Good evening, everyone. Thank you for coming to the second slide lecture, can everyone hear me?
I have just the position of the mike amphitheatres more easily.
Audible Who is is it okay. Thank you. Thank you.
I'm going to be talking about these collages.
Objects installation is the top of the lettuce field painting on the spectrum.
Last week's lecture already attended is quite general introduction to certain key concepts,
strategies and practises and surrealism, which I think are heavy, still very vital today.
Last week I saw the communism and chants and ended up discussing the Crystal Room in London, which has just been dismantled.
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,
which is called How to Build Cathedrals. And I am going to be talking about how and why or how it is Whinfield painting
for life and what what made it possible for just everyday things to be so,
so expressive for artists in the 20th and 21st centuries?
I have to say I'm afraid so. This week is something of a collage.
It's it's a because there are so many wonderful passages from the surrealist writers about this topic, about beyond painting, about collage.
I have wanted to do it in full. So so forgive forget that it might make for psychological progress.
The beginning, the further back, though, as an introduction,
another introduction to the two characters at the very beginning of the movement
and the and the nature of this group that became called the settlers movement.
This is a Pinkham Biomass Food local MP who does any meeting of friends and party just to
allow you to put a face to some of the names of the artists that I should be talking about,
Max, out himself. He's there sitting on the knee of Dostoyevsky.
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,
mocking his hockey, his dominant position and holding his hands up in his in a gesture which I suspect somebody would identify for me.
And I'm not sure it's to do with dumb language or whether it's actually a sacred gesture.
One of the other possibilities for that is football. And if you Chirikure is behind it and you are valid, does that help?
Our business is done here. Another someone who we shall meet at various points is at some point amongst Pepé.
And the great service, in my view, is to seek it here. It's it's I hope you said about this.
It's a it's a portrait of a group that was really quite close.
They like to think of themselves as a collective. They were very, very close.
And one of the things that I shall be talking about it is I developed the relationship with Latin America,
which is going to be the longer term strand of the of electorate's will be the nature of the work of
the groups or individuals who became affiliated and how they became affiliated with the surrealists.
It wasn't easy because, as I say, it was quite farter and impose the exclusive group.
And it was very easy to get excommunicated if you offended, put on it.
For example, you published your work in the wrong magazine or if you produced a set for a ballet.
These were things that were not actually allowed within the inside of it.
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.
The movement itself was founded in 1924, and there are several photographs, often at various stages in the life of movement.
So then just a little bit about the expansion of surrealism outside outside Paris, outside France,
as shown in later lectures, be taking specific kind of case studies of particular places,
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.
This is the Silver O'Toole du Monde. I'm not very good at putting the science together.
It shows a selection of publications, exhibition catalogues and so on from really all over the world.
Since about 1937 38, I think this, as you can see there, the surrealist in Japan, even Czechoslovakia surrealism and the salvia.
And here is the exhibition that took place in 1935 and in in Peru.
And I was able to talk more about Mexico.
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.
This is quite an interesting question, because doesn't it, in a sense,
try to position itself separately from other advanced so both loops in their own field,
but very often abroad, they they were presented to the public through magazines like this one most contemporaneous, which is a very rare magazine.
Unfortunately, No. Of Mexico. It was the magazine that was published by a group of avant garde poets and.
Writers and artists who were innocent sitting so culturally against the muralists and they provided a different kind of forum.
They were amongst the first to reproduce of Atlanta, a rare Gramsci man, Ray, for example.
And another example of an avant garde magazine, Vido Americana, May 1921.
And you can see North, Central and South American, the ongoing review.
And at the top, interest in it says, we shall not have a Hispanic Americans literature.
What it means by that. I will talk about a bit later.
I think they were they were trying to identify themselves with a specific Mexican literature that can run on one of it.
So I would say a little bit more about the group's funding movements of the of the group with the experience.
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.
I was talking last week about the rejection of painting by Max Novis, by IBM and so on,
and the kind of painting that they were rejected and say, you know, this cannot actually come as a kind of alternative.
Just thinking is something like nascence. Great picture.
Who picked up or evolution by night? It's in the tape gallery.
It is a stunning painting. And despite the objections to this as to innocence, to descriptive, for something to be truly automatic,
we're talking about the importance of automatism as a means to reach some other level of faught activity.
Can Uncompress the default activity? The idea was that or to represent a dream, the problem was with dreams.
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.
So it's no longer actually drawing this thread. I was trying to talk that last back into the unconscious.
So this painting, I mean, one could spend a long time talking about this particular painting.
