Nadrealizam danas i ovde 1931

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:asopis Nadrealizam danas i ovde izlazio je1931-1932. godine u Beogradu kao zvani;na revijasrpskog nadrealizma, a objavqena su samo tribroja> prvi je iza[ao juna 1931, a preostala dvajanuara i juna 1932. godine. Me]u yegovim sarad-nicima uglavnom su bili svi ;lanovi avan-gardne grupe nadrealista koji su godinu danaranije (1930) objavili svoj manifest u almanahuNemogu'e-Limpossible.1 :asopisNadrealizam danasi ovde, ili NDIO, kako su ga skra'eno nazivaliyegovi osniva;i, po ugledu na francuski Le sur-ralisme A.S.D.L.R. (Le surralisme au service de la

rvolution, 1930-1933), bio je logi;an nastavakyihovih kolektivnih aktivnosti zapo;etih jo[1929. godine. Sa druge strane, pak, sadr/ajem,tipografijom i dizajnom stranica on ukazuje naideolo[ku reviziju ciqeva nadrealisti;kogpokreta do koje je do[lo 1929\30. godine.

Desilo se da je u trenutku objavqivaya, 1930,almanah Nemogu'e-Limpossible, ve' bio, u nekuruku, deo burne istorije nadrealizma, jer sezaokret unutar pokreta desio godinu dana ranijesa Bretonovim Drugim nadrealisti;kim mani-festom. Po;etni stavovi su preformulisani>

nadrealizam je postao pokret u slu/bi revolu-cije, a dijalekti;ka metoda, za koju su pred-stavnici levice tvrdili da je uspe[na ure[avayu socijalnih tenzija, po nadrealistimaje podjednako bila va/na i za razumevaye prob-lema @qubavi, sna, ludila, umetnosti i religi-je#.2 Grupa nadrealista okupqena oko revijeNadrealizam danas i ovde (NDIO) prihvatila je,dakle, 1931. godine ovu novu poziciju fran-cuskog nadrealizma, pa je nesmetano produ/enaumetni;ka saradya na liniji Beograd-Pariz,uspostavqena jo[ 1926. godine. Tokom 1931-1932.objavqeni su radovi gotovo svih istaknutih

predstavnika nadrealizma na ;elu sa Bretonom>Elijara (luard), Kara (Char), Care (Tzara),Krevela (Crevel), Perea (Pret), Dalija (Dali),Miroa (Mir), Ernsta (Ernst), Tangija (Tanguy) i}akometija (Giacometti). Neki od yih, kaoBreton, Elijar ili Krevel, u;estvovali su i uAnketi o /eqi, zajedno sa ;lanovima beogradskegrupe nadrealista i obi;nim gra]anima, pri;emu je odgovor Salvadora Dalija posebnozna;ajan. U yemu se, izme]u ostalog, ka/e>@Nijedna /eqa nije gre[na, jedina je pogre[ka uyihovom potiskivayu. Sve su moje /eqe, da

upotrebim teku'u terminologiju, prqave, gadne,odvratne, itd... Voqi pridajem veliku va/nost,teraju'i yen mehanizam ;ak do paranoja;kogdelirijuma stavqenog u slu/bu ostvarivaya/eqa. Nemam takozvanih uzvi[enih /eqa. Onekoje smatram najplemenitijim jesu one koje sma-tram naj;ove;anskijim, to jest najperverznijim.#3

To [to je Daliju, kao nijednom drugom autoru,ukazana velika i osobita pa/ya na stranicamazvani;ne revije beogradskih nadrealista, upu'u-je na zakqu;ak da je yegov uticaj po;etkom 30-ihgodina XX veka bio najsna/niji ne samo u

pariskom jezgru pokreta, ve' i izvan yega.4

Najpre su u drugom broju ;asopisaNDIOodvojeniprvi listovi luksuznije hartije za dve Dalijeveslike Peinture (Slika), koja se kasnije pojavqujepod nazivom Tour du plaisir ou Vertige (Vrhunaczadovoqstva ili Vrtoglavica) i Guillaume Tell(Viqem Tel), dok su Tangijeva slika (Les bellesmanires, Lepo pona[aye) i }akometijev objekat(Objet embarrassant poser, Objekat nezgodan zapoziraye) podelili jednu istu stranicu.Privilegiju da im delo bude objavqeno prekocele strane u ;asopisu NDIO, osim Dalija,

