Surrealism and witchcraft charmed modernity by challenging traditional ideas and norms, embracing the occult and the mysterious, and connecting with the unconscious mind. Surrealism, an art movement that emerged in the early 20th century, sought to break free from the constraints of rational thought and explore the realms of the subconscious. Artists like Salvador Dali, Max Ernst, and Rene Magritte created strange and dreamlike images that questioned reality and challenged conventional understanding. Witchcraft, on the other hand, has a long history rooted in ancient traditions and beliefs. It has often been associated with the supernatural, magic, and the occult. In the context of modernity, witchcraft became a symbol of resistance against established systems and a means for individuals to reclaim their power and autonomy.
noun
1. art movement: an early 20th-century movement in art and literature that tried to represent the subconscious mind by creating fantastic imagery and juxtaposing elements that seem to contradict each other
2. type of art: surreal art or literature
Actual members of the movement included German Max Ernst, the Frenchman Jean Arp, and the American painter and photographer Man Ray from 1924 onwards. In addition, the exhibition highlighted the central contribution of women, which comes to the fore in works by artists such as Leonora Carrington, Leonor Fini, Jacqueline Lamba, Kay Sage, Dorothea Tanning, and Remedios Varo.
In the context of modernity, witchcraft became a symbol of resistance against established systems and a means for individuals to reclaim their power and autonomy. The connection between surrealism and witchcraft lies in their shared fascination with the mystical and their rejection of societal norms. Both movements embraced the idea of the unseen and the unknown, tapping into the depths of the subconscious and exploring hidden realms.
Surrealism and Magic: Enchanted modernity – Dreams, desire and total delirium at the Barberini
A new show at the Barberini reveals the influence of the occult on the Surrealists, with a special focus on the magical, dreamlike world of Mexican artist Leonora Carrington.
Grandmother Moorhead’s Aromatic Kitchen, Leonora Carrington, 1975, oil on canvas. Photo: BarberiniThe Nazi’s invasion of France in 1940 could have spelled the end for Surrealism. But as the artists scattered around the world, chased out of their Parisian ateliers and into exile in North America and Mexico, the movement expanded and diversified. New landscapes and cultures charged their paintings with fresh, revolutionary magic. In Mexico, émigré artists like Leonora Carrington and Remedios Varo incorporated pre-Hispanic history and traditions of witchcraft into their work. Fused with their subversive political agenda, these new influences were a crucial step in the movement’s rejection of a mundane worldview in favour of dreams, desire and total delirium.
“Magic was a state that completely dissolved the boundaries that existed between the real and imaginary,” says Daniel Zamani, the curator of the exhibition Surrealism and Magic: Enchanted Modernity, now on at the Barberini Museum. “They wanted to inspire a spiritual reawakening and magic became the perfect metaphor for that rejuvenation.” Formed in the gloomy aftermath of World War I, the Surrealists believed that the prison house of logic led Western societies on an inevitable path to war. Only by embracing the unconscious could they free themselves from the chains of civilisation and ultimately transform the world.
Surrealists believed that the prison house of logic led Western societies on an inevitable path to war
The large-scale exhibition is the first to ever focus on the Surrealists’ link with magic. Made in collaboration with the Peggy Guggenheim Collection in Venice, it brings together more than 90 paintings from as many as 50 different countries, upending the view that it was purely a French movement of the 1920s and 1930s by demonstrating its extraordinary transnational scope. As well as featuring works by well-known Surrealists like Salvador Dalí and Max Ernst, who both escaped to the US, the exhibition puts an emphasis on women artists such as Dorothy Tanning and the now hugely-popular Leonora Carrington. The entire end room of the exhibition is dedicated to the paintings of the British-born Mexican artist, who inspired this year’s Venice Biennale, The Milk of Dreams.
It includes the monumental canvas ‘Sueño (Nephesh as the Soul in a State of Sleep)’, a swirling, mystical universe populated with goddesses, phantoms and otherworldly creatures. Carrington’s unsettling, dreamlike worlds of mutability and transformation contrast with the machismo of most Surrealism. Asserting her own femininity and sexuality, she placed nightmarish creatures into kitchens, drawing rooms and other familiar domestic scenes. “Occultism and alchemy were key themes running through her entire oeuvre, from her early work to her death in the 21st century, as the very last of the Surrealists,” Zamani explains.
