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Dream Weavers: 100 Years of Surrealism

On the 15th of October 1924 André Breton baptised a new mode of pure expression, one based on the resolution between dreams and reality into an absolute reality - a surreality. 

Lilford Gallery is bringing Surrealism to Canterbury, opening on the 12th of October 6 P.M we bring you a specially curated exhibition with works by some of the most well-known surrealist artists.

Within the walls of our gallery we showcase several narratives surrounding the movement.

On one hand, we highlight the names and techniques traditionally associated with Surrealism along with works by artists who have influenced the movement, despite not committing to it directly. Without the works of Marcel Duchamp or Giorgio de Chirico, Surrealism would not be what we know today, even though they worked on the periphery of the group.

Artists such as Salvador Dalí and René Magritte are some of the first names that come to mind when discussing Surrealism. The alchemically infused paintings by Max Ernst displayed a distinctive approach that allowed for a thorough investigation of the role magic could play within the movement.

At the same time we dip into the idea of the surrealist 'other' - artists who were considered surrealist, but whose thought process went against the grain of the movement and artists who opposed Breton's authoritarian attitude. Leonor Fini. Lee Miller, Leonora Carrington and Dorothea Tanning were highly respected, but never received the same treatment as their male peers and have too often been discussed in the context of their romantic relationships with the male surrealists.

Finally, we address the presence of Surrealism in Britain. We have acquired a catalogue for the 1936 International Surrealist Exhibition that held place in London and featured the art of Salvador Dalí, Max Ernst, Man Ray along with works by British artists such as Paul Nash, Henry Moore and Graham Sutherland, whose work we have included in our exhibition.

The traditional form of Surrealism, the surrealist 'other' and Surrealism practiced outside of France suggest a need for expansion from what was laid out in the first surrealist manifesto published in 1924. However, this does not necessarily expose a flaw in the movement, but rather an achievement in its call to action, for Surrealism refused to become a static phenomenon. Its dynamism and ever-expanding definitions and borders is owed to the diversity of artists that participated in weaving the rich tapestry of Surrealism.