Exhibition Proposal: Internal Models/Surrealist Spaces by Eira Rojas

Exhibition Proposal Internal Models: Surrealist Spaces / Surrealist Works Proposal The exhibition entitled Internal Models: Surrealist Spaces / Surrealists Works, will explore Andre Breton’s exhortation for “a total revision of real values, [such that] the plastic work of art will either refer to a purely internal model or will cease to exist.”1 Taking a cue from Breton’s model reference, this exhibition will focus on surrealist works (and a small percentage of works that predate the movement but which it nonetheless coopted) that depict or share in an architectural rendering of interiority or of the complexities of mind. Situating the exhibition within Sir John Soane’s Museum would double the architectural analogy back on itself, as it is both a building and a collection created by an architect which taken as a whole represents, one could say, a model for Soane’s own complex mind.

The approximately 30 objects proposed for the exhibition include paintings and

photographs, texts, and three-‐dimensional works. These will be exhibited in various rooms of the Soane Museum, alongside the permanent collection and even replacing some of the art works and objets. For example, in the room devoted to Soane’s collection of architectural models, a grouping of 1930s sculptures by Giacometti, a 1960s reproduction of Duchamp’s Large Glass by Richard Hamilton and 19th century mathematical models from the Institut Henri Poincaré will be interspersed among the artifacts in situ. Over a dozen paintings, including architectural perspectives by Soane’s 1

Breton, Surrealism and Painting, p. 4.

frequent collaborator Joseph Michael Gandy and vedute by Canaletto, will be swapped out from the moveable panels of the Picture Room. Paintings by Max Ernst, Giorgio de Chirico, René Magritte and other surrealist artists whose work involves architectural motifs will appear in their stead. A 1991 reproduction of Duchamp’s Etant Donnés by Richard Baquié that opens up the work from the sides and rear, and allows the viewer to see the method of its construction, will supplant the famous sarcophagus of Seti I in the basement level of the museum. The architectural fragments that are currently displayed in the multi-‐story atrium above the sarcophagus will be removed in large part to make space for a reconfigured grouping of the objects currently collected at the Pompidou Center in Paris as Mur de l’atelier d’André Breton. Moody black and white photographs of the early 20th century Parisian cityscape by Brassaï, Eugène Atget and Dora Maar will be hung on the walls of the brightly lit North Drawing Room, while its ample table-‐top display areas will include a copy of André Breton’s 1928 novel Nadja and a 1938 issue of Minotaure featuring a maquette of a surrealist interior by Roberto Matta. Finally, an image from Jean Benoît’s 1959 performance of L’Exécution du testament du marquis de Sade will be set in the recessed niche on the staircase landing that currently houses the Shakespeare bust.

Rationale

The title of the lush and influential surrealist publication Minotaure is no

accident. As one of the central metaphors of surrealism, André Breton invoked the myth of the labyrinth to describe both the experience of lived reality and the perils involved in the artist’s plumbing of the subconscious during the creative process.2 If surrealist art should be a physical manifestation of interiority, then some surrealist artists documented their grappling with the inner spaces of the mind via architectural metaphors. Unsettling architecture – fragmentary, isolating and irrational – is one of the most recognizable visual tropes of surrealist art. These works abound with perilous, unstable spaces.

Anthony Vidler in his 1992 book The Architectural Uncanny, defined our

contemporary understanding of the term through an exploration of the German words heimlich and unheimlich employed by Freud to describe a particularly modern anxiety induced by the domestic.3 A sense of menace imbues much of surrealism’s architectural imagery, but other valences are equally apparent, including nostalgia and memory, a dreamlike perplexity, desire and wish-‐fulfillment, and mechanistic probings. In the broadest terms, surrealism’s architectural disposition explores the labyrinthine complexities of the human mind.

