1 00:00:05,530 --> 00:00:16,090 This week, I'm talking about her trip to security surrealism in Latin America. 2 00:00:16,090 --> 00:00:23,560 The surrealists have often been described as the latest in a long line of European invaders. 3 00:00:23,560 --> 00:00:32,920 Since Columbus, who have invented an America in the service of our own desires and interests, 4 00:00:32,920 --> 00:00:44,740 there has also been a very wide move to reclaim artists who have been absorbed into their general histories of 20th century art, 5 00:00:44,740 --> 00:00:55,270 such as metal Frida Kahlo from those present and replace them in their own contexts in Latin America, 6 00:00:55,270 --> 00:01:01,170 in a way trying to sideline the surrealist connexions. 7 00:01:01,170 --> 00:01:09,100 What I decided to do today is to take two people who are both from within Latin 8 00:01:09,100 --> 00:01:16,900 America and who represent very different kinds of involvement with surrealism. 9 00:01:16,900 --> 00:01:21,010 One is a poet would have like to be a painter, but really wasn't. 10 00:01:21,010 --> 00:01:29,800 And the other is a painter. The first is, says Armourer and the other is Frida Kahlo. 11 00:01:29,800 --> 00:01:50,860 Their paths do cross at one point, and I'm hardly going to be telling the story of how they finally came to meet. 12 00:01:50,860 --> 00:01:59,620 Says on Mauro was the only Hispanic poet to contribute to the Paris surrealist 13 00:01:59,620 --> 00:02:07,330 magazines and to the movement's manifestos and pamphlets in the 1920s and early 30s, 14 00:02:07,330 --> 00:02:18,370 says Mauro is a pseudonym. He was born Alfredo. Is this a scene in Lima in 1984 and died there in 1956. 15 00:02:18,370 --> 00:02:23,590 In 1955, he went to Paris, where he hoped to be a painter. 16 00:02:23,590 --> 00:02:28,930 And he took part in two group shows in 1926 and 1927. 17 00:02:28,930 --> 00:02:31,690 But so nothing at all. 18 00:02:31,690 --> 00:02:41,850 In 1928, he discovered surrealism and joined little and the group coming quite fierce, contributing to factors like Violette Moiseyev. 19 00:02:41,850 --> 00:02:49,180 He eventually became important. It's solitary figure in the internationalisation of the movement. 20 00:02:49,180 --> 00:02:58,180 The scandalous life of says Amahoro, which is the title of this small collection of his poems in English. 21 00:02:58,180 --> 00:03:03,340 It's not an autobiographical confection. It is the title of a poem. 22 00:03:03,340 --> 00:03:15,260 The scandal is The Fate of the poet in a flood of vivid surrealist images figuring disbursal darkness and illicit love. 23 00:03:15,260 --> 00:03:16,910 And I quote, 24 00:03:16,910 --> 00:03:26,590 The smirk dispersed me in the rain or in the stream of cloudbursts pulsing at the edge of the night in which we see ourselves through the clouds, 25 00:03:26,590 --> 00:03:31,540 which appear to the eyes of lovers who leave their mighty castles, blood turreted. 26 00:03:31,540 --> 00:03:46,110 I started standing the ice, whipping the lead of late returns when I made them more. 27 00:03:46,110 --> 00:03:57,420 Yes. OK. Sorry. I was just going to flash up a slide of Frida Kahlo to whom I will return as the as the other the the contrast to tomorrow. 28 00:03:57,420 --> 00:04:07,550 But I'm going to be talking about the Lammermoor, which is the poem with Silma left here as it was published in this surrealist journal, 29 00:04:07,550 --> 00:04:14,280 Survivalism, serious stuff of Rousseau in 1933 was written in French. 30 00:04:14,280 --> 00:04:20,340 As with most of his poetry and even the letters to his closest friend and collaborator, 31 00:04:20,340 --> 00:04:30,850 the Peruvian poet Emilia Best Farm, I think not Spanish, distancing himself from his family, his language and his country. 32 00:04:30,850 --> 00:04:37,120 Horror was a multiple outsider, and his sexuality also marginalised him. 33 00:04:37,120 --> 00:04:47,760 That is only with Wittels Book of 1944. Khandi set that this led to a break with the movement. 34 00:04:47,760 --> 00:04:54,780 I think that I would just like to say that attitudes to non normative sexualities within surrealism are 35 00:04:54,780 --> 00:05:03,360 actually more open than the often repeated accusations of homophobia against Pluto would indicate. 36 00:05:03,360 --> 00:05:12,390 It's no coincidence that surrealists, serious adherents around the world were often outsiders in their own communities, socially, 37 00:05:12,390 --> 00:05:22,980 sexually and politically for now, especially after the second manifested 1929, which clearly spelt out the rejection of Pat Papon Pepsi. 38 00:05:22,980 --> 00:05:30,610 Father Balsom country surrealism was a liberating international collective. 39 00:05:30,610 --> 00:05:36,840 But when I make a move and I put up the manuscript for another poem called it the first one Sexual Sexual Perversions, 40 00:05:36,840 --> 00:05:42,010 which is about nothing of the kind of war of 1932, are we? 41 00:05:42,010 --> 00:05:51,510 The more that Jason Wilson, in his essay on Morreau, called it a passionate, courtly love in 20th century guys. 42 00:05:51,510 --> 00:05:59,610 The poem is like Britain's famous union will leave Will Free Union 1931, an incantation to desire. 43 00:05:59,610 --> 00:06:05,550 And you can see the rest of the repetitions of two to two as he addresses. 44 00:06:05,550 --> 00:06:15,540 He addresses love to. But unlike its magnetic incantation to design like with, you'll need. 45 00:06:15,540 --> 00:06:19,160 But unlike graphics, celebrates the woman's body in detail. 46 00:06:19,160 --> 00:06:24,540 Bit by bit, Mauro's poem pursues a much darker vision of love. 47 00:06:24,540 --> 00:06:29,700 Passionate but desperate, dedicated. And I quote to that unique love. 48 00:06:29,700 --> 00:06:38,250 Without regret, without happiness, without turning back to the harrowing mornings of those who love rejects the mornings. 49 00:06:38,250 --> 00:06:46,020 Sadder than all else, the better to face my name, to shake off the dust and return to dust. 50 00:06:46,020 --> 00:06:50,830 Moreover, more did promote surrealism across Latin American continent. 51 00:06:50,830 --> 00:07:00,780 But he was not a self promoter. Other things poetry, love and rebellion were more important than individual fame and success. 52 00:07:00,780 --> 00:07:10,680 Yet he struggles to make a living. Throughout his life, the Peruvian novelist Mario Vargas Llosa remembered, didn't you? 53 00:07:10,680 --> 00:07:21,990 He said he remembered being taught French by Moore in Lima in the 1950s at his military academy in the face of the hostility of the students. 54 00:07:21,990 --> 00:07:28,980 Mauro remained impassive, polite, distant, apparently impervious to the taunts. 55 00:07:28,980 --> 00:07:35,370 A rumour that he was a homosexual and a poet fuelled their insolence. 56 00:07:35,370 --> 00:07:39,280 By then, he was no longer promoting surrealism but still writing poetry. 57 00:07:39,280 --> 00:07:44,610 The most only became available after his death in 1956. 58 00:07:44,610 --> 00:07:53,430 So following his tragic trip between Europe, Peru, Mexico, which I shall do through the lecture, threading it through, 59 00:07:53,430 --> 00:08:00,450 give us some idea of the complexity of surrealism, the reception and dissemination in Latin America. 60 00:08:00,450 --> 00:08:04,620 The tension between the pressures of cultural nationalism and symbolisms. 61 00:08:04,620 --> 00:08:10,090 Internationalism between Bolivia. Political commitment and individual freedom. 