The curse of Frankenstein is a prevalent theme in Mary Shelley's novel, "Frankenstein." It revolves around the consequences and repercussions of Victor Frankenstein's ambition to create life. **One of the central aspects of the curse of Frankenstein is the idea that playing god and tampering with nature leads to disastrous outcomes.** Victor's obsession with creating life drives him to cross ethical boundaries and defy the natural order. By defying nature, he disrupts the balance of life and sets in motion a series of tragic events. This curse is symbolic of the dangers of scientific advancement without consideration for morality and responsibility.

Surrealism and Magic: Enchanted Modernity

The exhibition Surrealism and Magic: Enchanted Modernity (October 22, 2022 – January 29, 2023) was the first large-scale international loan exhibition to focus on the Surrealists’ interest in magic and myth.

With his Manifesto of Surrealism, published in October 1924, the French writer André Breton founded a literary and artistic movement that soon became the leading international avant-garde. At the center of the Surrealist enterprise lay a reorientation towards the world of the night-dream, the unconscious and the irrational. Numerous artists, who moved in the intellectual orbit of the movement, also immersed themselves in the imaginative world of magic. In their works, they frequently drew on occult symbolism and cultivated the traditional image of the artist’s persona as a magician, seer, and alchemist. The exhibition ranges from the “metaphysical painting” of Giorgio de Chirico around 1915, through Max Ernst’s iconic painting Attirement of the Bride (1940), to the occult imagery that underpinned the late works of Leonora Carrington and Remedios Varo.

VG Bild-Kunst, Bonn 2022, Image: Solomon R. Guggenheim Foundation, New York (Photo: David Heald)

Victor Brauner: The Surrealist, 1947, Peggy Guggenheim Collection, Venice

Magic was a stimulus to thinking. It freed man from fears, endowed him with a feeling of his power to control the world, sharpened his capacity to imagine, and kept awake his dreams of higher achievement.

Selected masterpieces by world-renowned artists such as Giorgio de Chirico, Salvador Dalí, Max Ernst, and René Magritte were featured alongside key works by painters that remain to be discovered by the larger museum-going public, amongst them Victor Brauner, Enrico Donati, Jacques Hérold, Wolfgang Paalen, and Kurt Seligmann. 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.

The Estate of Kay Sage / VG Bild-Kunst, Bonn 2022, Image: bpk, Berlin / The Metropolitan Museum of Art

Kay Sage, Tomorrow Is Never, 1955, The Metropolitan Museum of Art, New York

With works by artists from 15 countries and exhibits dating from 1914 to 1987, Surrealism presented itself as a global, transnational movement whose impact radiated far beyond France in the 1920s and 1930s. The loans came from over 50 museum and private collections, including the Art Institute of Chicago, the Menil Collection in Houston, the Israel Museum in Jerusalem, the Museo nacional Thyssen-Bornemisza in Madrid, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York, and the Centre Pompidou in Paris.

The concept of the exhibition could be based on the outstanding holdings of the Peggy Guggenheim Collection, which has one of the most important collections of Surrealist painting in the world. Numerous works acquired by Peggy Guggenheim in the course of her patronage of the Surrealist movement vividly reflect its iconographic borrowings from occult symbolism.

An exhibition of the Museum Barberini, Potsdam, and the Peggy Guggenheim Collection, Venice, curated by Daniel Zamani (Potsdam) and Grazina Subelyte (Venice). In Venice, the Peggy Guggenheim Collection presented the exhibition from April 9 to September 26, 2022. The exhibition was accompanied by 240-page catalog (Prestel, 2022), featuring essays by Susan Aberth, Will Atkin, Victoria Ferentinou, Alyce Mahon, Kristoffer Noheden, Gavin Parkinson, Grazina Subelyte, and Daniel Zamani.

Surrealism and magic enchanted modernity

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This curse is symbolic of the dangers of scientific advancement without consideration for morality and responsibility. Furthermore, **the curse of Frankenstein is also seen in the isolation and alienation experienced by both Victor and his creation.** Victor's obsession with his experiment consumes him, leading him to neglect his relationships and isolate himself from society.

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Similarly, the Creature experiences isolation and rejection from the moment of his creation. Neither Victor nor the Creature find acceptance or fulfillment in their existence, further emphasizing the curse that Victor has brought upon himself and the world. Additionally, **the curse of Frankenstein is reflected in the theme of revenge and destruction.** Victor's creation, fueled by anger and loneliness, seeks revenge on his creator, causing destruction and death wherever he goes. This vengeance is a direct result of Victor's actions and is a powerful representation of the curse that haunts him. In conclusion, the curse of Frankenstein is a recurring theme in Mary Shelley's novel. **It explores the consequences of tampering with nature, the isolation experienced by both Victor and his creation, and the theme of revenge and destruction.** Through these elements, Shelley warns of the dangers of ambition, scientific hubris, and the neglect of social and moral responsibilities. The curse of Frankenstein serves as a cautionary tale, reminding readers of the potential consequences of going against nature's laws..

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