Linked Data Explorerhttp://worldcat.org/entity/work/id/379755310
El sabotaje de lo real : fotografía surrealista y de vanguardia : visiones cruzadas entre México y Europa desde los años veinte a los sesenta
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http://schema.org/about
- http://id.loc.gov/authorities/subjects/sh2010106285
- http://id.worldcat.org/fast/1245064
- http://id.loc.gov/authorities/subjects/sh85101206
- http://id.loc.gov/authorities/subjects/sh85101179
- http://id.worldcat.org/fast/1139538
- http://id.loc.gov/authorities/subjects/sh2008108790
- http://id.worldcat.org/fast/1211700
- http://experiment.worldcat.org/entity/work/data/379755310#Event/1900_1999
- http://id.worldcat.org/fast/1061605
- http://id.loc.gov/authorities/subjects/sh85130846
- http://id.loc.gov/authorities/subjects/sh2010115146
- http://id.worldcat.org/fast/1061714
- http://id.worldcat.org/fast/1061964
- http://id.loc.gov/authorities/subjects/sh2008112396
http://schema.org/alternateName
- "Photographie surréaliste et d'avant-garde"
- "Sabotage du réel"
- "Fotografía surrealista y de vanguardia"
http://schema.org/description
- "This is the first time a representative sample of the Georges Pompidou Center collection has been given to a museum in Mexico, the Museo Amparo received a selection of works by: Man Ray, Hans Bellmer, Brassaï, Jacques-André Boiffard, Claude Cahun, Henri Cartier-Bresson, Dora Maar, Raoul Ubac, Styrsky, Marcel Marien, same that is enriched by the selection of Mexican photographers work as Emilio Amero, Manuel Álvarez Bravo, Lola Álvarez Bravo, Kati Horna, Tina Modotti, Antonio Reynoso, Juan Crisóstomo Méndez and Agustín Jiménez, from public and private collections in Mexico and the United States. The exhibition gathers 229 photographs and documents, of which over 150 are from the permanent collection of the Georges Pompidou Center. In the 1930s Mexico believed that Europe was the ideal place to develop artistic invention, motivated primarily by the visitors to Mexico by Antonin Artaud and André Breton, the father of surrealism, who in 1938 christened Mexico as "the place par excellence of Surrealism." On his return to Europe, Breton organized Renou & Colle Gallery in Paris (1939), an exhibition dedicated to México, where it included works by Manuel Álvarez Bravo, Frida Kahlo and Jose Guadalupe Posada and a series of popular art objects. The curators: Angeles Alonso Espinosa (Mexico) and Quentin Bajac (France), propose an open dialogue between images, rather than concentrating on trying to define an identity or nature of Surrealist photography, aims to outline some international relationships, to propose some new encounters, call some lesser-known figures and insist on a " Surrealist spirit, ranging from the twenties to the forties in Europe and in Mexico until the 60's: Beyond the identities, movements and labels (Surrealist strain, fellow travelers, modernist), it is suggested rapprochement between photographers and artists who share a taste for the real challenge and some disquieting strangeness. Local sensitivities that establish connections between Europe and Mexico, on the one hand, surrealism, new vision and modernism on the other, as many countries as movements crossed by common themes and obsessions (dummies, bodies in pieces), sometimes with identical treatments. In this regard, is perhaps the first time it offers such a vast image confrontation surreal trend in Europe and Mexico, who proposed unusual approaches and is testimony to an approach similar questions and a common aspiration."
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- "History"
- "Exhibition catalogs"
http://schema.org/name
- "El sabotaje de lo real : fotografía surrealista y de vanguardia : visiones cruzadas entre México y Europa desde los años veinte a los sesenta"