dobili su jo[ crte/i Maksa Ernsta Portrait(Portret) i ?ivanovi'a Noa Uspomena, jer suova dvojica u krugu srpskog nadrealizma biliposebno ceyeni> Noe, kao jedini slikar u grupinadrealista, a Ernst kao prototip nadreal-isti;kog umetnika, ;ija je slika Sova bila kamentemeqac ;uvenom Risti'evom Nadrealisti;komzidu, koji je napravqen 1927. godine u Beogradu pouzoru na Bretonov u Parizu.5 Taj specijalniDalijev status, kao u nekom kre[endu, zavr[avase u tre'em i posledyem broju beogradskognadrealisti;kog magazina. Tu je preveden odlo-mak iz yegovog romana ?iveo Nadrealizam!,

zatim op[iran odgovor na sedam pitayaAnketeo /eqi i, najzad, tu se pojavquju tri reprodukci-je yegovih slika> Le lever du jour(Zora), Ensemblemasochiste (Mazohisti;ka celina) i La persistancede la mmoire (Upornost se'aya). Osim toga,posledyi broj ;asopisa NDIO donosi i jedankolekivni eksperiment srpskih nadrealista poDalijevoj metodi nazvan Pred jednim zidom, simu-lacija paranoja;kog delirijuma interpretacije.Osim tako upadqivo podvu;ene saradye saDalijem, na stranicama ove revije mo/e seuo;iti izvesna doslednost redakcije u izboru

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likovnih priloga> Ernstova slika Dlectationmorose (Mrgodno u/ivaye), Miroov objekatHomme et femme (Mu[karac i /ena), a tu su jo[ ikola/ Du[ana Mati'a, Ja sam ni/e no pesak oveno'i i lavirani crte/ R. ?ivanovi'a Noa,Drvo

o;iju. O tome koliko su srpski nadrealisti biliponosni na svoju saradyu sa vode'im pred-stavnicima francuskog nadrealizma svedo;i inapomena na koricama drugog broja ;asopisa

NDIO, koja se ne[to malo izmeyena, ali naistom mestu, pojavquje i na po;etku posledyegbroja iz 1932. godine. U yoj se ka/e> @Prilozifrancuskih nadrealista koji se ovde objavqujubilo na francuskom jeziku bilo u prevodu dosada nisu nigde objavqivani i poslati su urukopisu specijalno za ovaj broj ;asopisa

Nadrealizam danas i ovde. Isto tako su i ilus-tracije (Dali, Ernst, Tanguy, Giacometti) izra]enepo originalnim fotografijama, poslatim zaovaj broj, a ne po reprodukcijama. One se tako]eovde objavquju prvi put, izuzev Guillaume Tell-a,koji je ovih dana (decembra 1931) objavqen u;etvrtom broju ;asopisa Le surralisme

A.S.D.L.R.#6 Sinhronizacija u vremenu nije bilasasvim ostvarena, radi se o jednomese;nomzaka[yeyu u odnosu na vreme objavqivayapomenute Dalijeve slike u pariskoj reviji, alisimultanost u sferi ideologije bila je tada pot-puna izme]u dve grupe nadrealista - one u Parizui one u Beogradu. Tu ravnote/u i usagla[enost

dijaloga nije bilo mogu'e dugo zadr/ati izme]ute dve grupe umetnika, pre svega zato [to je,ubrzo, bio grubo prekinut rad beogradskihnadrealista zbog hap[eya Oskara Davi;a, }or]aJovanovi'a i Ko;e Popovi'a, o ;emu je izvestioRene Krevel (Ren Crevel) u tekstu @Des surralistes

yougoslaves sont au bagne# objavqenom u Le surral-isme A.S.D.L.R.7

Tribina nadrealisti;kog pokreta, ;asopisNadrealizam danas i ovde, sa koje su nadrealistiodgovarali na napade kritike kako one koji sudolazili sa levog krila, pre svega, odteoreti;ara marksizma, tako i na one koje su imupu'ivani od konzervativnih gra]anskihintelektualaca uga[ena je sredinom 1932.godine. Koncept internacionalne saradye ikolektivnih aktivnosti, posle osipaya grupe,zameyen je individualnim radom na objavqi-vayu kyiga pesama ili saradyom u pojedinimlevo orijentisanim ;asopisima. Da je do[lo doozbiqnog ideolo[kog pregrupisavaya u nad-realizmu moglo se zakqu;iti i po likovnimprilozima u posledya dva broja ;asopisa

