21,800 --> 00:41:33,470
Then it's overlapping Panopto. And he says the human fetishism, which must turn in the white helmet or caress the football.

313
00:41:33,470 --> 00:41:39,350
This is with an entirely different ear to the cycle by expeditions.

314
00:41:39,350 --> 00:41:42,840
So I'm not quoting this. This is passive.

315
00:41:42,840 --> 00:41:54,350
The recall, as it were, of us that thinks about this 1924, thinks about the object to satisfy the desire for perpetual verification.

316
00:41:54,350 --> 00:41:58,310
I recently proposed to fabricate insofar as possible,

317
00:41:58,310 --> 00:42:04,670
certain objects which are approached only in dreams and which seem no more useful than enjoyable.

318
00:42:04,670 --> 00:42:08,460
Most recently, while I was asleep, I chemicals or.

319
00:42:08,460 --> 00:42:15,780
He was put in an open air market in Somalia, the back of the boat was formed by Wooden Known,

320
00:42:15,780 --> 00:42:20,760
whose wife feared kicked in the Assyrian manner, reached to his feet.

321
00:42:20,760 --> 00:42:27,840
The statue was ordinary sickness that did not prevent it from turning the pages, which were of heavy black cloth.

322
00:42:27,840 --> 00:42:36,120
I was anxious to buy it. And upon waking sorrow not to find it when it is comparatively easy to recall it.

323
00:42:36,120 --> 00:42:43,770
I would like to put into circulation certain objects of this kind which appear eminently problematical and intriguing.

324
00:42:43,770 --> 00:42:53,580
I would accompany each of my books with a copy. Perhaps in that way I should help to throw further discredit on those creatures and things of reason.

325
00:42:53,580 --> 00:43:03,960
Who? There might be other machines with very scientific construction plans for many cities which might be mined out up, which,

326
00:43:03,960 --> 00:43:10,740
although I would never carry them out, at least might classify the present and future capitals absurd automatons.

327
00:43:10,740 --> 00:43:19,210
Perfect. The last degree, which would function like nothing else on Earth, might give us an accurate idea of action.

328
00:43:19,210 --> 00:43:24,690
We'll to emphasised in this in this passage as an issue of discrediting the utilitarian

329
00:43:24,690 --> 00:43:29,220
objects of their day in favour of objects that the some other kinds of need,

330
00:43:29,220 --> 00:43:32,330
that one profound greed. Didn't know what it was you needed it for.

331
00:43:32,330 --> 00:43:42,090
If you wanted it such as fetishise, I think the science fiction aspect of reference, imagining objects, not text, is also very interesting.

332
00:43:42,090 --> 00:43:49,650
And it relates to the sort of Silow with modern physics that reached the peak in the 1930s.

333
00:43:49,650 --> 00:43:56,610
So we don't formally launched the suit adopted. This is a this is a page I was I was talking about.

334
00:43:56,610 --> 00:44:02,900
So as we said, this stuff, Olufsen. He took the fetish aspect of the object as a starting point in the sense that a serious

335
00:44:02,900 --> 00:44:08,180
object should be made in real materials whose normal function aspect was overwritten.

336
00:44:08,180 --> 00:44:14,830
You develop the notion of the symbolic functioning object. And he decides that as an object.

337
00:44:14,830 --> 00:44:19,670
And if you can see it's not a very good put together unless you have two hands.

338
00:44:19,670 --> 00:44:23,730
One is wearing a white glove and holding it for this dust.

339
00:44:23,730 --> 00:44:32,040
The other is wearing a red plastic glove. And it's just slightly lifting the low off the cuff of the glove of the hand.

340
00:44:32,040 --> 00:44:38,000
It's extraordinarily erotic gesture. And of course, it doesn't actually move.

341
00:44:38,000 --> 00:44:49,680
But the suggestion of movement is very sommore. And the duns object is the shoe, which is place on the island for sand suspended from a rope above.

342
00:44:49,680 --> 00:44:55,590
It is a sugar lamp with another image of the shoe in it, which is meant from the glass of milk below.

343
00:44:55,590 --> 00:45:01,130
This is this is something that Dulli himself invented in his youth.

344
00:45:01,130 --> 00:45:04,250
It's already made it all materials. None of it is actually a sculpture.

345
00:45:04,250 --> 00:45:11,460
It's all things taken from everyday, like the shoe, which is a classic fetish, and the other the other bits and pieces.

346
00:45:11,460 --> 00:45:21,110
And what you hope is that it will that it would be a kind of an irritant that you want to irrigate with with this implied movement.

347
00:45:21,110 --> 00:45:27,300
And the this is another scrape in the same issue of the magazine.

348
00:45:27,300 --> 00:45:35,070
These are linked to the object. The model for this was the work on the right hand side here, which is Japan.

