From 18 September, 2020 to 24 January, 2021 the Lu.C.C.A. - Lucca Center of Contemporary Art will host the exhibition titled “Unveiled reality: Surrealism and the metaphysics of dreams in works by Magritte, Dalí, Miró, Masson, Man Ray, Bellmer, Matta and De Chirico”, curated by Silvia Guastalla and Maurizio Vanni. The exhibition is organized by Lu.C.C.A. and Omina in collaboration with Studio Guastalla Modern and Contemporary Art, with the support of the Fondazione Cassa di Risparmio of Lucca and with the patronage of the Tuscan Regional Council, the Province of Lucca, the Municipality of Lucca, the Chamber of Commerce of Lucca, Confindustria Toscana Nord, Confcommercio Provinces of Lucca and Massa Carrara, Confesercenti Tuscany North and Confartigianato Imprese Lucca.
A journey through 56 works on paper - including engravings, etchings, drypoint and color lithographs - within one of the greatest avant-garde artistic movements of the twentieth century, surrealism, with a foray into the world of De Chirico's metaphysics, in the analysis of the unconscious and the interpretation of the dream by Sigmund Freud, in the psychology of the depth and the study of symbols by Carl Gustave Jung. "Through the works of some of the greatest artists, from De Chirico to Man Ray, from Magritte to Dalí, from Miró to Matta, from Masson to Bellmer, the exhibition aims to demonstrate - underline the curators Silvia Guastalla and Maurizio Vanni - how much, in the surrealist visual proposals, the components of mental alteration and the primordial instinct directly connected to the deepest unconscious are combined with the lucid desire to free man from conventions and preconceptions to bring him back to desire the essence of reality ".
The story starts with De Chirico and his attempt to identify the invisible objective structure of the universe with geometric spaces, a simplified perspective, clear colors, unnatural lights and well-defined volumes. A proposal full of mysteries, secrets and enigmas to be solved which, in disorienting him, stimulates the observer not to be satisfied with the sensory apparatus and to seek a new truth of things. René Magritte was inspired by De Chirico, accentuating the alienating atmosphere in which objects, always recognizable, acquire a new meaning, highly unpredictable in their equivocity and omnipresence. The Belgian artist challenged the mystery of reality with incongruent and unconventional compositions, on the border between real and surreal, which lead the viewer beyond the appearance of things. Salvador Dalí also followed the compositions of De Chirico, distinguishing himself for his ability to provoke the estrangement of the spectator using irony, provocation, desecration and deflagrating every possible convention. His visions, always provocative and unprecedented, seem truer than what we commonly define as reality.
The works of Joan Miró and Roberto Sebastian Matta come close to Freud as they propose a reality linked to the dimension of the dream, enriched by a fervid imagination that allows them to intuit what the human eye could never see. The Spanish artist attacks conventional images, explodes the original form and recomposes it provisionally with archaic symbols accompanied by free sign gestures and a “conscious” psychic automatism. The Chilean artist looks for stimuli in the dimension of the unconscious, transforming them into visions without using the filter of reason: the result is an excited “fantasy-anxiety” of the dream.
The works of André Masson and Hans Bellmer are in tune with Jung because, in addition to the reference to the deepest self, they constantly propose symbols (Masson) and allude to the collective archetype (Bellmer). The French artist starts from a real datum and then surpasses it through material contaminations or with implausible combinations of forms while the German artist frees his inner impulses and manifests the most irrational components of human creativity through visual hallucinations: intertwined, mixed anatomies, corroded, shapeless and deformed.
Representing the synthesis of the three lines present in the exhibition is Man Ray with his decontextualizations of the object and his attempts to disorient and confuse the viewer. In the works on paper, it’s as if he wanted to block the frame of a dream flow (psychic automatism) by transforming it into an image, not necessarily of complete meaning, which lends itself to a symbolic interpretation.