62 00:08:10,090 --> 00:08:18,130 Mauro remained through a turbulent nonconformist. 63 00:08:18,130 --> 00:08:27,640 In this famous socialist map of the world from graffiti in the early thirties, the map is redrawn, as you can see, 64 00:08:27,640 --> 00:08:35,020 according to the value, cultural or political, that can be accorded countries, territories or cities. 65 00:08:35,020 --> 00:08:42,130 You can see that England has basically disappeared. The island is larger. 66 00:08:42,130 --> 00:08:49,030 Paris is just the city. And then there's Germany, very large Russia. 67 00:08:49,030 --> 00:08:58,780 And then in the American continent, only Mexico and Peru have survived the reworking. 68 00:08:58,780 --> 00:09:05,610 Alaska and capital are there, as I think, probably because it makes them cool. 69 00:09:05,610 --> 00:09:11,340 And that is Alaska because of the pre conquest civilisations. 70 00:09:11,340 --> 00:09:20,770 And also possibly because they still had extensive indigenous populations. And both reasons for this really special interest. 71 00:09:20,770 --> 00:09:29,290 The independent American states of the late 80s and early 19th century differed markedly from the mid 19th century nationalisms of Europe, 72 00:09:29,290 --> 00:09:33,820 which have dominated provincial European thinking about nationalism even before the 73 00:09:33,820 --> 00:09:39,530 negative cost given nationalism by the rise of fascism and the Second World War. 74 00:09:39,530 --> 00:09:47,710 The differences, for example, that language is not a distinguishing element in the Spanish speaking continents, 75 00:09:47,710 --> 00:09:54,280 and there is a different, in a sense, a different role for a class. 76 00:09:54,280 --> 00:10:04,330 I think I'm not going to get into this in any detail, but there is, I think what one has done in a different kind of cultural nationalism, 77 00:10:04,330 --> 00:10:11,400 a different kind of imaginary community, which is a very powerful force in Latin America. 78 00:10:11,400 --> 00:10:24,800 The Latin American on Gob's mushrooming in the 1920s took their cue in many ways from European isms, futurism, data and then surrealism. 79 00:10:24,800 --> 00:10:34,750 But the question I would ask was how compatible this eclectic cosmopolitanism was with the powerful cultural nationalism within American nations. 80 00:10:34,750 --> 00:10:40,600 The attitudes of on surrealism in particular were set against national interests and ideas. 81 00:10:40,600 --> 00:10:48,010 And I quote from Hans Richter, he was a to who? A very good study of the movement that are also anti art. 82 00:10:48,010 --> 00:10:56,650 I quit Rickter. We wanted to bring forward a new kind of human being free from the tyranny, irrationality of banality, 83 00:10:56,650 --> 00:11:05,740 of generals, fatherlands nations, art dealers, microbe's resident permits in the past. 84 00:11:05,740 --> 00:11:13,510 And this subversive anarchist attitude which sets the artist against his or her society, appears in Latin America. 85 00:11:13,510 --> 00:11:20,650 And in a sense, I think is is quite shuls tomorrow. Such I mean, one, I hope I quote. 86 00:11:20,650 --> 00:11:29,960 The Salvadorian writer said, either way, his notorious statement in the Costa Rican Journal reportorial, I'm very kind of, you know, tomato Petrea. 87 00:11:29,960 --> 00:11:36,240 I do not have a country, but elsewhere. The story is very different. 88 00:11:36,240 --> 00:11:45,580 And I think this relationship between the cosmopolitanism and nationalism, the new form, for example, with the anthropology movement in Brazil, 89 00:11:45,580 --> 00:11:48,040 which I will be coming back to later on in the series, 90 00:11:48,040 --> 00:11:56,470 I'm just showing you now a painting called Anthropology that is cannibalism by Castellitto MRL from 1928. 91 00:11:56,470 --> 00:12:02,270 And the page of the manifesto of anthropology from university. 92 00:12:02,270 --> 00:12:06,140 And people thought, yeah, but as valid and rather. 93 00:12:06,140 --> 00:12:17,830 And he suggests that anthropology cannibalism allows the new world to ingest, absorb and transform its colonisers and their traditions. 94 00:12:17,830 --> 00:12:21,930 This is a kind of solution, and I quote from the manifesto, It only ends. 95 00:12:21,930 --> 00:12:26,410 Poverty unites us socially, economically, philosophically. 96 00:12:26,410 --> 00:12:31,390 We want the Charamba Revolution bigger than the French Revolution. 97 00:12:31,390 --> 00:12:40,060 Natural man Rousseau from the French Revolution to Romanticism to the Bolshevik Revolution to the surrealist revolution. 98 00:12:40,060 --> 00:12:50,440 We continue on our path. We made Christ be born in Bayah anthropology, the permanent transformation of taboo into. 99 00:12:50,440 --> 00:12:58,150 We already had communism. We already had serious language, the golden age and quote. 100 00:12:58,150 --> 00:13:04,900 So the ability to draw European as well as on their own traditions could be an advantage rather than weakness. 101 00:13:04,900 --> 00:13:13,090 As the Mexican writer Alfonso Reyes said about the new civilisation that he believed would follow in Mexico after the revolution, 102 00:13:13,090 --> 00:13:19,310 we have a practise of international living. Not possessed by Europeans. 103 00:13:19,310 --> 00:13:27,600 This was a real internationalism. Those who were able to travel decide which the Europeans appeared provincial. 104 00:13:27,600 --> 00:13:38,690 And I've gotten that I've just I was just going to note that the travel of people like Placita Demerol also done graduate to Europe, 105 00:13:38,690 --> 00:13:46,700 began to be paralleled in reverse. That became for more two way traffic with the Swiss who were amongst the first not just to look beyond Europe, 106 00:13:46,700 --> 00:13:51,920 but actually to go beyond it, set up a to a two way traffic. 107 00:13:51,920 --> 00:14:07,770 And the bottom, as is a lecture that he gave in the 1920s on surrealism in some Paolo. 108 00:14:07,770 --> 00:14:22,600 The Germans, such as saw when Assad is a martyr and less contemporaneous, had a policy of joining European achievement to American promise. 109 00:14:22,600 --> 00:14:31,910 They publish translations of English and French writers and introduced artists and filmmakers such as man Ray Eisenstein to an American audience. 110 00:14:31,910 --> 00:14:39,250 The Groove in the review A Matter put up the editorial page here was founded in 1926, 111 00:14:39,250 --> 00:14:45,430 and it was interested in surrealism as part of a broad network of leftist artists and intellectuals. 112 00:14:45,430 --> 00:14:52,200 Senator Murray Atsugi founded Grubin Socialist Party, for which he took his model, not the USSR, 113 00:14:52,200 --> 00:14:58,840 but the end in communism, or ILU, based on pre concrete social and economic structures. 114 00:14:58,840 --> 00:15:09,730 Marta, welcome the contact between the homeless and survivors and Lufti in the in the mid 30s, hoping for a merger in a new refuge. 115 00:15:09,730 --> 00:15:14,500 People like our city as in 1958. 116 00:15:14,500 --> 00:15:21,700 So it is must seem not just as a symptom of the decadence of capitalist civilisation evident in the atomisation dissolution of its art, 117 00:15:21,700 --> 00:15:24,910 but as an active rejection of bourgeois culture. 118 00:15:24,910 --> 00:15:33,600 Mauriac to be published a poem of Mauro's in 1928 and Good Tom was one of the few contributors to be honoured for the full page portrait, 119 00:15:33,600 --> 00:15:46,780 which you see. But when Murrow returned to Lima, he was already dead and he didn't seem to have had so much contact with the Amato Group. 