349
00:45:35,070 --> 00:45:43,540
It is suspended for which Dulles's is a perfect symbolic, symbolic function object.

350
00:45:43,540 --> 00:45:48,950
Said that Facil Asoka which which Rovell, which is not his idea.

351
00:45:48,950 --> 00:45:55,800
Whose idea was these should be in order to carry that kind of to carry the charge that was needed.

352
00:45:55,800 --> 00:46:04,620
They should actually be real things. They should actually have something they should have breached in human experience somewhere.

353
00:46:04,620 --> 00:46:12,630
This is a page. Another page from the same issue, definitely called dumb mobile objects.

354
00:46:12,630 --> 00:46:19,280
And these are sketches, drawings for sculptures, some of which Jacklin, if you did me.

355
00:46:19,280 --> 00:46:29,080
Again, I'm interested in is this notion of movement as a movement which is implicit rather than actual.

356
00:46:29,080 --> 00:46:33,500
But it seems to correspond to that idea that that's modern.

357
00:46:33,500 --> 00:46:43,440
You sort of I mentioned last week of the flight the importance of the flight of thought of the flight of images in the form of surrealists.

358
00:46:43,440 --> 00:46:49,290
And this is see the see the pulse of a jackhammer is suspended ball,

359
00:46:49,290 --> 00:47:00,030
which is a sculpture, I think of it has been extremely, extremely closely analysed.

360
00:47:00,030 --> 00:47:06,280
It's a very, very, very interesting object. It's it's obviously has a sexual charges.

361
00:47:06,280 --> 00:47:09,240
What was this? Because that's a. Mike Sweeney.

362
00:47:09,240 --> 00:47:17,910
And then a flirt, but as it were, which is man, which is female, is something that you might disagree about.

363
00:47:17,910 --> 00:47:27,060
In a sense, it's it's reversible. It could be either. It's also, I think, to do with cell phones and songs you could think of.

364
00:47:27,060 --> 00:47:36,870
It isn't. I mean, because Melanie doesn't do it as a rule. It's gotten sort of a range of metaphorical possibilities.

365
00:47:36,870 --> 00:47:45,180
This is the cover of the catalogue. Two different objects. And I need to go on to some of these.

366
00:47:45,180 --> 00:47:49,590
These are some fun and some interpretive and some natural objects.

367
00:47:49,590 --> 00:47:57,480
On the bottom left is a wonderful photograph by Dora mom of it's actually apparently it looks rather frightening.

368
00:47:57,480 --> 00:48:02,940
Looks like a sort of a bland creature. It's apparently baby armadillo.

369
00:48:02,940 --> 00:48:12,810
That's what it's called. Pelton. American objects.

370
00:48:12,810 --> 00:48:22,460
I want to quickly now just look at a couple of other examples of objects.

371
00:48:22,460 --> 00:48:27,750
Britain found that his idea of the simple functioning object too fussy.

372
00:48:27,750 --> 00:48:39,700
And he said that he found far more moving and evocative and erotic the ability for electricity, which which is two sheets of gold,

373
00:48:39,700 --> 00:48:43,290
which when you when you take magnetised signature screen apart,

374
00:48:43,290 --> 00:48:50,290
suddenly this to him actually much more effective than than the very elaborate symbolic objects that Dunn made.

375
00:48:50,290 --> 00:48:58,240
And there was a trend about 36 percent, four objects like some very simple, but it's a little bit simpler.

376
00:48:58,240 --> 00:49:04,050
This is an object by code car who is much better known, I'm sure, to you as a photographer.

377
00:49:04,050 --> 00:49:09,880
This is one of her self portraits possibly taken with Suzanne Malveaux.

378
00:49:09,880 --> 00:49:18,950
And when we talk about Genda coming back to this wonderful photographer, a lesbian activist,

379
00:49:18,950 --> 00:49:26,310
but she did me three objects, fortnightly statistics, exhibition, Char Vetle gallery, which this is.

380
00:49:26,310 --> 00:49:37,620
I think that anyone that survived. She she's an artist who has emerged briefly recently.

381
00:49:37,620 --> 00:49:46,280
She was thought to be a man at one time. The photographs slowpoke was thought to be male and was in 1986.

382
00:49:46,280 --> 00:49:54,150
This object emerged from the dealer who's been just keeping it quiet all the time.

383
00:49:54,150 --> 00:50:02,700
It hasn't scriptural base, which is gives the masses is a revolution song.

384
00:50:02,700 --> 00:50:09,840
Anyone who fits will will suffer forced labour.

385
00:50:09,840 --> 00:50:15,420
This is a collage of two phrases from different faces. One it one is a sort of a very, very common phrase.