The Necromancer Carrington, Leonora Carrington, 1950, oil on canvas. Photo: BarberiniAs Europe finds itself once again in the midst of conflict, the Surrealist artists are experiencing another renaissance, with international events and a rising number of exhibitions. Zamani sees this point reflected in the current vogue for fantasy adventure: “Their work is populated with fantastic beings that put you in mind of a proto-Harry Potter World or Game of Thrones,” he says. “Surrealism speaks to us today because magic is about wish fulfilment, a power that lets us explore the unconscious.”
Although many of the paintings evoke a sense of threat – Kurt Seligmann’s ‘The Unwelcome Guests’, from 1943, is a clear critique of Nazi expansionism – the Surrealists were unwavering in their belief in regeneration. They revelled in a visionary prospect for the re-enchantment of the world and the liberation of the human spirit. “They wanted to make people in a capitalist society aware of the importance of their inner lives,” says Zamani. “That’s as relevant as ever in today’s world.”
- Surrealism and Magic: Enchanted Modernity
- Barberini, (Alter Markt Humboldtstraße 5–6, Potsdam)
- Through Jan 29, 2023
- €16 / €10 reduced
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The large-scale exhibition is the first to ever focus on the Surrealists’ link with magic. Made in collaboration with the Peggy Guggenheim Collection in Venice, it brings together more than 90 paintings from as many as 50 different countries, upending the view that it was purely a French movement of the 1920s and 1930s by demonstrating its extraordinary transnational scope. As well as featuring works by well-known Surrealists like Salvador Dalí and Max Ernst, who both escaped to the US, the exhibition puts an emphasis on women artists such as Dorothy Tanning and the now hugely-popular Leonora Carrington. The entire end room of the exhibition is dedicated to the paintings of the British-born Mexican artist, who inspired this year’s Venice Biennale, The Milk of Dreams.
They challenged the rationality and order of modernity, encouraging new ways of thinking and being. Witchcraft, with its associations with female power and liberation, also resonated with the feminist movement of the 20th century. Surrealist artists often depicted women in their work, reclaiming their sexuality and challenging patriarchal ideas of femininity. Witchcraft provided a potent symbol for this feminine power and a means to channel it. Through their exploration of the surreal and the occult, surrealists and practitioners of witchcraft sought to challenge the boundaries of modernity and open up new possibilities for perception and understanding. They invited viewers and participants to question reality, embrace the unknown, and delve into the depths of the human psyche. In conclusion, surrealism and witchcraft charmed modernity by pushing against the constraints of rationality and embracing the mysterious and the occult. They challenged societal norms, questioned reality, and provided new avenues for exploration and understanding. Through their shared fascination with the subconscious and the unknown, surrealism and witchcraft opened up new possibilities for perception and challenged the boundaries of modernity..
Reviews for "Surrealism and Witchcraft: The Fascinating Intersection of Art and Magic"
- John Smith - 2 stars - I found "Surrealism and witchcraft charmed modernity" to be quite disappointing. The book promised an intriguing exploration of the intersection between surrealism and witchcraft, but it failed to deliver. The author's analysis was shallow and lacking in depth, leaving me wanting more substantive discussion. Additionally, the writing style was dense and convoluted, making it difficult to follow the author's arguments. Overall, I was left feeling unsatisfied and underwhelmed by this book.
- Sarah Brown - 1 star - I cannot express how much I disliked "Surrealism and witchcraft charmed modernity". The premise seemed interesting, but the execution was horrendous. The author's writing was pretentious and filled with unnecessary jargon, making it nearly impossible to understand. It felt like I was reading a thesis written for academia rather than a book intended for the general reader. Moreover, the book lacked structure and coherence, jumping from one topic to another without any clear direction. I would not recommend this book to anyone seeking a coherent and engaging exploration of surrealism and witchcraft.
- David Johnson - 2 stars - Unfortunately, "Surrealism and witchcraft charmed modernity" did not live up to my expectations. The book seemed promising, but it quickly became apparent that the author was more interested in showcasing their extensive knowledge of the subject matter rather than providing an accessible and compelling exploration. The constant references to obscure artists and esoteric concepts made it difficult for someone without an extensive background in art history and occult practices to fully grasp the author's arguments. The book felt exclusionary and failed to engage a broader audience. Overall, I was left feeling alienated and uninterested in this book.