120 00:15:46,780 --> 00:15:54,460 He returned penniless to Lima in 1933, where he met Emilio Westphalen and put up here. 121 00:15:54,460 --> 00:16:02,080 And then if you can read it, but this is from a notebook of poems that he wrote in 1934, which illustrated with his drawings. 122 00:16:02,080 --> 00:16:12,180 Very, very strange, kind of slightly biomorphic figures that could be animal, could be vegetable, could be people. 123 00:16:12,180 --> 00:16:18,490 And they're that they're quite sexualised. But they are also fairly abstract. 124 00:16:18,490 --> 00:16:35,710 And the poems he dedicates on the Afghan side to operate, put on and to pull anywhere with the endless admiration of says are Mauro. 125 00:16:35,710 --> 00:16:46,390 That 34, he wrote a text book, Lost and Helpless Stares, Helfrich, soulful Gogol's, which is not published until 1958 after his death here. 126 00:16:46,390 --> 00:16:52,600 Morrow attacks these stultified provincial, often poetry of Peru read a vicious attack. 127 00:16:52,600 --> 00:17:01,850 He was very, very good at politics. And he says the only poetry that was worthy of the name was by the inmates of the mental asylum, 128 00:17:01,850 --> 00:17:09,280 the hospital Lacco Arada, where he worked as a librarian and also organised a museum of the inmates paintings. 129 00:17:09,280 --> 00:17:17,950 He encouraged them to paint. These are two examples from his collection of paintings by patients in the in the hospital. 130 00:17:17,950 --> 00:17:19,930 One of them is actually dedicated tomorrow. 131 00:17:19,930 --> 00:17:27,910 And I think it would be very interesting to do more work on these on these paintings and how how he was actually influential in what 132 00:17:27,910 --> 00:17:38,220 is reproduced that the one on the left very curiously resembles a 16th century Allyson's interim manuscript by Golman Paul Begala. 133 00:17:38,220 --> 00:17:46,510 And I didn't whether the person who did it knew about this, but they are quite, quite interesting. 134 00:17:46,510 --> 00:17:56,940 I put on the first sort of exhibition in Lima in 1935 and the majority of the paintings, drawings and collages raptured by Moreau himself. 135 00:17:56,940 --> 00:18:04,390 There was a strongly dardar flavour to this is a collage by Mora on the right here. 136 00:18:04,390 --> 00:18:06,760 A strong flavour to the catalogue. 137 00:18:06,760 --> 00:18:20,290 There are ticks by falsies be Kabeer former deadest and Moro included an extremely insulting commentary on the Chilean writer Santic Middlebrook, 138 00:18:20,290 --> 00:18:24,610 who was a major figure in the avant garde. More calls with Dobra. 139 00:18:24,610 --> 00:18:35,800 An activist who accuses him of plagiarising Goodwill's poem and giraffe and sums him up as a medium for cockiest, nauseating literary rotten puppets. 140 00:18:35,800 --> 00:18:39,950 So you, me. We don't bring it back because of a magazine. 141 00:18:39,950 --> 00:18:44,910 Battal June 1935 calling for a cure for homosexual. 142 00:18:44,910 --> 00:18:48,670 Homosexual, Luss says certain surrealism. 143 00:18:48,670 --> 00:18:59,710 And it continues this, this, this, this battle between them more than published of a magazine called The Embattled Bishop, 144 00:18:59,710 --> 00:19:03,780 which was dedicated to Rigoberta and Rigoberta fought back against that. 145 00:19:03,780 --> 00:19:06,820 And that Morreau really, in a sense, 146 00:19:06,820 --> 00:19:16,690 carried on quite a lot of kind of wars with other avant garde groups in Latin America and even against the surrealist group in Chile. 147 00:19:16,690 --> 00:19:20,560 Well, there were inscriptions to the story. 148 00:19:20,560 --> 00:19:27,360 This put Konnikova in Morrows copy of the catalogue of the 1935 Lima exhibition, 149 00:19:27,360 --> 00:19:36,950 who suicided that June 1935 probably related as much to his homosexuality as the split between the surrealists and the Communist Party. 150 00:19:36,950 --> 00:19:47,670 And these are very poignant. Model was fallen, joined a cell of intellectuals, including Manuel Moreno, humane. 151 00:19:47,670 --> 00:19:51,210 And in 1936 founded the committee demigods did. 152 00:19:51,210 --> 00:19:55,950 There was different stories still at a as Vanilla or Kavre. 153 00:19:55,950 --> 00:20:02,490 They produced five members of a bulletin attacking fascism in Peru and in Spain. 154 00:20:02,490 --> 00:20:07,260 The situation in Peru is oppressive. The dictator, General Oscar Benevides, 155 00:20:07,260 --> 00:20:19,140 supported Franco's fascist rebellion in Spain and had invited Italian fascist advisers to stop the Peruvian police force on how to suppress dissent. 156 00:20:19,140 --> 00:20:28,200 In 1936, the national elections were annulled and Moro wrote in one of the cars the second cars were bulletin to help distribute. 157 00:20:28,200 --> 00:20:36,150 This pamphlet is a cultural duty. In the face of the barbarism and oppression that blind our country, intellectuals, 158 00:20:36,150 --> 00:20:41,790 workers, students join a united front against the murderous fascism of Spain, 159 00:20:41,790 --> 00:20:49,620 conquest of Ethiopia, Ethiopia, persecutors of the Jews, an enemy to the death of culture and democracy. 160 00:20:49,620 --> 00:20:54,290 As a result of the card, this phone was arrested. 161 00:20:54,290 --> 00:21:01,440 A moral fled to Mexico, where he remained until nineteen forty eight. 162 00:21:01,440 --> 00:21:15,860 So. I'm not going to move and look briefly at the context in Mexico and of how surrealism in the personal book, 163 00:21:15,860 --> 00:21:28,040 as well as it more arrive then coincide with that cultural nationalism in Mexico was a different order, that of other Latin American countries. 164 00:21:28,040 --> 00:21:35,990 The Mexican Revolution in 10 to 20 had done more independence from Spain, 1828, found to do it revealed in Mexico. 165 00:21:35,990 --> 00:21:44,840 That was never identified just for the Creole landowning classes that included indigenous peoples, many of whom still speak their own languages. 166 00:21:44,840 --> 00:21:51,650 The mighty and perhaps impossible task of creating a modern nation was not just political but social and cultural. 167 00:21:51,650 --> 00:21:59,630 Artists, writers and poets disputed territory with Rivera and the muralists more prominently occupying the public eye. 168 00:21:59,630 --> 00:22:10,420 Other books included those contemporaneous at the magazine, that name, which lasted from 1928 31 and also claimed a Mexican. 169 00:22:10,420 --> 00:22:13,880 This inflicted by modernism. 170 00:22:13,880 --> 00:22:24,380 One of the poets associated with that group, and who became really my closest friend in Mexico was Soviet Gulag Rukia and his other close friend, 171 00:22:24,380 --> 00:22:37,130 who was close to his companions, Agustin Liuzzo. And I put up on screen two pages from the Journal format, which ran from 1956 to 28 with losses. 172 00:22:37,130 --> 00:22:46,560 Oh, very particular brand of slightly slightly odd realism here. 173 00:22:46,560 --> 00:22:51,950 Also, it was a very close friend of of Mauro's. 174 00:22:51,950 --> 00:23:02,800 Well, and actually tried to continue teaching to paint in the in the 1940s. 175 00:23:02,800 --> 00:23:13,120 And I can't go into detail into into the other artists associated with this group, but one I would like to just mention is Maria is Cango, 176 00:23:13,120 --> 00:23:20,320 who is very often overlooked because partly of Frida Koller's enormous fame popularity. 