The Barbican Center’s 2010 exhibition, Surreal House, explored this

architecture/mind metaphor with a playful expansiveness, incorporating surrealist furniture and household objects, cultural references from film, as well as resonant 2 3

Rothwell, "Le Surréalisme Et La Peinture: Breton’s Spatial Hermeneutics,” p. 105. Vidler, The Architectural Uncanny: Essays in the Modern Unhomely, p. 4.

contemporary works. The idea of the surreal house existed prior to this exhibition however, in the gallerist Julien Levy’s plan for a Surreal House pavilion at the 1939 World’s Fair in New York that would exhibit surrealist works in the context of “the carnivalesque aspects of American popular culture.”4 The proposal never came to fruition, but the movement’s officially sanctioned exhibition that took place in New York in 1942, First Papers of Surrealism, confronted another aspect of the interrelationship between surrealism and architecture. Although Duchamp’s intervention with string in the installation space is open to many interpretations, it can be understood in part as a response to the challenge of displaying modern works in “the incongruously ornate”5 and anachronistic setting of what was once a private Gilded Age home.

An exhibition of surrealist works in Sir John Soane’s Museum would also create

an uncanny juxtaposition of work and architecture. In this setting, the two modalities of architecture as physical envelope and architecture as a rendering of interiority are set in discourse with each other. The Soane Museum, torn down and rebuilt more than once, with its piecemeal additions and renovations, its idiosyncratic floor plan and extensive collection of objets d’art is in many ways an exceedingly complex surrealist object. As the record of a man’s life history, his preoccupations and aesthetic inclinations, it is also a physical manifestation of an intricate, complex mind.

In its current context as a public exhibition space the museum is well suited for

this type of display. The museum’s monthly candlelit evening openings recall the dimly 4

Kachur, Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations, p. 107. 5 Kachur, Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations, p. 168.

lit vernissage for the 1938 Exposition International du Surréalisme, at which Man Ray passed out flashlights to the attendees.6 An exhibition such as the one proposed is also logistically possible in theory. Although the Soane Museum, like the Barnes Foundation in Philadelphia, is philosophically tethered to an ideal of the house as an unchanging artifact, the reality is that objects and even rooms have been moved and removed due to practical exigencies.7 The museum also has an established record of locating temporary exhibitions, even of contemporary works, throughout the house’s rooms, intermingled with the period artworks and furnishings.8 Certainly, the museum’s spaces, as well as its distinctive exhibition methods, would reinforce the uncanny message of the works exhibited.

Subdivided by room, the works represent a spectrum of the ways in which

surrealism has employed architectural metaphors. The paintings proposed for the Picture Room, which form the largest grouping of the exhibition, highlight the compositional and thematic unity underlying two-‐dimensional representations of the architectural paradigm: the disquieting and irrational perspectival arrangements and palpable sense of isolation. Pulling back the room’s panels reveals successively deeper depictions of interiority. Once all of the panel layers have been opened on the Picture Room’s south wall, the viewer is left confronting an opening out over the Monk’s Parlour in the basement room, as if opening a window onto the deepest recesses of the mind. Throughout the exhibition, several of these fortunate accidents (or Bretonian 6

Kachur, Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations, p. 73. 7 Clark, Sir John Soane's Museum: Conservation Management Plan 2008, pp. 40 – 48. 8 See http://www.soane.org/exhibitions/past/

chance encounters) bring the house and artworks into closer alignment. Baquié’s open-‐ sided reworking of the Etant Donnés, which replaces the sarcophagus, reveals the corpse-‐like female body at its center. It provokes an additional meditation on mortality as it exposes the process behind it construction, which occupied the last decades of Duchamp’s life. In the Shakespeare Recess, similar affinities account for the placement of Benoît’s image in costume on the stairs of Joyce Mansour’s house. It not only presents parallel literary influences, and creates a mirrored double of the viewer on the stairs, but also calls to mind Bernard Tchumi’s architectural metaphor of order/bondage.9

Other exhibits reveal a more complicated tension-‐attraction in their placement.