Nadrealizam danas i ovde. Naime, osim pomenutihDalijevih, Ernstovih i drugih napred navedenih

dela, objavqene su dve fotografije sa jasnompoliti;kom porukom> Skidaye krstova saKremqa iMrtvi simboli smrti, uz koje je citi-rana Aragonova kritika religioznog fanatizma.Tre'i brojNDIO donosi, preko cele strane, tuce

fotografija koje ilustruju socijalna kretaya ukrizom zahva'enom svetu od {angaja do Beograda,pod naslovom Umesto @socijalne umetnosti#, ana kraju, pod nazivom Nadrealisti;ki elementiu modernom dru[tvenom /ivotuobjavqene su jo[dve fotografije> Deca sama sa ma[inom iMa[ta u slu/bi propagande obe su preuzete izkyige La Russie au travail, koja se u to vremeupotrebqava kao izvor za ilustracije i u levoorijentisanim listovima, na primer u beograd-skom Sto/eru.

Zna;ajne promene u ideolo[koj ravninadrealisti;kog pokreta osim u sadr/aju, mogle

su se uo;iti, ve' na prvi pogled, po izmeyenojkoncepciji tipografije i grafi;kog dizajna;asopisa Nadrealizam danas i ovde. Dok je prvibroj, objavqen juna 1931. godine, bio jo[ uvekblizak almanahu Nemogu'e-Limpossible, drugi itre'i broj su oblikovani u duhu konstruk-tivisti;ke redukcije tipografskih elemenata.Celokupan dizajn i prelom stranica u ;asopisujasno je bio podre]en yegovoj propagandnojfunkciji - debele crne linije, o[tri crveno-crni kontrasti i krupna slova na koricamaukazuju na publikaciju koja nastoji da se nametne

[irokom krugu ;italaca. Zamagqen odnos izme]unadrealizma i @istorijskog materijalizma# tre-balo je razjasniti kako teorijskim tekstovimatako i jasnim opredeqeyem za konstruk-tivisti;ku tipografiju u kojoj je, prirodno,istaknuto mesto pripadalo fotografiji iyenim retori;kim sposobnostima.

Mada je ;itaocima 1932. godine ponu]enapretplata na komplet od ;etiri broja, ;asopis

Nadrealizam danas i ovde ubrzo se gasi, ve' poizlasku tre'eg broja. Po[to je ;itav poduhvatizdavaya nadrealisti;kih publikacija finan-siran novcem ;lanova grupe, iNDIOje [tampanu skromnom tira/u od nekoliko stotinaprimeraka. Verujemo da 'e izdavaye reprintaalmanaha Nemogu'e-Limpossible iz 1930. i;asopisa Nadrealizam danas i ovde iz 1931-1932.godine pomo'i novoj generaciji ;italaca da seupozna sa autenti;nim delima srpskog nadreal-izma, jer ne treba zaboraviti da je jedna odnadrealisti;kih parola glasila> @Ako volitequbav, vole'ete i nadrealizam.#7

Milanka Todi'

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1 Od prvobitnih trinaest ;lanova nadrealisti;kegrupe koji su podr/ali manifest, uz ;asopis suostali gotovo svi> }or]e Jovanovi', vlasnik i

urednik, Oskar Davi;o, Milan Dedinac, }or]e

Kosti', Du[an Mati', Ko;a Popovi', PetarPopovi', Marko Risti', Aleksandar Vu;o, Vane?ivadinovi' Bor, ?ivanovi' Noe (ponekad sepotpisuje i Noje). Me]u saradnicima ;asopisavi[e nije bilo samo Mladena Dimitrijevi'a iBranka Milovanovi'a.