177 00:23:20,320 --> 00:23:24,790 But she she also has her links with surrealism. 178 00:23:24,790 --> 00:23:32,980 She was a friend of until after when he visited Cereal's, visited Mexico in 1926. 179 00:23:32,980 --> 00:23:45,550 And I think her paintings show a kind of a very interesting meld of of surrealism, new objectivity and Mexican ism. 180 00:23:45,550 --> 00:23:50,380 The building here that very typical ruins warned on the open window. 181 00:23:50,380 --> 00:23:51,520 This is very Mexican. 182 00:23:51,520 --> 00:24:02,170 But the other elements, in a sense, belong to Robert about games, about playing, and they belongs equally to Europe and to Mexico. 183 00:24:02,170 --> 00:24:06,640 She she's a very, very impressive painter. She plays the contemporaneous flute. 184 00:24:06,640 --> 00:24:23,590 And what this exhibit was, was shown in a number of exhibitions, but not in the big 1940 surrealist exhibition in Mexico City. 185 00:24:23,590 --> 00:24:39,460 Now, in 1938, Andre Brown visited Mexico and he was, in a sense, immediately annexed by Diego Rivera and Frida Kahlo. 186 00:24:39,460 --> 00:24:45,160 Although we did meet the other groups, he met Villarrubia. He certainly he saw Moreau again. 187 00:24:45,160 --> 00:24:53,360 Rivera tried to stamp his own mark on this visit by returning to Mexico. 188 00:24:53,360 --> 00:25:01,400 And this is a poster that Rivera made for a lecture of reforms in Mexico City. 189 00:25:01,400 --> 00:25:10,150 And I think it's extremely interesting because of the way that it it refers back to Breton's book, the communicating vessels. 190 00:25:10,150 --> 00:25:19,560 And he makes of the the eyes and the vases the notion of something that that is one is flowing into the other. 191 00:25:19,560 --> 00:25:23,710 The face that is reduced when open, one closed on the brain. 192 00:25:23,710 --> 00:25:39,860 But he is also. Referencing pre conquest images, particularly the God Clarke, who had ring rings around his eyes. 193 00:25:39,860 --> 00:25:52,160 And I think this is the way that various is is referring back to pre climate images is extremely interesting and is one of the I 194 00:25:52,160 --> 00:26:06,310 think one of the the important factors that that actually helped to charm button so completely in his in his visit to Mexico. 195 00:26:06,310 --> 00:26:13,510 Is that the only country that Britain, that greatest leader ever wrote about as such? 196 00:26:13,510 --> 00:26:21,820 It's the one exception to his anti nationalism. This is the front page of his essay, Memory of Mexican Souvenir. 197 00:26:21,820 --> 00:26:32,480 Itzik with a photograph by others, brother of an assassinated worker during the strike it to one to pick above it. 198 00:26:32,480 --> 00:26:37,750 And he said in this essay published in Minitel on his return to Paris, he said, 199 00:26:37,750 --> 00:26:44,330 this has one country in the world where the wind of liberation still blows. 200 00:26:44,330 --> 00:26:52,580 I quit again. I know nothing more exalting than the photographic documents that restore the light of the era of the revolution. 201 00:26:52,580 --> 00:26:58,920 He's talking about the cost of selling photographs of the head of the barefoot soldiers. 202 00:26:58,920 --> 00:27:05,750 But it also talks about pyramids and tombs, the inexhaustible interplay of life and death in Mexico. 203 00:27:05,750 --> 00:27:10,850 He talks of the Indian markets and the very human army he visited in Monterrey. 204 00:27:10,850 --> 00:27:16,810 He was very impressed by the way that the soldiers were picnicking and playing with children. 205 00:27:16,810 --> 00:27:21,800 He pointed this out to agencies companion. Is it? 206 00:27:21,800 --> 00:27:35,020 Yes. If you needed that army, what good would it be? So there are a sequence of pieces of photographs illustrating the essay on Mexico. 207 00:27:35,020 --> 00:27:40,870 This extraordinary sugar skull on the right, which is also reversible. 208 00:27:40,870 --> 00:27:45,090 It usually turned up the other way as well. It's a grinning, grinning face. 209 00:27:45,090 --> 00:27:50,950 So it's a face and a skull on the left. Two photographs. 210 00:27:50,950 --> 00:27:53,680 Which is simply called Modern Voda View. 211 00:27:53,680 --> 00:28:03,580 And these were found apparently by Moro and put on in one of their expeditions to to the free markets of Mexico City. 212 00:28:03,580 --> 00:28:14,260 And here it is, the the trio that that came together on Britain's visit to Mexico. 213 00:28:14,260 --> 00:28:20,530 Rivera was then looking if had offered asylum to Trotsky as Trotsky on the right. 214 00:28:20,530 --> 00:28:24,580 Rivera in the middle. And Bret on the left. And on the left. 215 00:28:24,580 --> 00:28:30,490 There are two photographs from Britain's collection of snapshots of this trip to Mexico. 216 00:28:30,490 --> 00:28:42,060 Of the top one showing a picnic with Frida Kahlo and Trotsky and Blewitt, Breton and Trotsky apparently fishing for Xolo falls in in a river. 217 00:28:42,060 --> 00:28:54,730 Now, the while they were there, while they were together in Mexico, Reptile and Trotsky drew up a manifesto for a new movement. 218 00:28:54,730 --> 00:29:01,420 This is 1938. War is obviously on the horizon in Europe. 219 00:29:01,420 --> 00:29:11,680 The Communist Party in Soviet Union has, in their view, betrayed the betrayed the movement. 220 00:29:11,680 --> 00:29:21,850 And Trotsky in Britain wrote a manifesto for the new independent federation for an Independent Revolutionary Art. 221 00:29:21,850 --> 00:29:28,450 It was very widely published then in pamphlets and in journals. 222 00:29:28,450 --> 00:29:34,030 It was actually, I think, really drawn up by Britain and then substantially revised by Watsky. 223 00:29:34,030 --> 00:29:39,100 But it was published over the signatures of Gretl and Rivera. 224 00:29:39,100 --> 00:29:46,210 And I quote, It goes without saying, We do not identify ourselves with the currently fashionable catchword. 225 00:29:46,210 --> 00:29:51,490 Neither fascism nor communism, a shibboleth which suits the temperament, the philistine, 226 00:29:51,490 --> 00:29:58,150 conservative and frightened, clinging to the tattered remnants of the Democratic Party's true art, 227 00:29:58,150 --> 00:30:07,120 which is not content to play variations on ready-Made models, but rather insists on expressing the inner needs of man and of mankind at this time. 228 00:30:07,120 --> 00:30:15,370 True art is unable not to be revolutionary, not just to compete and radical reconstruction society. 229 00:30:15,370 --> 00:30:20,690 We recognise that only the social revolution can sweep clean the park in your culture. 230 00:30:20,690 --> 00:30:30,680 If, however, we reject all solidarity with bureaucracy and uncontrolled Soviet Union, it is precisely because in our eyes it represents not communism. 231 00:30:30,680 --> 00:30:41,440 It's most dangerous and treacherous enemy. So they were searching for common ground to defend the independence of art. 232 00:30:41,440 --> 00:30:45,310 But the movement was very short lived and didn't actually survive. 233 00:30:45,310 --> 00:30:53,230 The outbreak of all the two issues of the journal play were published, which Mauro was trying to to actually get going. 234 00:30:53,230 --> 00:31:04,120 Also in Mexico, after Britain's departure to come back for a moment to the photographs accompanying the essay on Mexico. 