Removing a large portion of Soane’s collection of architectural fragments and sculptural reliefs carves out of the space a major contextual factor. Soane used the rear of the house as school for his students and the extensive collection as a teaching aid. Replacing these objects with the installation of Breton’s studio wall, reaffirms the ‘working’ aspect of Breton’s collecting. However, by raising it from its workaday ground level to the upper reaches of the dome enclosure, and reassembling the works to fit the dimensions of the space, the proposed installation decontextualizes Breton’s wall even further than its static, glass-‐enclosed setting at the Pompidou. At the same time, Breton’s collection, would fit naturally within the setting, paralleling the wunderkammer qualities of both men’s working and living, public/private environments and the sense of self-‐portraiture inherent in the accumulation of objects that represent the sum of each man’s fixations. 9

Tchumi, “The Pleasure of Architecture,” np.

Similarly, the new additions this exhibition would make to the model room,

present several challenges to the literalness of the model as metaphor. Giacometti’s Skull-‐Heads and the mathematical models mirror each other in counterpoint – both can be taken at face value as intending only their surface meaning as skulls or learning aids, or they can be interpreted as visual representations of sublime complexity. The intricately schematic Large Glass and Le Palais à quatre heures du matin also belie multiple layers of dreamlike irrationality. Reading Nadja in Soane’s sunlit public drawing room creates analogous conceptual links between the Soane house and the “maison de verre” described by Breton in the novel: “As for myself, I’ll continue to inhabit my house of glass, from where I’ll always be able to see who is coming to see me, and where everything is hung from the ceilings and walls as if by magic […] where sooner or later who I am will be revealed.”10 Nadja also highlights layers of meaning in a work that dealt with latent surreality “created by the architecture of the city.”11 The photographs similarly speak to this sense of unsettling urban chance encounter. Atget’s Parisian streetscape, Cour, 41 rue Broca, with its title that evokes Pierre Paul Broca’s eponymous portion of the frontal lobe is a particularly apt element of the exhibition. The disjointed floor plan created by Matta, who was trained as an architect, contrasts with the more sedate floor plans already on display in this room. Thus the works selected for this exhibition both confront and amplify the qualities of the space that reflect concepts of interiority and mind.

10 Breton, Nadja, p 18. 11 Levy, “Menace: Surrealist Interference of Space,” pg. 70.

In spite of the relatively short gap between the Barbican’s Surreal House

exhibition and this proposal, it should be clear that this exhibition differs enough both thematically and in scope to warrant its execution. Although both address interiority as a metaphor, situating the exhibition within the proto-‐surreal environment of the Soane Museum enhances the symbolism. As opposed to the broad scope of the Barbican’s exhibition, this one focuses mainly on a small selection of period works created by artists central to the movement. (The two exceptions are the replicas of Duchamp’s original works, which are impossible to move.) In addition, London is a fitting location for the display of these canonical works, since it was the site of the first International Surrealist Exhibition in 1936 that introduced to British notice many of the artists selected for this proposal. The contemporary museum-‐going public, in attending this installation of works, will perhaps get a sense of the magical uncanny which must have been felt by the original attendees at some the more conceptual surrealist exhibitions.

List of Text Panels and Sample Text Panel Due to the nature of the collection, which attempts to hew as closely as possible to the house’s original decorative details, and the amount of paintings and artifacts displayed on the museum walls, Sir John Soane’s Museum does not typically support traditional wall text panels. The museum instead provides information on laminated cards affixed to paddles. 1) Picture Room: “Uncanny Architecture” Sample Text Someone told me they had read in a book by Chesterton about a detective who, in order to find someone he is looking for in a certain city, simply scoured from roof to cellar the houses which, from the outside, seemed somehow abnormal to him, were it only in some slight detail. This system is as good as any other. – André Breton, Manifesto of Surrealism

In this room, which includes works by Max Ernst, Giorgio de Chirico, Roberto Matta and René Magritte, the exhibition highlights the unsettling compositional and thematic conventions employed in the architectural depictions of surrealist painting. The paintings suggest that there is a common visual language to these representations that evoke anxiety, nostalgia, and desire. In part, the effects are due to the dislocations in rational perspectival arrangements that are common to many of these works. Fragmentary spaces – shattered buildings, disjointed and incoherent interiors – also contribute to a sense of the uncanny. Barren spaces diluted of human presence or inhabited by wraithlike figures wandering desperately present us with the ultimate isolation of each individual’s mind from every other. Pulling out the panels reveals works of increasing interiority.

