Issue 1 | Art & Freedom
This issue of Caesura looks back on Surrealism not as an answer to the current crisis of art, but as one of the last movements to raise it as a question for life. The legacy of Surrealism is undoubtedly problematic: its novel techniques and strange effects have been repeatedly hypostatized and deployed in the production, both high and low, of culture industry kitsch. Still something remains of its original drive: to pierce the veil of appearance for a glimpse at the underlying forms that constitute subjective experience. For the concrete, as Marx says, “is concrete by virtue of being the concentration of many determinations.” Surrealism — more real than reality itself.
This issue of Caesura looks back on Surrealism not as an answer to the current crisis of art, but as one of the last movements to raise it as a question for life. The legacy of Surrealism is undoubtedly problematic: its novel techniques and strange effects have been repeatedly hypostatized and deployed in the production, both high and low, of culture industry kitsch. Still something remains of its original drive: to pierce the veil of appearance for a glimpse at the underlying forms that constitute subjective experience. For the concrete, as Marx says, “is concrete by virtue of being the concentration of many determinations.” Surrealism — more real than reality itself.
This issue of Caesura looks back on Surrealism not as an answer to the current crisis of art, but as one of the last movements to raise it as a question for life. The legacy of Surrealism is undoubtedly problematic: its novel techniques and strange effects have been repeatedly hypostatized and deployed in the production, both high and low, of culture industry kitsch. Still something remains of its original drive: to pierce the veil of appearance for a glimpse at the underlying forms that constitute subjective experience. For the concrete, as Marx says, “is concrete by virtue of being the concentration of many determinations.” Surrealism — more real than reality itself.
Featuring work by Will Alexander, Gabriel Almeida, Dato Barbakadze, Roberta Boffo, Roberto Calasso, Austin Carder, Mary Ann Caws, Billie Chernicoff, Róbert Gál, Allison Hewitt Ward, Robert Kelly, Timothy Kelly, Carlos Lara, Juliette Neil, Joel Newberger, Tamas Panitz, Andrei Pokrovskii, Irakli Qolbaia, Alice Paalen Rahon, Laurie Rojas, Kira Scerbin, Bret Schneider, David Short, Rosmarie Waldrop, Madison Winston, Patrick Zapien, and Maggie Louisa Zavgren. Designed by Renata Cruz Lara.