235 00:31:04,120 --> 00:31:09,790 This is by Manuel album Quanto Brother, amongst others. 236 00:31:09,790 --> 00:31:22,390 Bravo. And it is one of the examples for use of the of the many registers in which death exists in Mexico. 237 00:31:22,390 --> 00:31:31,810 Death and life and death. In this case, it's a coffin maker for children's coffins. 238 00:31:31,810 --> 00:31:36,560 And he there's a tiny coffin, as you can see, which is the advertisement on a plane. 239 00:31:36,560 --> 00:31:43,850 You see the coffins stacked up inside and behind comments that I don't know whether this is true, 240 00:31:43,850 --> 00:31:53,860 this this statistic, but that infant mortality had reached something like 70 percent in Mexico at the time. 241 00:31:53,860 --> 00:32:01,180 And then this is great thing by Posada of sorrow of Zapata, 242 00:32:01,180 --> 00:32:10,480 who also celebrated by by Brett on this pier and really to to Mexico the Mexican Revolution. 243 00:32:10,480 --> 00:32:17,680 And this is another great episode of Posada was one of those artists who was played by 244 00:32:17,680 --> 00:32:24,250 the postrevolutionary Meurice and by the other groups of artists as a sort of precursor. 245 00:32:24,250 --> 00:32:34,660 This particular woodcut shows as as a skeleton's as Calaveras writing bicycle's the 246 00:32:34,660 --> 00:32:41,320 different newspapers representing different political and social sectors of society. 247 00:32:41,320 --> 00:32:48,910 And you can see that the revolutionary had as a bowler hat of those top hat for the capitalists, there's a feather hat for the dandy. 248 00:32:48,910 --> 00:33:01,900 And so on. This the facade of engravings are absolutely extraordinary and highly promised by the by the muralists. 249 00:33:01,900 --> 00:33:06,880 This is the cover of Clay with Puzder. Pepe on the on the front. 250 00:33:06,880 --> 00:33:15,640 This is the monthly bulletin of Fiore. Now, I want to go want to look at Frida Kahlo. 251 00:33:15,640 --> 00:33:22,990 But before I can say I just very briefly, as a sort of context and background that the. 252 00:33:22,990 --> 00:33:38,470 And tomorrow and to the Bretons, extraordinarily beautiful visit to Mexico to look at just a couple of Rivera's murals in, 253 00:33:38,470 --> 00:33:43,630 because these really were the they did establish, 254 00:33:43,630 --> 00:33:56,940 I think, the power of the artists in postrevolutionary Mexico to give a face to a country that, in essence discovered itself with the revolution. 255 00:33:56,940 --> 00:33:59,590 And so they're not very good images on the left. 256 00:33:59,590 --> 00:34:11,860 This these are the bottom two or two of the panels from the Secretariat of Education in Mexico City by Rivera. 257 00:34:11,860 --> 00:34:19,870 They are very, very vivid images in black and gold with the figures standing up against them. 258 00:34:19,870 --> 00:34:30,010 But what Rivera has done is to borrow figures from jotters frescoes at the Arena Chapel in Padua. 259 00:34:30,010 --> 00:34:39,130 You can see jokin three down here. He similarly embeds his presence within the landscape. 260 00:34:39,130 --> 00:34:44,590 And here is a couple embracing outside the gates. 261 00:34:44,590 --> 00:34:52,410 And that is like the the embrace here. 262 00:34:52,410 --> 00:34:59,380 And Rivera had visited Jota had visited Italy, and he, as it were, 263 00:34:59,380 --> 00:35:09,640 brought some of the lessons that he learnt to these major extraordinary schemes that he completed in the 1920s in Mexico City. 264 00:35:09,640 --> 00:35:13,510 This is a chapel. It was originally originally a chapel. 265 00:35:13,510 --> 00:35:20,290 And he turns it into, as it were, a chapel to materialism and the revolution with this great figure, 266 00:35:20,290 --> 00:35:29,470 the fertile earth instead of Christ at the end above the altar. 267 00:35:29,470 --> 00:35:35,350 And this is another of the panels from the secretary of education showing the entrance to the mine. 268 00:35:35,350 --> 00:35:44,200 And we're very, very skilfully draws on religious imagery, though, in a completely secular context. 269 00:35:44,200 --> 00:35:48,820 So this looks a little bit like the stations of the Cross. 270 00:35:48,820 --> 00:35:58,120 People carrying a cross on their shoulders. Although the context is very much that of the proletarian in Mexico. 271 00:35:58,120 --> 00:36:09,730 And these these paintings, even if they were much later criticised for, as it were, implying that the revolution had successfully, 272 00:36:09,730 --> 00:36:22,970 successfully transformed people's lives in in Mexico, it remained a kind of a kind of promise for Mexico as a revolution nation. 273 00:36:22,970 --> 00:36:27,780 And that's how it was. I think one could see it through the 20s and 30s. 274 00:36:27,780 --> 00:36:34,750 It also celebrates popular life and popular art. This is another of the panels and these are more or less lifesize. 275 00:36:34,750 --> 00:36:39,910 So if you stand in front of it, you look as if you're part of the crowd admiring these. 276 00:36:39,910 --> 00:36:47,650 These Calderas were dancing up and down on the screen behind. 277 00:36:47,650 --> 00:36:52,350 Really one of the points I would make is that the the Mexican. 278 00:36:52,350 --> 00:36:56,050 Miss, if you like, of all of the millions of years ago, 279 00:36:56,050 --> 00:37:08,830 there was only one aspect of the cultural nationalism that powered so much of the of the art and the writing in the 20s and the other, 280 00:37:08,830 --> 00:37:20,270 as it were, it was revered in rural aside. And then the the more of those who wanted to meld that with a more modernist approach. 281 00:37:20,270 --> 00:37:29,020 So Frida Kahlo, in the sense this is a unique figure here. 282 00:37:29,020 --> 00:37:34,150 I want to talk about her in relation to to surrealism. 283 00:37:34,150 --> 00:37:41,800 This is a painting. This is a self-portrait on the borderline. And as you can see, she's standing on, as it were. 284 00:37:41,800 --> 00:37:49,030 She's saying a little pedestal, which is attached to a motor. The idea that she's like the kind of doll which could be turned to move on. 285 00:37:49,030 --> 00:37:50,560 She could turn round. 286 00:37:50,560 --> 00:38:03,190 She's between the industrial nation states on the right with the flag amongst the clouds and Mexico as the as a land of myth and ruin, 287 00:38:03,190 --> 00:38:14,200 but also of nature. The. Fruit and flowers down here and the kind of machinery on the right hand side. 288 00:38:14,200 --> 00:38:17,840 She's. She held a Mexican flag with the other hand, is not a cigarette. 289 00:38:17,840 --> 00:38:23,650 So it's a kind of isn't all that ambiguous in age. 290 00:38:23,650 --> 00:38:28,440 Now even say this company. A Mexican art historian. 291 00:38:28,440 --> 00:38:37,680 In her essay on surrealism and Mexican fantasy, the exhibition appeared on Sue Ulster's in Mexico in 1986, 292 00:38:37,680 --> 00:38:42,450 wrote, There is no doubt that little is hypnotised by our country. 293 00:38:42,450 --> 00:38:51,510 But he did not understand that what he was postulating surreality Amar's functions in a different way as real reality, 294 00:38:51,510 --> 00:38:58,880 fertilised by a peculiar fantasy. But not like unreal reality, which is what he was after. 295 00:38:58,880 --> 00:39:05,100 The deliberate misconception that surrealism intendant compete to overwrite reality is 296 00:39:05,100 --> 00:39:11,940 drawn into a specious argument primarily intended to distance Frida Kahlo from surrealism. 