Europe After the Rain. Dada and Surrealism - ACE066.4

Commentary describes friction between the Dadaists. Excerpts from René Clair’s Entr’acte (1924), from script by Picabia. Actor Tzara: "Dada marches on, destroying more and more… Dada is a state of mind… Dada is useless…" Commentary: "From the debris of Dada, André Breton begins to organise a more positive direction for the energy Dada has unleashed"; variety of small sculptures by Arp. Actor as Breton saying "Leave everything… set out on the road", and talks about the subconscious and "imagination … reclaiming its rights". Ernst’s Au Rendez-Vous des Amis / A Friends’ Reunion (1922), portraying Breton with others including Arp, Baargeld, and Ernst himself. Breton beside Giorgio de Chirico’s The Enigma of a Day (1914); the painting; de Chirico quoted over Love Song / Le Chant d'amour (1914), The Philosopher’s Conquest (1914), The Disquieting Muses (1916), proposing that, in the future, painting will "see everything, including Man, as the thing itself … [and] … approach the dream and mentality of childhood". The Child’s Brain (1914): "I believe in the future resolution of these two states of dream and reality", says actor Breton, "… We know that poetry must lead somewhere". Quotation from Louis Aragon’s novel, Paris Peasant (1924), "describing the revelations that lurk beneath the surface of the city": view of Sacré-Cœur, Montmartre; catacombs. Actor Breton quotes the definition of Surrealism from the first Surrealist Manifesto, 1924. "Automatic drawings" by André Masson; including Battle of Fishes (1926). Joan Miró’s Carnaval D'arlequins / Harlequins’ Carnival (1924-1925) Quote over about his methods: "…I begin painting, and, as I paint, the picture begins to assert itself under my brush… a form is never abstract: it is always a sign for something". The Tilled Field (1924-1925). Dog Barking at the Moon (1926). Person Throwing a Stone at a Bird (1926). Painting (1927). Photograph of Miró by Philippe Migeat, c.1930.