1) 2) 3) 4) 5) 6)

Model Room: “Complexity in Three Dimensions” Sarcophagus Room: “Rebuilding Duchamp’s Last Room” Architectural Fragment Wall: “The Wunderkammer as Self-‐Portrait” North Drawing Room: “Cityscapes and Mindscapes in Black and White” Shakespeare Recess: “A Literary Flight” General Exhibition: “The Restless Dwelling”

Sample Exhibition Label for a Single Exhibit As the use of wall labels is mostly eschewed at Sir John Soane’s museum, this text would appear as an entry in the exhibition catalogue. Jean Benoît (1922 Quebec, Canada – 2010 Paris, France)

L’Exécution du testament du marquis de Sade 2 December 1959, various materials – individual components illustrated below

This photograph documenting part of Benoît’s performance on the stairs of Joyce Mansour’s home in Paris is by an unknown photographer (perhaps Gilles Ehrmann, as he took other verifiable images of the event). On the 145th anniversary of the Marquis de Sade’s death, Benoît first ceremonially removed the various parts of this costume and then, breast exposed, he branded Sade’s name over his heart. Parts of the costume were later exhibited at the Galerie Daniel Cordier during the December 1959 – January 1960 Exposition inteRnatiOnal du Surréalisme. The Marquis de Sade was an important literary influence for Surrealists – André Breton proclaimed, “Sade is a surrealist in sadism,” in his first Manifesto of Surrealism from 1924.

Event invitation sample layout written by André Breton, 1959. Centre Pompidou, Paris.

Photo by Marc Vaux for the exhibition catalogue, Exhibition inteRnatiOnal du Surrealisme, L’Exécution du testament du marquis de Sade

Sample Catalogue Entry for an Individual Exhibit Richard Baquié

(1952 Marseille, France – 1996 Marseille, France)

Sans titre. Etant donnés: 1º la chute d’eau, 2º le gaz d’éclairage 1991 Diverse materials 251 x 204 x 406 cm Musée d’art contemporain de Lyon

Modified replica of:

Marcel Duchamp

(1887 Blainville-‐Crevon, France – 1968 Neuilly-‐ sur-‐Seine, France)

Étant donnés: 1º la chute d’eau, 2º le gaz d’éclairage

1946-‐66 Mixed media assemblage: (exterior) wooden door, iron nails, bricks, and stucco; (interior) bricks, velvet, wood, parchment over an armature of lead, steel, brass, synthetic putties and adhesives, aluminum sheet, welded steel-‐ wire screen, and wood; Peg-‐Board, hair, oil paint, plastic, steel binder clips, plastic clothespins, twigs, leaves, glass, plywood, brass piano hing, nails, screws, cotton, collotype prints, acrylic varnish, chalk, graphite, paper, cardboard, tape, pen ink, electric light fixtures, gas lamp (Bec Auer type), foam rubber, cork, electric motor, cookie tin, and linoleum 242.6 x 177.8 x 124.5 Philadelphia Museum of Art