It's so often in that sense, it's actually quite a learning painting.
People are historians have spent many, many years digging out Mattson's sources, of which there are many.
I just want another one for this, which I'm going to show you in a second.
But the point really, I think, is that it was is referring to his very Freudian relationship with his father.
It's very Oedipal painting, but it's that we can reverse beautiful painting in that it's not the son killing far,
but it's the son actually being being carried apparently dead in the father's arms.
And the reference is obviously to appear to one is more familiar with little Petare as a mother cradling the dead.
But in fact, in in Germany, there are guitars with the father holding Christ.
And I think so it would be interesting to consider how far this might change.
The way we look at the safety of Astros' itself turned to stone because it went catatonic state.
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.
And this is one track, the source of that, too.
Berton's description of these senses in a magazine called Beat about your ironic they call Richard UCU in 1922,
called into the Mediums and he records the conversations that took place between the different members of the group,
one of whom would be in a trance, one who would be completely, completely unconscious of what was going on.
The self never managed it.
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.
And they could answer. They could actually it was wrong. Although they were not aware of what they were doing.
And all of the exchanges is about. And the and the answer from I did not think, well.
He's wearing the white coat of the south at the. Is actually, you know, he he's referring very directly to those exchanges.
It is a it could also be a painting that emerged from a dream.
I also am fascinated by the possibility that it's it doubles or triples, in a sense.
It is for some Holy Ghost. You could say it's also such a painting drawing.
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.
And so it sense set himself, in a sense, to exploring something that would be an equivalent to automatic writing.
And he discovers what he called photomontages problems forte's to box.
It's like it's like making making copies of rubbing, rubbing it to a tombstone.
And this is the first page of what he published as an album called Unnatural Natural History.
And there is there is a subject, sort of a natural history,
which I which I which I think needs to be new to a lot of very, very, very interesting material in this area.
So I'm going to read in that sense description.
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.
He places photos and collage under the sign of soonish automatism.
And I'm going to quote this description of the discovery of Polish, because, as he puts it, it's very precise.
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.
And insupportable visual obsession caused me to discover the technical means which have a carbonisation of Leonardo's lesson.
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.
And he is love. Luckily for college and what he does with it, to learn all those lessons, beginning with a memory of childhood.
In the course of which, a panel of false mahogany situation in front of my bed that played the role of optical provocateur,
of a vision of prophecy and finding myself one rainy evening in a seaside inn.
I was struck by the session that showed my psychic gaze, the floorboards upon which a thousand scrubbing could deepen the grooves.
I decided then to visit the symbolism of this obsession. And in order to aid my meditative and hallucinatory faculties,
I made the boards a series of drawings by placing on them at random sheets of paper, which I took.
I'm Robert Blackleg. Besides the fact that the drawings.
That's a shame. Stephanie Luce, thanks to a series of suggestions and transmutations appearing to them spontaneously.
The character of the material being studied would assume yes,
it unbelievably kit images of a nature probably aim to reveal the first cause of the obsession of Jews for seniors up there.
So he he does hundreds of these drawings, beginning with an engaging tend to be the drawings that's obtained,
the dark passages, and there's a lot of penumbra. I was surprised by the sudden intensification, by visionary capacities,
by the hallucinatory succession of conflict images superimposed one upon the
other with the persistence of quiddity characteristic of amorous memories.
My curiosity awakened and astonished. I began to expand in different kit into question,
utilising the same means all sorts material too far to my visual field leaves and there things the regulators with it,
meaning the brush strokes, brushstrokes with modern painting. Young ones read school, etc.
Then I discovered human heads. Animals that baffled ended with a kiss.
Did he choose? He selected a group of these four parties and put them together in Nowthen, which actually has a sequence.
There's no doubt that he doesn't. His final two Olympic history.
London. It is a kind of natural history. References Kinney references before in his own way as a kind of irony.
All. It's a question, if you like, of categories questioning of how the soul of the world,
the growth of the world, the history of the world has been told in the past. Few articles have changed many, many times.
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.
I mean, I think that one has to admit that they are to a degree automatic and heat.
He emphasises that Thomas is not in that text and say he didn't know what he did.
He didn't understand why these these very deeply moved fútbol fascinated him.
Everybody loved it. But something emerged that suggested an image that suggests because of the obsession,
they are actually closure's, but they are so extraordinarily delicately done.
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?
Can't really tell. But they that they are very, very carefully put together.
Collages. So don't imagine that that was all produced in one session with the floorboard.