297 00:39:11,940 --> 00:39:21,990 I quote again in Mexico I can't extend this surrealism to pre Hispanic production to the popular and dub surrealist, 298 00:39:21,990 --> 00:39:27,460 probably the most realist of our painters, Frida Kahlo. 299 00:39:27,460 --> 00:39:33,690 This is now repeated in most accounts of Collo, underpinned by her own late statement. 300 00:39:33,690 --> 00:39:38,610 They thought I was a surrealist, but I wasn't. I never painted greens. 301 00:39:38,610 --> 00:39:48,060 I painted my own reality. I raised this not from a desert pigeonholed colour again, but to a store, to surrealism, 302 00:39:48,060 --> 00:40:00,960 some of the meaning it had, which is not incompatible with his much quoted statement. 303 00:40:00,960 --> 00:40:10,980 Come as early as paintings actually show her this. This site is an old nouveau manor, very elegant and rather beautifully painted. 304 00:40:10,980 --> 00:40:19,800 And she subsequently adopted a much more sort of rudimentary style. 305 00:40:19,800 --> 00:40:25,260 This is, again, a self-portrait of Carlo thing, nursed by Mexico. 306 00:40:25,260 --> 00:40:31,770 This is this is Mother Mexico, whose breast is is feeding Collo curiously, 307 00:40:31,770 --> 00:40:40,740 not unlike one of these Margarete paintings in which a grown up body is attached to Charles Gernot head attached to a child's body. 308 00:40:40,740 --> 00:40:54,710 And the mother is wearing a stone mask from the pre conquest civilisation, from terror to AKAM. 309 00:40:54,710 --> 00:41:01,040 Although Karlo denied that she thought she was a surrealist, it's always interesting, Susan, 310 00:41:01,040 --> 00:41:06,020 that's a very late statement and there's plenty of evidence that she isn't aware of it, 311 00:41:06,020 --> 00:41:11,480 but actually played some of the games on the right is a cadaver for excrete. 312 00:41:11,480 --> 00:41:15,320 That is a game that the sport is very much enjoyed playing. 313 00:41:15,320 --> 00:41:25,760 When a group people hand a piece of paper round to one another, the first person draws a head that sand and turns that paper over. 314 00:41:25,760 --> 00:41:33,140 Next person draws the body, turns the paper over. The next person blows the legs, head, body, legs and the exquisite corpse. 315 00:41:33,140 --> 00:41:42,390 And this is the exquisite corpse of my colleague and one of her friends with the unmistakeable head of Diego Rivera on it right hand side. 316 00:41:42,390 --> 00:41:53,390 And on the left is a drawing which clearly indicates that that she is drawing a dream. 317 00:41:53,390 --> 00:42:11,000 But the model that she adopts really most strikingly in her paintings is that of the of the popular ex Loto or or Ricardo as some as Rivera called it. 318 00:42:11,000 --> 00:42:17,520 And this is some this is what Rivera wrote about colour in a 1943 article. 319 00:42:17,520 --> 00:42:22,270 So in her RETAVASE, Frida always paints her own life. 320 00:42:22,270 --> 00:42:31,640 Now, this is a painting that was commissioned from Collo to commemorate the suicide of Dorothy Hale, 321 00:42:31,640 --> 00:42:39,170 who jumped from the top of a wall of new skyscrapers wearing a ball gown. 322 00:42:39,170 --> 00:42:44,840 And understandably, the person who commissioned it thought it was so horrifying that she refused to buy it. 323 00:42:44,840 --> 00:42:53,210 And the frame is stained with blood. And underneath, as you can see this inscription, which explains who it is. 324 00:42:53,210 --> 00:43:01,040 And this is taken from the kind of tableau that Rivera is talking about. 325 00:43:01,040 --> 00:43:10,850 This is one from 1920. These are little anonymous paintings, very traditional, 326 00:43:10,850 --> 00:43:25,730 made as offerings to a particular saint or virgin or Christ who has interceded when the person who is praying is in some great danger, 327 00:43:25,730 --> 00:43:31,760 either from sickness or from violence or something else. Praise the saint the same thing to seeds. 328 00:43:31,760 --> 00:43:33,980 And then as as a thanks for offering, 329 00:43:33,980 --> 00:43:42,050 these little paintings were were produced by often professional republic painters or sometimes by person, him or herself. 330 00:43:42,050 --> 00:43:52,850 As you can see this. This one is dedicated to the central meaning of Salvador, who is shown in a frame above the scene. 331 00:43:52,850 --> 00:43:58,880 It's a it's a the person can be seen on the bottom right hand side who almost 332 00:43:58,880 --> 00:44:09,060 got caught up in a violent incident towards the very end of the civil war. 333 00:44:09,060 --> 00:44:17,160 Kolo uses this this model of the red blue, but also transforms it. 334 00:44:17,160 --> 00:44:29,100 She sort of subverts it in this painting, tiny little painting called My Birth. 335 00:44:29,100 --> 00:44:37,350 She uses the Wiccan land to break blow with the scroll at the bottom for the inscription. 336 00:44:37,350 --> 00:44:43,890 But there is no inscription because in this case, there wasn't a miracle. 337 00:44:43,890 --> 00:44:47,910 It was painted just off. She had a miscarriage and her own mother had died. 338 00:44:47,910 --> 00:44:59,190 And the version of the Sorrow's, which is the framed image of the head of the bed, was very precise memory of an object her devout mother cherish. 339 00:44:59,190 --> 00:45:07,710 So the I think the directness of the image underlines a conundrum that cannot actually be put into words. 340 00:45:07,710 --> 00:45:18,660 Another example of the of the republic that colour is using here self portrait on the right, painting myself in the mirror. 341 00:45:18,660 --> 00:45:30,150 I'm thirty seven month of July in Quia Come and I put up an example of this, this quite primitive painting that she was, but she was copying that. 342 00:45:30,150 --> 00:45:35,040 I think it's it's interesting that these, these little icons or images, 343 00:45:35,040 --> 00:45:45,240 offerings with a quite widespread in America, you also find them in Europe and they are a European tradition. 344 00:45:45,240 --> 00:45:55,980 I think they've really flowered in Mexico. They are a significant aspect of Mexican identity. 345 00:45:55,980 --> 00:46:01,270 And I quote from Hobsbawm, As head of nationalism, 346 00:46:01,270 --> 00:46:11,100 holy icons represent the symbols and rituals or common galette practises which give a culpable reality to an otherwise imaginary community. 347 00:46:11,100 --> 00:46:20,280 And it's very interesting how often the the the the figure of the saint or the Christ is named in relation to a territory. 348 00:46:20,280 --> 00:46:28,200 And this particular one here is the Virgin as our lady of some quangos, logger's. 349 00:46:28,200 --> 00:46:37,510 And I think another another instance of the caller using very simple interior that you often find in the tableau paintings. 350 00:46:37,510 --> 00:46:51,780 Now with instead of a saint or Christ, her doctor in a painting on the easel, and she suffered physically a great deal throughout her life. 351 00:46:51,780 --> 00:46:54,450 She went she underwent numerous operations. 352 00:46:54,450 --> 00:47:05,340 And you can see here that she's holding in her hand a pellet, which is also an interior organ, a kind of wound or heart. 