Richard Baquié’s ‘untitled’ 1991 replica in 1/1 scale12 of Marcel Duchamp’s Etant Donnés was created according to a set of detailed instructions that Duchamp gave to the curators of the Philadelphia Museum, with the instructions that its contents (and hence the secret behind wall) should not become public for 15 years. The museum, however, did not release a facsimile of the technical notes until 1987, almost 20 years after its unveiling.13 Presumably, Duchamp wanted the experience to remain uncannily mysterious for viewers, but the secrecy could also be attributed to its inspiration – Duchamp’s affair with the sculptor Maria Martins. In “The Blossoming of Perspective: An Architectural Analysis of Given,” the artist and scholar Penelope Haralambidou describes the work as “an elaborate and painstaking substitution of Duchamp’s lover [… that] in reproducing Martin’s body tries to arrest the fleeting architecture of his desire and present it with mathematical exactitude.”14 Duchamp’s original Etant Donnés, as it is currently exhibited in the Philadelphia museum produces an architectural riddle. Closed off all sides, merely proscribed parts of the work are visible. Only the outer, ‘infra-‐thin’15 membrane of exposed wall and weathered doors are immediately apparent. Viewers perceive the diorama of the inner tableau through a stereoscopic tunnel created by two holes in the door, which obscures the ability to closely examine the mechanics of this inner sanctum. In effect, Baquié’s subsequent reproduction unveils the latent 3-‐dimensionality obscured by the constricted planes of the original by turning it into a sculptural architectural model. If Duchamp’s version encouraged the viewer in his/her role of desirous voyeur coveting the nude female, the reproduction exhibited here refracts the voyeuristic impulse. The viewer, like an apprentice in on the magic trick, is no longer awed by the artist’s ocular tricks, but is instead confronted with riddles about Duchamp’s artistic process, his manias, and his decades-‐long entanglement with perfecting the illusion inside the room. The Etant Donnés, once liberated of its enclosure, presents us with another, infinitely more impervious barrier – the private particulars of one man’s exploration of longing and memory. Consequently, this open, schematic version of the Etant Donnés finds a fitting place in the home of Sir John Soane, architect and educator of architects, whose house is filled with models intended to facilitate the understanding of complex spaces and floor plans for looking virtually inside closed walls.

12 See lyonmoca.videomuseum.fr. 13 Haralambidou, Marcel Duchamp and the Architecture of Desire, p. 55. 14 Ibid, p. 142. 15 Ibid, p. 69.

Floor Plans

Soane Museum Reference Images

Soane Museum Ground Floor A. Model Room B. Architectural Fragment Wall C. Shakespeare Recess D. Picture Gallery

Soane Museum Basement Floor E. Sarcophagus Room

Room Images16 Picture Room

Model Room

These images of Sir John Soane’s Museum interiors were prepared during Soane’s lifetime by various artist/illustrators and students for the purposes of documentation. See Clark, Sir John Soane’s Museum: Conservation Management Plan 2008, p. 9. Room images – with the exception of the Shakespeare Recess image -‐ sourced from this document as well.

Sarcophagus Room

Architectural Fragment Collection

North Drawing Room17

Shakespeare Recess18

The North Drawing Room is located on the first floor, more or less above dining room on ground floor. First floor plan not shown. 18 See Clark, Sir John Soane’s Museum: Conservation Management Plan 2008, p. 176. The Shakespeare Recess was originally a small room off the stairs that was removed in 1890 during curator James Wild’s period of extensive changes to the museum. Hence this room is illustrated with a contemporary photograph of the now drastically smaller niche.

List of Exhibits Picture Room/Uncanny Architecture Outer Panels 1) Rene Magritte, Empire of Light, II, 1950. Oil on canvas, 78.8 x 91.1 cm. MoMA, New York.

2) Remedios Varo, Transito en espiral, 1962. Oil on Masonite, 100 x 115 cm. Private collection.

3) Giorgio de Chirico, Piazza d’Italia con Arianna, 1915. Oil on canvas, 27.7 x 41.3 cm. Private collection.

4) Kay Sage, No Passing, 1954. Oil on canvas, 130.2 x 96.5 cm. Whitney Museum, New York.

5) Yves Tanguy, Du vert au blanc, 1954. Oil on canvas, 98.5 x 81 cm. Private collection.

6) Max Ernst, L’Europe après la pluie, 1940-‐42. Oil on canvas, 54 x 146 cm. Wadsworth Atheneum, Hartford, CT.

Picture Room/Uncanny Architecture Middle Panels 7) Salvador Dali, Le Jeu lugubre, 1929. Oil and collage on card, 44 x 30 cm. Private collection.

10) Max Ernst, Deux enfants sont menacés par un rossignol, 1924. Oil on wood with painted wood elements and frame, 69.8 x 57.1 x 11.4 cm. MoMa, New York.

8) Kay Sage, All Soundings are Referred to High Water, 1947. Oil on canvas, 91.5 x 71 cm. Davison Art Center, Middletown CT.