It wasn't quite at this. I think is is quite typical in a sense.
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.
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.
And then the next one is very close. And it's it's it's as if it's the creation of the song.
Something like that is not literal,
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.
Then there's the the emergence from the waters of the lances called the Pampas.
And I think recognising probably or at least he wants you to see in the upper part of that tree a fossil,
it looks as if he's actually rubbed a fossil on the fossil has then become the the branches and beliefs of trees.
But you can see the transformative nature of the of the effect.
The rubbing with the material actually begins to metamorphosed into something else.
There is a whole series of plates on plants and like this one.
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.
And there's a different kind of material, different texture behind it with the shadow.
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.
It's not really an echo. It's a different shade, something different. The he's in the back.
There is one called the habit of leaves, presence and absences.
Chestnut leaves one of my favourites, which is a kind of chestnut insect.
It's a kind of plaque insect. This is really fascinated by these hybrid,
these things that can't quite be categorised properly as either plant or animal, as either animal or vegetable.
And so on. So this is a teenage lichen. And the wheel of light, which is a very elaborate.
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.
He's he's rubbed the leaf, which produces the background to the eyes of the eye.
And, of course, the surrounding also, which is not really seen something else that has been rubbed, abuses of this extraordinary image.
There are there are there kind of a bringing together of the metamorphosis of materials,
a sort of magically consternation, materials and juxtapositions that are quite striking, metaphorical juxtapositions.
And the fun was the beginning with the creation of the world and the woman.
This is very much so through its natural history and with Eve.
The one next to us, which actually. So this is a painting.
So proctology is, well, very important for artist as well to affirm his position in relation to the to the smallest movement.
And in the same TextField painting, he also talks about his collages.
And this one I just went to. Mention a very important essay by Bulford, Benyamin, the 1928 and demands are taking on surrealism.
Latest shoot snapshot of the European intelligentsia. It's often translated, this is lost.
Snapshots go to feel pain, intelligence as though Susan was already at an end.
In fact, it's the latest slips, the latest set for Europe intelligentsia and observe that intellectual currents can generate
a sufficient headed water for the critic to install his power station and the current.
He felt that power, his appreciation through Amazon was flowing somewhere else.
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.
And he said the level of revolution energy in surrealism was profound and profound illumination.
A materialistic anthropological investigation. Magical experiments with words.
The radical concept of freedom. The purpose in the city. Esoteric law or face realism with the head of the gradient.
Now he just read three of the most important sort of books that really establish surrealism as the foremost intellectual,
poetic movement of the time in Europe. He had read an idea addles Paris peasant and others on his treatise on style.
And is about is this is it the ruffians of the circle? Not literature, but something else.
Demonstration's what further documents Bluff's forgeries, if you will.
But anyway, not literature. That is some literature with experiences, not the periods and stillness with phantasms.
So I think it's very interesting that this is not literature is somebody else's documents that some of the kind.
And so the question that when I began to if I'm going on collaging objects, the question is what?
What were the artists doing? Similarly, to avoid the more traditional forms of expression.
How are they going to produce something that was related more directly to experience?
Now, the. This is one lucky 21.
Oh, yes, 19 to 21 colleges that Max made while he was still in Germany.
He's not unable to leave under the British occupation.
Finally, he got out using any false passport and lived under undercover footage in Paris.
But these these collages can't close.
This particular one is called Fizi Mythological Flood Picture, and it consists of couple photographs and cut out reproductions.
So I think what it probably is, is a kind of parody of the mission of the new man.
This shows a human with a dinosaur's pull with a book.
There's a dinosaur in the background. I like to mention that some great dinosaurs here.
And a bird head. So it's a hybrid creature.
It's a it's a you know, it's an exotic conjunction of different things.
And so I mention this because there is a great deal of of anachronism in service.
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.
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.
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.
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.
You can you can pick up one or two of the creatures at the well in the bottom left hand corner and the.
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.
It's not a question of adding. It's a question of taking well and making some very strong perspective room.
It is an effort to chirikova above it.
And I know another quotation of which I think is extremely important from the preface that read en route to the exhibition.
These collages that took place in Paris in 1921. These these collages sort of ontologies over paintings were unpacked by the
little surrealist group and with the reference sensation of absolute amazement,
didn't see anything quite like this before. And this is what Republicans preface the invention of photography with the
invention of it has dealt a mortal blow to the old modes expression in paintings,
letters and poetry. The belief in an absolute time and space seems to be vanishing.
That does not pretend to be modern. If it was submission, the laws of any given perspective as useless.