353 00:47:05,340 --> 00:47:14,940 And it's as though she's a painting with her own blood. This painting is called What The Water Gave Me. 354 00:47:14,940 --> 00:47:21,750 And as you can see, it's it's as it were. It's her lying in the bath, looking at her feet at the far end. 355 00:47:21,750 --> 00:47:31,950 One of which is horribly cracked. And in between herself and the feet, there's entire landscape of little incidents of narratives, 356 00:47:31,950 --> 00:47:37,320 including an encounter between two women on a raft on the right hand side, 357 00:47:37,320 --> 00:47:51,280 which I which quite often revere coloured paints, female bodies and encounters between two females. 358 00:47:51,280 --> 00:47:59,410 This is the two freedoms. Let's dos Frida's. 359 00:47:59,410 --> 00:48:10,450 So Fifita doubled Freeda as as as a kind of split image with, as you can see, 360 00:48:10,450 --> 00:48:16,990 a vein that runs through right round and down to the to the scissors that she's 361 00:48:16,990 --> 00:48:22,150 holding her hand trying to stem the blood that's flowing onto a white dress. 362 00:48:22,150 --> 00:48:27,430 This painting is exhibited at the international sort of exhibition in Mexico City. 363 00:48:27,430 --> 00:48:33,540 And I was in Walmart in New York 20 centuries, a model of Mexico in 1948. 364 00:48:33,540 --> 00:48:42,850 The catalogue of New York show colours friend Covarrubias wrote, Almost all Frida Kahlo paintings are autobiographical, 365 00:48:42,850 --> 00:48:49,400 expressed in dream language, which is true who is motivated by the psychological states of the artist's mind? 366 00:48:49,400 --> 00:48:55,650 Kind of the self said. I never knew I was a surrealist until Andre Braugher came to Mexico and told me I was. 367 00:48:55,650 --> 00:49:04,630 The only thing I know is that I paint because I need to and I paint always whatever passes through my head without any other consideration. 368 00:49:04,630 --> 00:49:11,050 I think that she was unaware, as she says of surrealism before, is neither here nor there. 369 00:49:11,050 --> 00:49:13,870 I think it's questionable even that she was. I'll have it. 370 00:49:13,870 --> 00:49:21,010 But it doesn't matter because surrealism was built on a recognition of like spirits from the past and the present, 371 00:49:21,010 --> 00:49:24,020 regardless of their awareness of the movement itself. 372 00:49:24,020 --> 00:49:32,870 And Kahlo was one of many artists like Manuel and Lola over his brother, whose work was recognised as cognate with surrealism. 373 00:49:32,870 --> 00:49:39,880 My quote Button's essay on call at this present point in the development of Mexican painting, 374 00:49:39,880 --> 00:49:48,100 which since the beginning of the 19th century has remained largely free from foreign influence and profoundly attached to its own sources. 375 00:49:48,100 --> 00:49:56,890 I was witnessing here at the other end of the Earth a spontaneous outpouring of our own questioning spirit. 376 00:49:56,890 --> 00:50:03,220 It was not about on real reality, but a thoroughly grounded, real resistance to pure fantasy. 377 00:50:03,220 --> 00:50:08,980 The colours, paintings and brother's photographs were so highly valued by the surrealists. 378 00:50:08,980 --> 00:50:16,180 The fact that colours subsequently in her diary experiment, automatic writing and drawing suggests that you find more sources and stories. 379 00:50:16,180 --> 00:50:27,840 And then she subsequently admitted opening. In 1940, Monroe and Colin organised the international exhibition surrealism at the gallery. 380 00:50:27,840 --> 00:50:34,680 The ultimate Hicken in Mexico City was many years. It was the only commercial gallery in Mexico City. 381 00:50:34,680 --> 00:50:40,500 This is a photograph reversed by Obama's brother on the cover. 382 00:50:40,500 --> 00:50:46,380 The exhibition opened on the 17th of Jan 1940, and at the Venice Sash More I wrote. 383 00:50:46,380 --> 00:50:51,610 There was a ridiculous imbecile mad crowd. 384 00:50:51,610 --> 00:50:55,770 Diego and Carlo were in the exhibition with enormous paintings, 385 00:50:55,770 --> 00:51:05,170 coller with the two Frida's and D'Rivera with decorative female portrait entitled Maham Reveller. 386 00:51:05,170 --> 00:51:10,310 Mauro, who was who organised the show and had to deal with with colour, and Frida, 387 00:51:10,310 --> 00:51:17,280 who both wanted the most prominent places in the show and painted the largest pictures, 388 00:51:17,280 --> 00:51:21,650 said that Degas titles were common in typical Latin American genius. 389 00:51:21,650 --> 00:51:33,860 He said an extraordinary ability to see people. Rivera was very sweet to him, Morreau, he said, but no one believes in his surrealism. 390 00:51:33,860 --> 00:51:42,280 Revetted surrealism is his father's attempt to revive his reputation, which his ticket unnecessary as he ends masses in United States. 391 00:51:42,280 --> 00:51:45,710 Mississippi, a genius and more went on. 392 00:51:45,710 --> 00:51:51,860 It hasn't worked for him in Paris. Despite the promotion in Minitel, people there have a refined instinct. 393 00:51:51,860 --> 00:52:06,010 The new painting and the catalogue with footwork by Bravo was denounced by the Mexican mill painter Siqueiros for the aesthetic cretinism. 394 00:52:06,010 --> 00:52:18,770 It was it was censored by the gallery. And that will actually cut out the final paragraph from, says armourers preface. 395 00:52:18,770 --> 00:52:28,190 And then a copy preserved in the Getty Research Institute. Mora has added in his handwriting the last paragraph that was that was censored. 396 00:52:28,190 --> 00:52:33,200 And I quote, At this precise moment, the Christian era ends. 397 00:52:33,200 --> 00:52:42,020 A great wind has been unleashed that whose origin we see the moral poignant support of of Sigmund Freud, which is just discussed forever. 398 00:52:42,020 --> 00:52:48,180 The plots of Golgotha and death loving Ivy devours the crosses where birds would never live. 399 00:52:48,180 --> 00:52:53,840 Civils clairvoyant situated the end of the Christian era in 1925 1929. 400 00:52:53,840 --> 00:53:04,190 We need to remember this. So Mauro's attempt at an antique, an anti Christian message in the catalogue failed. 401 00:53:04,190 --> 00:53:21,020 And that, I think is quite interesting because it shows how how delicate and how touchy this subject of religion still was in Mexico at the time. 402 00:53:21,020 --> 00:53:31,610 And this is more of himself standing in the exhibition of the painting by Polin on the wall for many years. 403 00:53:31,610 --> 00:53:44,720 In the latter part of this five years, more of this fallen have penned a reviewer called Elton Cedella Palabra, which is finally published in 1939. 404 00:53:44,720 --> 00:53:52,610 And it included an essay by this farm on Purt Free and the critics in Peru, which, as Morris said, is absolutely terrific. 405 00:53:52,610 --> 00:54:00,880 Very brave making many enemies. And it also included a photograph specially commissioned by Mora from the Salt, 406 00:54:00,880 --> 00:54:06,830 sir, of a statue in a park in Mexico City, which she said is utterly scandalous. 407 00:54:06,830 --> 00:54:14,820 And this is the photograph of the of the behind of this of this statue. 408 00:54:14,820 --> 00:54:23,630 I also had one criticism of an essay by this forelimbs essay on Freud talking about desire in all its forms. 409 00:54:23,630 --> 00:54:29,990 This Farhood listed artistic, scientific and political but moral, Wexton says. 410 00:54:29,990 --> 00:54:37,250 What about sexual? Surely this is as important. 411 00:54:37,250 --> 00:54:44,580 Is. He also wrote for this fall in 1940, at the height of his active engagement with surrealism. 