2 A. Breton, Drugi nadrealisti;ki manifest, odlomak,Uvod,NDIO, br. 2, Beograd 1932, 2.

3Anketa o /eqije sadr/ala sedam pitaya, a na yusu odgovore dali razni u;esnici> od mladih;inovnica do kyi/evnika i predstavnikanadrealizma. Pored Dalijevog tu su bili odgovoriAndre Bretona, Rene Krevela i Pola Elijara,

Nadrealizam danas i ovde, br. 3, Beograd 1932, 31.Saradya izme]u francuskih i srpskih nadreal-

ista bila je intenzivna i vrlo prijateqska, [to

potvr]uje i emotivan Krevelov tekst posve'enhap[eyu grupe nadrealista u Beogradu i OskaraDavi;a u Biha'u, R. Crevel, Des surralistes

yougoslaves sont au bagne, Le surralisme au service dela rvolution, no. 6, Pariz, 1933, 36-39.

4 B. Aleksi', Dali> Indits de Belgrade (1932), Changeinternational\Equivalences, Paris 1987.

5 M. Todi', Nemogu'e, umetnost nadrealizma1926-1936, Nemogu'e - Limpossible,Art du surralisme1926-1936, Muzej primeyene umetnosti,Beograd 2002.

6Nadrealizam danas i ovde, br. 2, Beograd (januar)1932, s.p.

7 R. Crevel, Des surralistes yougoslaves sont au bagne, Lesurralisme A.S.D.L.R, no. 6, Pariz, 36-39.

8 @If you love love, youll love Surrealism#, R. Short,Dada & Surrealism, London 1994, 145.

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Nadrealizam danas i ovde (Surrealism Here andNow) was published from 1931 to 1932 in Belgradeas the official review of the Serbian Surrealists, butonly three issues came out> the first one in June1931 and the remaining two in January and June1932. Among its contributors were more or less allthe members of the avantgarde group of Sur-realists who had published their manifesto a yearearlier (1930) in the almanac Nemogu'eLim-

possible.1 Thus, the review Surrealism Here and Now,orNDIO, as its founders called it for short, after thefashion of the French Le surralisme A.S.D.L.R (Le

surralisme au service de la rvolution, 19301933)was the logical sequel to their collective activitiesbegun already in 1929. On the other hand, its con-tent, its typography and page design are indicativeof the ideological revision of the goals of theSurrealist movement which occurred in 1929\30.

In point of fact, at the time of its publication in1930, the almanacNemogu'eLimpossible had in away already been part of the turbulent history ofSurrealism, as the aboutturn inside the movementhad taken place a year before with Bretons SecondSurrealist Manifesto. The initial premises were

reformulated> Surrealism became a movement inthe service of the revolution, and the dialecticalmethod, which representatives of the left claimedsuccessfully addressed social tensions, was in theview of the Surrealists equally important for under-standing the problems of love, dream, madness,art and religion.2 The group of Surrealists assem-bled around the review Surrealism Here and Now(NDIO) accepted in 1931 this new position ofFrench Surrealism so that artistic cooperation alongthe lines BelgradeParis, established already in1926, continued unhindered. Thus, during the19311932 period, works by almost all the promi-nent representatives of Surrealism, starting withBreton and then Eluard, Char, Tzara, Crevel, Pret,Dali, Mir, Ernst, Tanguy and Giacometti werepublished in it. Some of them, like Breton, Eluardor Crevel, participated in the Survey on Desire,together with the Belgrade group of Surrealists andordinary citizens, with the answer given bySalvador Dali being particularly important. In it he,inter alia, says> No desire is blameworthy, the onlyfault lies in repressing them. All my desires, to usethe current idiom, are dirty, foul, repulsive, etc. ...I attach great importance to will, driving its mech-

anism even up to a paranoiac delirium put in theservice of the fulfillment of desires. Of socalledlofty desires I have none. The ones I consider thenoblest are the ones I consider the most human,i.e., the most perverse.3

The fact that, like no other author, Dali featuredso prominently on the pages of the official review ofthe Belgrade Surrealists, clearly demonstrates thatin the early 1930s he wielded the strongest influ-ence not only within the Parisian core of the move-ment, but also outside it.4 To begin with, the secondissue ofNDIO reserved its first glossy pages for two

of Dalis paintings, Peinture, which later appearedunder the title Tour du plaisir ou Vertige, andGuillame Tell, while Tanguys painting Les bellesmanires and Giacomettis Objet embarrassant

poser shared a page. Apart from Dali, Max Ernstand ?ivanovi' Noe had the privilege of their work,namely their drawings Portrait and Uspomena (The