9) Paul Delvaux, Echo, 1943. Oil on canvas, 105.5 x 129.9 cm. Private collection.

12) Leonora Carrington, Crookhey Hall, 1947. Oil on canvas, 31.5 x 60 cm. Private collection.

11) Roland Penrose, L’Ile invisible, 1937. Oil on canvas, 100 x 75 cm. The Roland Penrose Collection, Sussex.

Picture Room/Uncanny Architecture Inner Panels

13) Dorothea Tanning, Eine Kleine Nachtmusik, 1943. Oil on canvas, 41 x 61 cm. Tate Gallery, London.

14) Roberto Matta, The Pilgrim of Doubt, 1947. Oil on canvas, 195.6 x 251.5 cm. Private collection.

16) Conroy Maddox, The Lesson, 1938. Oil on canvas, 80.5 x 70.2 cm. Collection Jeffrey Sherwin, Leeds.

17) Leonora Carrington, La maison en face, 1945. Tempera on panel, 33 x 82. Private collection.

15) Mimi Parent, J’habite au choc, 1956. Oil and collage of wood on panel, 61 x 85 10 cm. Private collection.

Sarcophagus Room/Rebuilding Duchamp’s Last Room

18) Richard Baquié, Sans titre. Etant donnés: 1º la chute d’eau, 2º le gaz d’éclairage, 1991. Diverse materials, 251 x 204 x 406 cm. Musée d’art contemporain de Lyon.

Model Room/Complexity in Three Dimensions 19) Marcel Duchamp/Richard Hamilton, La Mariée mis à nu par ces célebataires, meme, 1915-‐23, (reconstruction by Richard Hamilton 1965-‐65, lower panel remade 1985). Oil, lead, dust and varnish on glass, 277.5 x 175.9 cm. Tate Gallery, London.

20) Marcel Duchamp, Notes and Projects for Large Glass, London, Thames and Hudson, 1969. Displayed book.

21) Alberto Giacometti, Le Palais à quatre heures du matin, 1932. Wood, glass, wire and string, 63.5 x 81.8 x 40 cm. MoMA, New York.

22) Alberto Giacometti, Study for Le Palais à quatre heures du matin, 1932. Oil on cardboard, 49.3 x 55.1 cm. Giacometti Foundation, Paris.

23) Alberto Giacometti, Head Skull, 1934. Plaster, 18.3 x 19.9 x 22.1 cm. Giacometti Foundation, Paris.

25) Mathematical models, circa 1900. Various materials (including plaster, wood, wire and thread), dimensions variable. Institut Henri Poincaré, Paris.

24) Alberto Giacometti, Head Skull, 1934. Plaster, 18.4 x 19.8 x 22 cm. Private collection.

Architectural Fragment Wall/The Wunderkammer as Self-‐Portrait 26) Mur de l’atelier d’André Breton, 1922-‐1966. Assemblage of 212 works of art and objects including paintings, Oceanic and pre-‐Columbian objects, found objects and natural objects, installation dimensions variable. Centre Pompidou, Paris.

North Drawing Room/Cityscapes and Mindscapes in Black and White 27) Roberto Matta, “Mathémathique sensible – Architecture du temps,” Minotaure no. 11, Paris, 1938. Displayed copy.

28) André Breton, Nadja, 1928, Paris, Gallimard (with photographs by Jacques-‐André Boiffard).Displayed copy.

29) Brassai, Vue Nocturne sur Paris de Notre Dame, 1933. Gelatin silver print, 22.22 x 31.2 cm. Private collection.

31) Dora Maar, Le simulateur, 1936. Gelatin silver print collaged on card, Photomontage, 49 x 35 cm. Centre Pompidou, Paris.

30) Eugène Atget, Cour, 41 rue Broca, 1912. Albumen silver print, 16.9 x 21 cm. MoMA, New York.

Shakespeare Recess/A Literary Flight

32) Jean Benoît, L’Exécution du testament du marquis de Sade, 1959. Photographic reproduction enlarged to fit Shakespeare niche.

Bibliography

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