412 00:54:44,580 --> 00:54:55,950 This exhibition that he wished he could probably somewhere prominent socialism's watchwords or slogans such as down with book about a cover, 413 00:54:55,950 --> 00:55:03,970 which he said I particularly like, which was the basic reason for my joining surrealism. 414 00:55:03,970 --> 00:55:11,370 Now I'm I'm just drawing to a close. I just want to finish by. 415 00:55:11,370 --> 00:55:17,040 Talking a little bit about more disillusion with surrealism. It was quite gradual. 416 00:55:17,040 --> 00:55:20,940 This is a photograph, by the way, of him on the beach in Lima. 417 00:55:20,940 --> 00:55:33,320 After your turn there in 1948 is one of the series of of quite, quite strange pose performed photographs of him. 418 00:55:33,320 --> 00:55:40,080 Now, I think he grew away from surrealism during the early 40s as much because the movement changed just because he changed. 419 00:55:40,080 --> 00:55:47,950 One factor was his friendship with Wolfgang Palme, the painter and founder of the review down in Mexico. 420 00:55:47,950 --> 00:55:50,850 Described scribed in the success of his realism. 421 00:55:50,850 --> 00:55:59,250 And he also actually published the ending very few of the two publications of memoirs, poems that came out in in Mexico. 422 00:55:59,250 --> 00:56:04,780 One in addition to harder than the other condition of any 50. 423 00:56:04,780 --> 00:56:13,080 And I can be talking more about Mora in relation to pre Colombian and ethnographic questions next week 424 00:56:13,080 --> 00:56:21,690 in relation to dinn privately more expected to best form his doubts that could ever replace surrealism. 425 00:56:21,690 --> 00:56:27,960 Really, he said, I have nothing very definite to offer. Instead, the times too cataclysmic to see anything. 426 00:56:27,960 --> 00:56:35,610 Clearly, he became more more critical of surrealism and I'm quoting now always from the letters to rest form. 427 00:56:35,610 --> 00:56:39,890 I've been thinking about the great fuss surrealism made about psychoanalysis, 428 00:56:39,890 --> 00:56:45,840 and I realise that this fuss was purely lyrical in the Traffic Tree Green, 429 00:56:45,840 --> 00:56:50,310 an anthology of writings about bringing the unconscious put together by little. 430 00:56:50,310 --> 00:56:55,440 The only good things, Mauro says, are those where the dream is treated politically. 431 00:56:55,440 --> 00:57:00,990 Look at the comment. Investigations into sexuality. And tell me it doesn't resemble old films. 432 00:57:00,990 --> 00:57:05,580 I still hugely admires realism for the positive things it has done in the realm of poetry. 433 00:57:05,580 --> 00:57:10,830 But there is a dogmatic side that really pisses me off. It's interesting. 434 00:57:10,830 --> 00:57:16,700 I think that Mauro and Kiawah, both of whom were early Pseudolus adherents in Paris, 435 00:57:16,700 --> 00:57:24,790 both were active in Latin American album Gods took utterly divergent paths in their respective critiques of surrealism, 436 00:57:24,790 --> 00:57:30,030 while tomorrow what still mattered was the practise of poetry and the pretensions of 437 00:57:30,030 --> 00:57:35,700 scientifical pseudo scientific experiment or investigation seemed increasingly redundant. 438 00:57:35,700 --> 00:57:43,380 Kiawah objected. The lyrical, imperfect treatment of the mind of the world better, Kovalchuk protected. 439 00:57:43,380 --> 00:57:49,910 Roldan's sought to unmask the mysterious and the marvellous Kibale taking refuge in blinis hours 440 00:57:49,910 --> 00:57:56,010 different from the war and was a regular contributor to Victorio compares important John saw. 441 00:57:56,010 --> 00:58:03,570 He refused to publish a review of more his book of poems, the Shefford decrees and moral comments. 442 00:58:03,570 --> 00:58:14,340 I wouldn't be surprised had I not Longdon. Mr. Kiawah is a declared enemy of poetry and a patent Saifi plebe Brione Emelda Pneumonia. 443 00:58:14,340 --> 00:58:19,130 His own initiative, Purt from Now had changed. He no longer insisted on automatism. 444 00:58:19,130 --> 00:58:27,190 Is Purtell automatic? What a joke. One works and chooses the elements provide about one TISM and not that's it. 445 00:58:27,190 --> 00:58:32,310 Not outside or moral or aesthetic occupations. That is the misunderstanding. 446 00:58:32,310 --> 00:58:35,900 Surrealism perpetuates his disappointment with putting. 447 00:58:35,900 --> 00:58:40,590 His latest book I've Come to Sit in 1944 was intense, 448 00:58:40,590 --> 00:58:47,700 as he spelt out in a long and highly critical review in the Mexican Journal Article Prodigals in 1945. 449 00:58:47,700 --> 00:58:57,810 There were two reasons for this. The first was that he felt the celebration of love had become formulaic and Breton's seductive lyricism rhetorical. 450 00:58:57,810 --> 00:59:07,080 The second was its limited recognition of human desire. The insistence in the book that every human being seeks the unique being of the opposite sex. 451 00:59:07,080 --> 00:59:13,970 The complementary fine motor says if this is meant allegorical, but it is not here. 452 00:59:13,970 --> 00:59:22,770 The affirmation of every human being seeks another of the opposite sex seems to us circuitries us so obscurantists that this is if the study of sexual 453 00:59:22,770 --> 00:59:34,290 psychology had not made the progress it has Morrises his failure to recognise the diversity of human drives as a political as well as personal issues. 454 00:59:34,290 --> 00:59:41,230 As long as man does not have complete consciousness of his or her own intimate problems of his or her sexuality, 455 00:59:41,230 --> 00:59:49,080 a good or bad orientation, he cannot pretend to lead nor to resolve collective conflicts. 456 00:59:49,080 --> 00:59:56,590 More refers again of a chefs to sexuality, this time to regret that serialism had not had the courage to continue and profit. 457 00:59:56,590 --> 01:00:00,990 Investigate that simple line of questioning human sexuality. 458 01:00:00,990 --> 01:00:10,470 There had been twelve sessions investigating sex undertaken by the group between 1928 and 1932, the end of the first two accomplished. 459 01:00:10,470 --> 01:00:15,130 Have you seen surveillance in 1928? And they're often cited for bottles, 460 01:00:15,130 --> 01:00:22,930 also authorities refusal to tolerate the direction the conversation can take them towards a debate about same sex desire. 461 01:00:22,930 --> 01:00:26,980 The conversations are, with this one exception. Extraordinarily free. 462 01:00:26,980 --> 01:00:31,840 If at times, rather, burlesque is evident from Maura's own work, 463 01:00:31,840 --> 01:00:37,150 as well as that many of the surrealists that are pulling more for sexuality is not just compatible, 464 01:00:37,150 --> 01:00:42,480 but often at the core of its poetry and visual arts. 465 01:00:42,480 --> 01:00:52,770 And I just want to end with a little part of the poem from the collection called Liquid More or Love Letter. 466 01:00:52,770 --> 01:01:01,900 The cover, which you can see here with with of the inscriptions by a lot of his friends in many different languages, just saying love letter. 467 01:01:01,900 --> 01:01:14,620 And that's in the centre, he said, was written by his own lover, although his own lover would never read the poems dedicated to him. 468 01:01:14,620 --> 01:01:24,660 And I quote. I think of your body, which made our bed, the sky and supreme mountains of the only reality with its valleys and its shadows, 469 01:01:24,660 --> 01:01:34,175 with the moisture and the marble and Blackwater reflecting all the stars in each of your.