It is the marvellous faculty of tending to why this set of realities that healthy from the realm of our experience,
of bringing them together and drawing thought from that content govern within reach of our senses.
Abstract figures in dub, the same intensity, the same relief as other peoples.
And of this, or impious in our own memory by the previous frame of reference, is this fact to present sustained sutta today?
And more. We know how to make a locomotive alive in a picture as the use of slow motion,
fast motion cameras becomes more gine as we grow accustomed to seeing apes and antelopes flying through the air.
We begin to falsey with extreme emotion. What this time space which people are talking maybe.
Who knows what we may be preparing for escape one day from the principle of identity
because of his determination to have done the swindling mysticism of a still life.
He projects before our eyes the this captivating film in the world.
So what? What, what?
So what reference is to see in these in these collages?
Is a collapsing of the kind of rules of the old rules of time and space, a capsule setting.
And this image supposed to image, which was most famously described by the surrealists in terms of the 19th century,
put Isidore did pass the company look FAMIL, who wrote a very violent Gothic prose poem called The Songs about the whole.
They're showing the mouldable and one of the phrases in that which follows up food minifie.
You know this as beautiful as the chance encounter on a bus, it can take all the same.
She and an umbrella. I mentioned the songs with I mentioned eighty seven point three together.
Complete like things on a sub, thanks to both of them.
The idea was that this this conjunct could only really come unconsciously, that it couldn't actually be false.
And it's that kind of image that that made man identified in in its collages.
This extraordinary selection of unlike things which produces this perfect magic,
iStock, which he thought was really was the equivalent of automatic poetry.
Louis Havel wrote an essay about collages in the preface to an exhibition called The Control or Defeat.
This, again, is kind of challenging painting. And he said that if their demands are Tinchy because of the way it has nothing against
is absolutely opposed to painting a painting he says has a beginning and also an end.
It is, he said, can't be a luxury product. Whereas collage is made from poor materials and Argo tells a little incident.
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.
He trace it back to Kubis, who, of course, introduced real things into their paintings,
introduced a cigarette packet or introduced a bit of sound or introduced newspaper.
And that, Aragon says, was actually more to do with testing out reality, with introducing the individuals into the into the painting.
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.
And apparently, one of the cases of Moreau's Kaminen was an extremely beautiful silk.
And so if to use this instead of a between the point at the end of the 20s,
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,
very strange, extremely to. These engravings.
This one is from the first of these collection, more hopeful that found some text, which translates hard.
Was that hit this woman or woman the hundred? It's not quite the immaculate conception.
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,
curious the critical relationship that occurred as a result of one of the artists
linked to this group practising a coloured engravings based on access mandragora.
This is, of course, a photo collage by this office for Exodus.
This is the part of the one that some of his photographs reproduced in Mandragora.
And this is one of the engravings in in the Devora.
And he's Cassius wrote a book of poems which he illustrated with engravings and photographs that he called Monument to the Birds.
And he sent copies to people in Mexico.
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.
Everyone at some time has been more or less influenced by the works of his predecessors in Monument to the Birds.
I think the influence in that sense is so invasive that it hides in tongue pocket hazardous.
This is serious at any price. You must forget that sense from the other surrealists in order to find yourself.
Otherwise, you risk paraphrasing someone or rather without the personality of hawking hazardous managing to detach itself,
I think to the collage has become very difficult to use as a means of expression unless its elements can be completely removed.
It is used by militants have become obviously unusable by anyone else.
The best thing would be, in my opinion, to look for new automatic procedures.
Surely there was some, but no sort of yet. Well, I'm fortunate I didn't have a happy ending to this story.
I didn't Pessaries, as far as I know, it veridical more.
In fact, he took up ballet and died quite young.
I think this letter confirms the point that surrealism never sought to establish style.
That's that's one of the things I want to insist on. And it never sought to spread a given form of expression.
It wanted people to discover their own form of work, to explore their own automatism, if you like,
and emphasise that because it's very contrary to quite malicious characterisations,
surrealism by Electro Carpentier, who was the kind of inventor of magical realism.
And he describes it as follows. The dream technicians became bureaucrats fault poverty of the imagination.
Munoz said his learning codes by heart. Today, there are codes for the fantastic.
It may be that this actually has become a problem with surrealism.
When you say surrealism, as people think Salvador Dali,
you don't think of really anybody very much film that there is a kind of codifying the fantastic,
if you like, a codified degree with Dulli, which which is the more damage to a patient's rooms of them than anything else.
