To close our exhibition Dream Weavers: 100 Years of Surrealism, we will be doing a free screening of the 1929 film Un Chien Andalou by Dalí and Buñuel. The screening will be accompanied by a talk on Surrealism and surrealist film by Senior Lecturer in Film at University of Kent, Dr. Frances Guerin and the exhibition curator, Daniela Georgieva. This is a free event, but if you would like to support our independent business, you can purchase an exhibition catalogue.
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Un Chien Andalou (1929) is a French silent film directed by Luis Buñuel who co-wrote the screenplay with Salvador Dalí. The film challenges the viewer with its lack of plot in the traditional sense of the word, violent imagery, and time-jumps.
Please note that the film contains some disturbing imagery and is not suitable for persons under 16 years of age.
Dr Frances Guerin completed her PhD in Cinema Studies at NYU in 2000, following an MA in Art History at University of Melbourne, and a BA (Hons) in English Language and Literature at University of Adelaide, Australia. Frances’ work is motivated by a series of questions that investigate the relationship between modernist images and the historical world in which they are conceived, produced, exhibited and received. She is interested in questions such as: How do modernist and abstract images represent the world? How do people engage with these art forms and how can we describe this aesthetic experience? How do works of art negotiate their social reality? Particularly, as that social reality is defined by transformation, war, or traumatic historical events.
Daniela Georgieva is a curator at Lilford Gallery and a PhD researcher with a thesis focusing on the cause and effect of Surrealism's inclusion of the esoteric into the movement, particularly how this isolated artists with an idiosyncratic approach to the occult such as Leonora Carrington. Daniela's thesis examines why artists like Carrington never found their space within the movement, despite being put into the category of 'surrealist'. Carrington's 'othering' within the movement is a signifier that our conception of Surrealism begs to move past what Breton outlined in his manifesto and acknowledge and address the diverse, hybrid, globalised practices of artists beyond the bounded, local purview of European Surrealism. To curate this exhibition, Daniela used Breton's Surrealism and Painting (1928) as inspiration, along with her own studies on the subject.