Memento), being reproduced on an entire page inNDIO, because these two artists were held in par-ticularly high esteem in the Belgrade Surrealist cir-cle> Noe, as the only painter in the Surrealist group,and Ernst as the prototype of the Surrealist artist,

whose painting The Owl was the cornerstone ofRisti's famous Surrealist Wall created in 1927 inBelgrade after the fashion of Bretons in Paris.5 And,Dalis special status crescendoes, as it were, in thethird and last issue of the Belgrade Surrealist maga-zine. A translation is given of a passage from hisnovel Long Live Surrealism!, as well as his replies toseven questions in the Survey on Desire and threereproductions of his paintings> Le lever du jour,Ensemble masochist and La persistance de lammoire, and along with that, a collective experi-ment of the Serbian Surrealists employing Dalismethod, entitled Pred jednim zidom, simulacija

paranoja;kog delirijuma interpretacije (In Front of aWall, A Simulation of the Paranoiac Delirium ofInterpretation). Apart from conspicuously featuringDali, the pages of the last issue ofNDIO show aconsistency of the editors in selecting art contribu-tions> Ernsts painting Dlectation morose, Mirsobject Homme et femme, and also Du[an Mati'scollage Ja sam ni/e no pesak ove no'i (I am Lowerthan the Sand Tonight) and R. ?ivanovi' Noes washdrawing, Drvo o;iju (The Eye Tree). How proud theSerbian Surrealists were of their cooperation withthe spearheads of French Surrealism can be seen

Surrealism Here and Now,A Review of Desires of Serbian Surrealism


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from the note given on the covers of the secondissue of the magazineNDIO, which appears, some-what changed but in the same spot, also at thebeginning of the third and last, 1932 issue. It says>The contributions by French Surrealists featuring

here in either the French language or in translationhave not been published anywhere to date and havebeen sent in manuscript especially for this issue ofSurrealism Here and Now. Also, the illustrations(Dali, Ernst, Tanguy, Giacometti) have been madefrom the original photographs, sent for this issue,and not from reproductions. They are also pub-lished here for the first time, except for GuillameTell, which was recently (December 1932) pub-lished in the fourth issue of the magazine Le sur-ralisme A.S.D.L.R.6 As Dalis painting was pub-lished in it a month later than in the Parisianreview, the timing was not wholly synchronous but

the ideological concurrence between the twogroups of Surrealists the one in Paris and the onein Belgrade was complete. A balanced and syn-chronized dialogue between the two groups ofartists could not be kept up for long, primarilybecause the work of the Belgrade Surrealists wassoon harshly cut short by the arrests of OskarDavi;o, }or]e Jovanovi', and Ko;a Popovi', onwhich Ren Crevel reported in the text Des surral-istes yougoslaves sont au bagne published in Le sur-ralisme A.S.D.L.R.7

The platform of the Surrealist movement, the

review Surrealism Here and Now, from which theSurrealists responded to domestic criticism, boththat leveled from the left wing, by, primarily, marx-ist theoreticians, and that coming from conserva-tive bourgeois intellectuals, wound up inmid1932. The group having dissipated, the con-cept of international cooperation and collectiveactivities was replaced by individual work with itsmembers publishing poetry books or contributingto a number of leftist magazines. The undeniableideological regrouping of the Surrealists was evi-dent also from the art featuring in the last twoissues of Surrealism Here and Now. Namely, apartfrom the works by Dali, Ernst, and the other men-tioned works, it also carried two photographs witha clear political message> Taking Down the Crosses

from the Kremlin and The Dead Symbols of Death,accompanied by a quotation of Aragons critique of

religious fanaticism. The third issue of NDIO fea-tured a fullpage splash of a dozen photographsillustrating social developments in thecrisisgripped world from Shanghai to Belgrade,under the title Instead of Social Art, and, at the end,

under the title Surrealist Elements in Modern SocialLife, another two photographs> Children Alone Witha Machine and Imagination in the Service ofPropaganda both taken over from the book LaRussie au travail, which was drawn on for illustra-tions by the leftoriented papers of the time, forinstance the Belgrade Sto/er (The Pivot).