So this is something that there is no such thing as a sort of subtle. OK.
Everything in the senses is a certain degree, not the way I want to look at is objects.
And I want to leap from that to insulations. 1936 was the history of objects crime in all its diversity.
And there's a special issue of the review I had just given every time to it.
And this is a method you can see. You see the caption there.
This is one of the mathematical objects that memory and a friend has discovered in the Plunker Institute in Paris.
These are quite extraordinary objects. And they were there to demonstrate certain kinds of mathematical geometrical equations.
Did a series of photographs of them.
And this is another illustration from the KDAF is issue, including sculptures with incorporated ready-Made elements.
Another page with with with a telephone, a sardine can.
Bottom left is a time of the object bulges at Como, which is on the bones with Victorian glass cases.
Top brass is the work I talked about a little bit last week.
The three stand is Socrates by Marcel Duchamp. And at the bottom, a photograph by himself, a photograph of the doll.
And as if the work is a photograph of the doll, the doll exists as a physical object.
But there's always negation, different positions.
So these very various things are there as part of the exhibition and the catalogue arranged these objects in the following categories.
Natural objects interpreted natural objects, incorporated natural objects, perturbed objects, far objects, interpreted found objects,
American objects as Ziani objects, mathematical objects, readymades and assisted readymades unserviced objects.
So if objects are another category within this much broader group of four objects and in 1941 several value had
introduced to the idea of a sort of object in the magazine silvania themselves Stockholm assume with example,
find himself. Can you go to any law and apply himself now?
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
important text of bookings for the introduction to the discourse on the paucity of reality.
1924, same year in Memphis. And in this text, he leaks two apparently incompatible human needs, needs, greed and the desire for verification.
He's complaining that we didn't give so much credit to the testimony of a poet because
he do the testimony of an explorer and he thought it was it's as as a human experience.
That testimony is just as real as the testimony of somebody who's taking a pill and then unconscious.
Then it's overlapping Panopto. And he says the human fetishism, which must turn in the white helmet or caress the football.
This is with an entirely different ear to the cycle by expeditions.
So I'm not quoting this. This is passive.
The recall, as it were, of us that thinks about this 1924, thinks about the object to satisfy the desire for perpetual verification.
I recently proposed to fabricate insofar as possible,
certain objects which are approached only in dreams and which seem no more useful than enjoyable.
Most recently, while I was asleep, I chemicals or.
He was put in an open air market in Somalia, the back of the boat was formed by Wooden Known,
whose wife feared kicked in the Assyrian manner, reached to his feet.
The statue was ordinary sickness that did not prevent it from turning the pages, which were of heavy black cloth.
I was anxious to buy it. And upon waking sorrow not to find it when it is comparatively easy to recall it.
I would like to put into circulation certain objects of this kind which appear eminently problematical and intriguing.
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.
Who? There might be other machines with very scientific construction plans for many cities which might be mined out up, which,
although I would never carry them out, at least might classify the present and future capitals absurd automatons.
Perfect. The last degree, which would function like nothing else on Earth, might give us an accurate idea of action.
We'll to emphasised in this in this passage as an issue of discrediting the utilitarian
objects of their day in favour of objects that the some other kinds of need,
that one profound greed. Didn't know what it was you needed it for.
If you wanted it such as fetishise, I think the science fiction aspect of reference, imagining objects, not text, is also very interesting.
And it relates to the sort of Silow with modern physics that reached the peak in the 1930s.
So we don't formally launched the suit adopted. This is a this is a page I was I was talking about.
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
object should be made in real materials whose normal function aspect was overwritten.
You develop the notion of the symbolic functioning object. And he decides that as an object.
And if you can see it's not a very good put together unless you have two hands.
One is wearing a white glove and holding it for this dust.
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.
It's extraordinarily erotic gesture. And of course, it doesn't actually move.
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.
It is a sugar lamp with another image of the shoe in it, which is meant from the glass of milk below.
This is this is something that Dulli himself invented in his youth.
It's already made it all materials. None of it is actually a sculpture.
It's all things taken from everyday, like the shoe, which is a classic fetish, and the other the other bits and pieces.
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.
And the this is another scrape in the same issue of the magazine.
These are linked to the object. The model for this was the work on the right hand side here, which is Japan.
It is suspended for which Dulles's is a perfect symbolic, symbolic function object.
Said that Facil Asoka which which Rovell, which is not his idea.
Whose idea was these should be in order to carry that kind of to carry the charge that was needed.
They should actually be real things. They should actually have something they should have breached in human experience somewhere.