386
00:50:15,420 --> 00:50:20,730
The term, the popular front mossie is as it is, a revolutionary song.

387
00:50:20,730 --> 00:50:26,850
And the other is actually which is printed on Belgian banknotes that.

388
00:50:26,850 --> 00:50:31,950
But the opiate itself, the size of it.

389
00:50:31,950 --> 00:50:35,850
The eye does the kind of. I'm in the middle.

390
00:50:35,850 --> 00:50:41,420
It is a tennis ball is painted tennis ball. Behind it is a car.

391
00:50:41,420 --> 00:50:52,910
And the references are very clear. I think to to the daily Buñuel finishing the loop, which opens with it with a sense of if it's.

392
00:50:52,910 --> 00:50:57,860
And and I think the vagina. And it's extremely troubling object.

393
00:50:57,860 --> 00:51:08,310
And if anyone's read your sister. Sorry, they are. I think you recognise a very, very precise reference in this subject.

394
00:51:08,310 --> 00:51:13,860
And then I would end with with installations.

395
00:51:13,860 --> 00:51:24,750
But I have to try to build up to really is is the way that the idea about the object being part of everyday life.

396
00:51:24,750 --> 00:51:29,550
I mean, these objects that are both not utilitarian but are made from real things.

397
00:51:29,550 --> 00:51:38,750
This this this kind of bounce that that the service infested in we took took over the exhibitions

398
00:51:38,750 --> 00:51:47,400
in 1938 that this episode of exhibition held at the Bulls are gonna have a kind of selloff,

399
00:51:47,400 --> 00:51:56,250
which if this is a I couldn't see the photograph with a little history of objects in it, with a real brazier, with a real fade into the real pond.

400
00:51:56,250 --> 00:52:04,830
The real bra, graphs and tweeks, paintings and other objects and the ceilings and Qiqi concepts of code.

401
00:52:04,830 --> 00:52:16,780
So it is the home environment. To embrace you, if you love and provoke provoke a kind of a frisson like feel.

402
00:52:16,780 --> 00:52:24,210
And so it would be part of the entire thing top an entire environment.

403
00:52:24,210 --> 00:52:35,140
And so I want to come back to the island as I started it, which is which is contemporary.

404
00:52:35,140 --> 00:52:38,590
Richard, recent book. He's an artist, too.

405
00:52:38,590 --> 00:52:47,580
I'm not saying that he is a service, that he's working with this sort of extended form of of of medium that the sweetest object.

406
00:52:47,580 --> 00:52:53,730
And those are the kinds of objects actually opened up. And I will end with this.

407
00:52:53,730 --> 00:53:01,260
And one of the work of his. This film is called Mission Missions How to Build Cathedrals.

408
00:53:01,260 --> 00:53:07,500
And it was commissioned for a group exhibition to commemorate the seven Jesuit mission secondments found in the region.

409
00:53:07,500 --> 00:53:14,840
Joining does not suffer Zill, Paraguay, Argentina and Uruguay between 16, 10 and 1767.

410
00:53:14,840 --> 00:53:26,030
The structure is Hobsons above and 600000 coins below.

411
00:53:26,030 --> 00:53:33,180
Within one centavos in the original version linked by a column of communion wafers.

412
00:53:33,180 --> 00:53:34,830
That's what the poem is.

413
00:53:34,830 --> 00:53:47,460
It's all communion wafers and everything resembles a cold, logical model of fondler regions, but one in which the heavens are nothing but bones.

414
00:53:47,460 --> 00:54:00,750
Meredith's father has a mathematical equation. Economic PA coins, spiritual path, wafers equals tragedy or the human condition or death.

415
00:54:00,750 --> 00:54:06,700
The notion of transubstantiation is shocking and materialised is the way the path leads up to it.

416
00:54:06,700 --> 00:54:15,210
Who's Parfit Zonk with black humour? I think you could also make a case with, as a sort of surrealist image,

417
00:54:15,210 --> 00:54:19,980
bringing together disparate things and creating, in this case, iconoclastic spot.

418
00:54:19,980 --> 00:54:27,950
And that's injunction's as simply equipped with 19 2008 to catalogue of silver medallist,

419
00:54:27,950 --> 00:54:33,360
his forms introduce new configurations of the unconscious within the social field,

420
00:54:33,360 --> 00:54:38,460
breaking the dominant references to the dominant symbolism behind this.

421
00:54:38,460 --> 00:54:43,580
There is again, the reality is acute awareness of a colonial history, which is still ongoing,

422
00:54:43,580 --> 00:54:47,700
although mission missions is made in response to a very specific history and geography.

423
00:54:47,700 --> 00:54:55,430
It is transferable anywhere as an image of the complex relations with spiritual material and economic power.

424
00:54:55,430 --> 00:55:00,172
Thank you.