Apart from its content, the changed concept ofthe typography and layout of the magazineSurrealism Here and Now, obvious even at a glance,indicated significant changes in the Surrealistmovement on the ideological plane. Whereas thefirst issue published in June 1931 was still much like

the almanac Nemogu'eLimpossible, the secondand third issues were designed in the spirit of theconstructivist reduction of typographic elements.The overall design and page makeup of the maga-zine were clearly subordinated to its propagandafunction the solid black lines, the sharp redblackcontrasts and the hefty letters on the covers suggesta publication intended to elicit a large readership.The blurred relationship between Surrealism andhistorical materialism was to be elucidated bothby theoretical texts and a clear preference for con-structivist typography, with, naturally, photography

and its rhetoric potential playing a prominent role.Although the 1932 readership was offered asubscription for a series of four issues, like manyother avantgarde papers, Surrealism Here and Nowclosed down already after the publication of thethird. Since the entire Surrealist editions project wasfinanced by the members of the group, NDIO wasalso published in a modest circulation of severalhundred copies. We trust that the reprinting of the1930 almanac Nemogu'eLimpossible and of the19311932 review Surrealism Here and Now, willhelp the new generation of readers familiarizethemselves with authentic Serbian Surrealismworks, for we should not forget that one of theSurrealist slogans was> If you love love, youll loveSurrealism.8

Milanka Todi'


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AAdler Alfred (Adler Alfred), II \ 40, 46, 47, 48Andri' Ivo, III \ 53An]eli' }or]e, III \ 55Aragon Luj (Aragon Louis), I \ 13< II \ 43, 49< III \ 50, 51Arhimed, III \ 42

Aristotel, III \ 18, 32, 53

BBah Johan Sebastijan (Bach Johann Sebastian), III \ 34Barbis Anri (Barbusse Henri), III \ 3Bare Moris (Barrs Maurice), I \ 15Bergson Anri (Bergson Henri), II \ 44< III \ 55Be[evi' Stevan, II \ 43Bjelinski Bruno, III \ 59Blagojevi' Desimir, II \ 42Blok Aleksandar Aleksandrovi;, III \ 58Bogdanovi' Milan, I \ 12, 13Bodler {arl (Baudelaire Charles), I \ 4, 15< III \ 17Bonaparta Napoleon (Bonaparte Napolon), II \ 4Breton Andre (Breton Andr), I \ 12< II \ 2, 7, 15, 20, 22, 31 mpuyubc.netZa izdava;a> Ivanka Zori', direktorUrednik> Dr Milanka Todi'Prevod> Biqana Vela[evi' i Ksenija Nik;evi'Indeks> Jelena Pera'Kompjuterska obrada> Studio B&Z, Beograd{tampa> Cicero, Beograd

{tampaye ove publikacije pomoglo je Ministarstvo kulture i javnog informisaya Republike Srbije.

Reprint ;asopisa Nadrealizam danas i ovde [tampan je u petstotina i dva primerka,numerisanih od 1 do 502, a posve'en je grupi srpskih nadrealista.

Primerak Copy No.

Surrealism Here and Now, Nos. 13, Belgrade 19311932

Reprint published to accompany the exhibition The Impossible, 1926 1936 Surrealist Artat The Museum of Applied Arts, Belgrade, November 2002 February 2003 2002, The Museum of Applied Arts, Belgrade

Published by> The Museum of Applied ArtsVuka Karad/i'a 18, Belgrade

email> mpuyubc.net

For the publisher> Ivanka Zori', DirectorEditor> Milanka Todi', Ph.D.Translation> Biljana Vela[evi' and Ksenija Nik;evi'Index> Jelena Pera'Prepress> Studio B&Z , BelgradePrinted by> Cicero, Belgrade

The publishing of this journal was assisted by the Ministry of Culture and Public Information of Republic Serbia.

The journal Surrealism Here and Nowhas been reprinted in five hundred and two copies,numbered from 1 to 502, and is dedicated to the group of Serbian Surrealists.

YU ISBN 867415073X

Documents

Nadrealizam danas i ovde 1931