Surrealism Beyond Borders- A response

Never smile

Surrealism Beyond Borders: a response

I am writing this near the end of October 2021, a little after the anniversary of Breton’s First Manifesto of Surrealism, and only three years short of its centenary. In New York, at the Metropolitan Museum of Art, the major exhibition Surrealism Beyond Borders has opened, and that exhibition will be coming to Tate Modern in London in February 2022.

Such context is important, because if there has been an overarching theme to the approach of the art world – academics, critics, historians, the market system of galleries and auctions and wealthy investors, and most artists themselves – to Surrealism, it is to treat the Surrealist movement as a dead animal. A cadaver to be picked over by vultures. Surrealism Beyond Borders, welcome as it is, and as groundbreaking as it is in showcasing the work of lesser known Surrealists such as the Ethiopian artist Skunder Boghossian, ends up playing the same game. With one exception, Surrealist works created since the late 1970s do not appear to be included (the exception being Ted Joans’ long cadavre exquis, which was still being circulated after his death in 2003). This might be in part, at least, due to the requirements of the art museum; artists and artworks must be recognised by academics, and previously shown, to qualify for inclusion. And of course much, if not all, of contemporary Surrealism exists outside that closed system, still being the perennial outsider.

The fact is, however, that Surrealism does continue as an international movement. At the time of writing there are active Surrealist groups in Paris, the Middle East, London, Leeds, Chicago, Madrid, Prague, Stockholm, Athens, Portland, Seattle, St.Louis, and Buenos Aires, just to name the ones that come immediately to mind. There are also many individual Surrealists around the world, as far afield as Wiltshire and India. As active Surrealists, and as Surrealist activists, these comrades constitute a broad body of revolutionary thought, revolutionary action, and above all revolutionary imagination that is both a continuation of a distinct Surrealist tradition and an alchemical laboratory within which Surrealism is being continually renewed.

Surrealism, as a poetic method, sets out to transform society by liberating the human imagination. “Poetic”, in this context, does not merely refer to versification, but to an analogical process that is generally applicable – whether in writing, in painting, or in everyday life – to our understanding and awareness of the world as it is and of the world as it may be. In this sense, Surrealism can be seen as a path of permanent revolution. It is, most importantly, a form of praxis rather than a fixed system.

If Surrealism Beyond Borders has a special value, it lies not so much in the presentation of some interesting artefacts (useful and interesting though that is) as in its highlighting that Surrealism has always been precisely an international movement of revolt, one linked by multiple threads of communication and collective activity. It remains a highly relevant movement in a 21st century world under the triple threats of authoritarianism, war and climate catastrophe.

Philip Kane

London Surrealist Group

Surrealism Beyond Borders- a virtual opening

Leaves from the Bawdy Dimension

Saturday 25th September.

Walking along Comberford Road, Tamworth I found this page torn from a small dictionary….

Sunday 3rd October.

I drove the 88 miles to Manchester in the morning and parked on Denmark Road, near to Whitworth Park.

Just at the entry to the park I found this page FROM THE SAME DICTIONARY!!

Another red giant

“Arcturus was a magazine published by the London Surrealist Group in 2005.

Two issues appeared.” reads the heading in our “Archive” section.

Imagine how foolish we felt to discover that there was a third issue of Arcturus- late in the day, a website cobbling but delicious none the less.

Read it here: Arcturus no3

It is time we cast all medals into spearheads of revolution!

Pia Klemp, who faced 20 years in prison for her role in saving 6,000 refugees from drowning in the Mediterranean, explains why she has refused the Grand Vermeil medal awarded to her by the city of Paris:

“Madame Hidalgo, you want to award me a medal for my solidarian action in the Mediterranean Sea, because our crews ‘work to rescue migrants from difficult conditions on a daily basis’.

At the same time your police are stealing blankets from people that you force to live on the streets, while you raid protests and criminalize people that are standing up for rights of migrants and asylum seekers.

You want to give me a medal for actions that you fight in your own ramparts.

I am sure you won’t be surprised that I decline the medaille Grand Vermeil.

Paris, I’m not a humanitarian. I am not there to ‘aid’. I stand with you in solidarity.

We do not need medals. We do not need authorities deciding about who is a ‘hero’ and who is ‘illegal’. In fact they are in no position to make this call, because we are all equal.

What we need are freedom and rights. It is time we call out hypocrite honorings and fill the void with social justice.

It is time we cast all medals into spearheads of revolution!

Documents and housing for all!

Freedom of movement and residence!”

There is beauty…


Danse Macabre


Could we do better?

It is that time again when aspiring politicians of all stripes stuff our letterboxes with anodyne garbage, insincere platitudes and oh so fragile promises.  

Could we do better? Probably not and I, for one, am not tempted to try but… 

What would a surrealist election campaign for the local council look like? 

The leaflets 

The posters 

The slogans 

The emblems 

The manifesto 

The banners 

The badges 

The bribes 

Send your ideas to us at 

Tamworth Surrealist Manifestation 

Please circulate wildly