This is a page. Another page from the same issue, definitely called dumb mobile objects.
And these are sketches, drawings for sculptures, some of which Jacklin, if you did me.
Again, I'm interested in is this notion of movement as a movement which is implicit rather than actual.
But it seems to correspond to that idea that that's modern.
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.
And this is see the see the pulse of a jackhammer is suspended ball,
which is a sculpture, I think of it has been extremely, extremely closely analysed.
It's a very, very, very interesting object. It's it's obviously has a sexual charges.
What was this? Because that's a. Mike Sweeney.
And then a flirt, but as it were, which is man, which is female, is something that you might disagree about.
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.
It isn't. I mean, because Melanie doesn't do it as a rule. It's gotten sort of a range of metaphorical possibilities.
This is the cover of the catalogue. Two different objects. And I need to go on to some of these.
These are some fun and some interpretive and some natural objects.
On the bottom left is a wonderful photograph by Dora mom of it's actually apparently it looks rather frightening.
Looks like a sort of a bland creature. It's apparently baby armadillo.
That's what it's called. Pelton. American objects.
I want to quickly now just look at a couple of other examples of objects.
Britain found that his idea of the simple functioning object too fussy.
And he said that he found far more moving and evocative and erotic the ability for electricity, which which is two sheets of gold,
which when you when you take magnetised signature screen apart,
suddenly this to him actually much more effective than than the very elaborate symbolic objects that Dunn made.
And there was a trend about 36 percent, four objects like some very simple, but it's a little bit simpler.
This is an object by code car who is much better known, I'm sure, to you as a photographer.
This is one of her self portraits possibly taken with Suzanne Malveaux.
And when we talk about Genda coming back to this wonderful photographer, a lesbian activist,
but she did me three objects, fortnightly statistics, exhibition, Char Vetle gallery, which this is.
I think that anyone that survived. She she's an artist who has emerged briefly recently.
She was thought to be a man at one time. The photographs slowpoke was thought to be male and was in 1986.
This object emerged from the dealer who's been just keeping it quiet all the time.
It hasn't scriptural base, which is gives the masses is a revolution song.
Anyone who fits will will suffer forced labour.
This is a collage of two phrases from different faces. One it one is a sort of a very, very common phrase.
The term, the popular front mossie is as it is, a revolutionary song.
And the other is actually which is printed on Belgian banknotes that.
But the opiate itself, the size of it.
The eye does the kind of. I'm in the middle.
It is a tennis ball is painted tennis ball. Behind it is a car.
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.
And and I think the vagina. And it's extremely troubling object.
And if anyone's read your sister. Sorry, they are. I think you recognise a very, very precise reference in this subject.
And then I would end with with installations.
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.
I mean, these objects that are both not utilitarian but are made from real things.
This this this kind of bounce that that the service infested in we took took over the exhibitions
in 1938 that this episode of exhibition held at the Bulls are gonna have a kind of selloff,
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.
The real bra, graphs and tweeks, paintings and other objects and the ceilings and Qiqi concepts of code.
So it is the home environment. To embrace you, if you love and provoke provoke a kind of a frisson like feel.
And so it would be part of the entire thing top an entire environment.
And so I want to come back to the island as I started it, which is which is contemporary.
Richard, recent book. He's an artist, too.
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.
And those are the kinds of objects actually opened up. And I will end with this.
And one of the work of his. This film is called Mission Missions How to Build Cathedrals.
And it was commissioned for a group exhibition to commemorate the seven Jesuit mission secondments found in the region.
Joining does not suffer Zill, Paraguay, Argentina and Uruguay between 16, 10 and 1767.
The structure is Hobsons above and 600000 coins below.
Within one centavos in the original version linked by a column of communion wafers.
That's what the poem is.
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.
Meredith's father has a mathematical equation. Economic PA coins, spiritual path, wafers equals tragedy or the human condition or death.
The notion of transubstantiation is shocking and materialised is the way the path leads up to it.
Who's Parfit Zonk with black humour? I think you could also make a case with, as a sort of surrealist image,
bringing together disparate things and creating, in this case, iconoclastic spot.
And that's injunction's as simply equipped with 19 2008 to catalogue of silver medallist,
his forms introduce new configurations of the unconscious within the social field,
breaking the dominant references to the dominant symbolism behind this.
There is again, the reality is acute awareness of a colonial history, which is still ongoing,
although mission missions is made in response to a very specific history and geography.
It is transferable anywhere as an image of the complex relations with spiritual material and economic power.
Thank you.