The relationship between surrealism and art in Mexico as both intimate and contentious.The surrealist figures and their representation all seem close-knit and entirely of themselves, inhabiting a peculiar world of frozen motion and dark spaces. It is a separate world is reserved for the artist’s characters only and is denied to viewers; an element that can be termed the ‘‘otherworld,’’ a world that exists beyond earthly reality.”something hidden behind this heavy grinding which equalizes dawn and night. This something left out….”( Artaud )
These latter two qualities certainly characterize the creative collaboration between Antonin Artaud and the Mexican painter María Izquierdo during Artaud’s visit to Mexico in 1936. While Artaud’s interest in and writing on Izquierdo’s painting has barely registered within the prolific studies of his work, the interaction between the two is continually noted in contemporary accounts of Izquierdo’s career. (Geiss) Read More:http://www.surrealismcentre.ac.uk/papersofsurrealism/journal4/acrobat%20files/geispdf.pdf
To many modern Europeans in the 1920′s and 1930′s Mexico seemed unselfconsciously surreal; often being more surreal and interesting than the modern surreal works inspired by Andre Breton’s group in Paris. What many European intellectuals perceived as a naive surrealism was in fact misunderstood since it was placed within the context of the Mexican vernacular. Mexican “surrealism” was in fact derived from a complex visual and symbolic tradition that was an amalgam of accommodated and appropriated diverse heterogeneous elements such as ancient Mexican myths, a lively tradition of folk culture and later mystical and transcendent elements in European Catholicism.
What brought Artaud to Mexico was based on hos own shambling and disoriented fascination with the eclectic tradition of European occultism and Kabballah in which Western and Eastern religious systems were sampled while he was paradoxically on an adventure to find his holy grail: the hypothetical primal purity.Artaud hoped to locate that purity within the surviving rites and rituals of pre-Columbian religion. His participation in the peyote ritual however was anchored in the tradition of European romanticism. He was the “flaneur” tourist whose engagement with the real and authentic was tempered by a distance or a fear of this “netherworld”.
Like Charles Baudelaire or Samuel Taylor Coleridge, he used drugs, mind altering substances, in an attempt to evade the rational mind to pass through to a mythic state of consciousness; Huxley’s Doors of Perception. Artaud simply went further by voyaging to an exotic place to partake in the drug rituals of a “primitive” people, but evidently, he could not bridge the distance or read their language and understand the profound spiritual trajectory of these Indians who were wary of his presence and his motives which were sincere but superficial in the sense it was not a long-term engagement. Almost “cash and carry” even though the experience was an “immovable” good that could not be transported to other cultural contexts.They feared he might siphon off some of the collective power the tribe was accessing through the peyote ceremony.
That year spent outside of Europe, when Artaud tried desperately to participate in the cultural, social, and political life of a country, determined at the same time to find once more its primitive spirit (“the one that cannot see what is, because nothing exists in reality, but which, by the brush or pen, reproduces what it supposes, and what it supposes is always in the measure of its limitless imagination”), the primitive spirit that created the divine forms buried in the museums or the archaeological sites, whose revival he thought he had discovered in c
in young contemporary Mexican artists (in particular the painter María Izquierdo…ADDENDUM:
Read More:http://www.ciasonhar.org.br/PDFS/the_secret_art_of_Artaud.pdf
“I have heard for a long time of a sort of movement deep in Mexico in favor of a return to the civilization from before Cortez”, wrote Antonin Artaud to Jean Paulhan, editor of the Nouvelle Revue Française. In a letter dated July 19, 1935, Artaud informed Paulhan of his plan to go to
Mexico to give a series of lectures in Mexico City and study contemporary and traditional cultures. Requesting help in obtaining an official title of mission from the French government in order to line up assignments from Paris- Soir and other publications, and to open doors in Mexico, he emphasizes the journey’s personal meaning: “I find myself at an important crossroads of my existence”. He explains that he hopes to encounter in Mexico a revolutionary society built on ancient metaphysical foundations where he may apply his vision of healing the split between psyche and civilization through alchemical theater….
In letters to the Minister of Foreign Affairs and the Minister of Education, Artaud describes his mission as seeking in Mexico “a perfect example
of primitive civilization with a spirit of magic”. He proposes to interview “healers and sorcerers on lost plateaux”. Even before setting foot on
Mexican soil, Artaud’s exoticism reaches a fever pitch in anticipation: “Are there still forests which speak and where the sorcerer with burnt fibers of Peyote and Marijuana still finds the terrible old man who teaches him the secrets of divination?” ( Uri Hertz ) Read More:http://www.periodicos.ufsc.br/index.php/fragmentos/article/viewFile/7673/7007
There was a lot of intoxication in Mexico, and much sorcery, because this was Mexico, a land of myth, where teenagers are sacrificed, and men are turned into coyotes, and black magic is the spectacle. William S. Burroughs looked for and found similar things there. Artaud wasn’t in Mexico long, just a few months, in part because it was not populated by theatrical adepts, but, in the countryside, by indigenous people trying to scrape by.Read More:http://www.believermag.com/issues/200906/?read=article_moody