Uncanny: Surrealism and Graphic Design

Uncanny: Surrealism and Graphic Design

international enterprises

1 Synopsis 2 List of Selected Works 3 Selected Installation shots 4 Selected Press cuttings

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1 Karel Teissig, Karel Kachyna: Poslední motýl (The Last Butterfly), 1990, The Moravian Gallery in Brno. 2 Josef Vylet’al, František Filip: Hrdina má strach, 1965, private collection. 3 Jindrich Štyrský, Bohuslav Brouk: Psychoanalysa, 1932, The Museum of Czech Literature (PNP), Prague. 4 Josef Vylet’al, Alfred Hitchcock: Ptáci (The Birds), 1970, The Moravian Gallery in Brno. 5 Stefan Sagmeister, Les Silos – Chaumont, 2005, The Moravian Gallery in Brno.


Synopsis Uncanny: Surrealism and Graphic Design, conceived and curated by Rick Poynor for the Moravian Gallery in Brno, is the first major exhibition to explore the influence of Surrealism on graphic image making and graphic design. Other areas of visual Surrealism – art, photography, film and architecture – have received extensive investigation by scholars and curators, but the “applied” graphic sphere has tended to be overlooked, despite the periodic resurgence of surrealistic forms of practice. The Surrealist movement of the 1920s and 1930s focused on literature, painting, photography and the object, and the Surrealists’ initial publishing activities provided only hints of what a fully conceived Surrealist graphic design or typography might look like. Many of the most suggestive early examples came from Czechoslovakia, where Surrealism would become a lasting influence. Subsequently, Surrealist ideas and images had a profound impact on image makers in every sphere of art and design, and by the 1960s the effects of Surrealism were widely felt in international graphic communication. Uncanny traces this intermittent line of development from its origins up to the present. The exhibition’s title Uncanny derives from an essay by pioneer psychoanalyst Sigmund Freud written in 1919, in which he states that a feeling of a mental distress (which he terms unheimlich in German, literally “unhomely”) arises when an emotional perception suppressed in the past returns to the consciousness in response to an inexplicable experience or stimulus and becomes an internal burden. At the same time, the reference to Freud in the title notes that his psychoanalytical approach to exploring the subconscious went on to form the philosophical basis of Surrealism and its creative methods. In many Surrealist pictures the most ordinary and common things turn into symbols that are suddenly strange or unnerving. Like Freud, the Surrealists believed that mental movements and motives were demonstrated most clearly in the unconscious. Dreams represent scenes from this hidden area, which is why Surrealist art has repeatedly featured remarkable images born in the imagination. This aspect of Surrealism chiefly influenced later generations of graphic artists. Rather than documenting a coherent group activity or movement, the powerfully engaging graphic material selected for Uncanny: Surrealism and Graphic Design – more than 250 items including posters, prints, book covers, and films

Uncanny: Surrealism and Graphic Design /Synopsis

from across Europe and USA – underpins the existence of an alternative graphic tradition whose creators’ way of thinking and imagining is attuned to the Surrealist sensibility. A wide array of posters in the exhibition confronts viewers with curiously transformed, dreamlike characters (Jan Lenica, Franciszek Starowieyski, Josef Vylet’al), grotesque apparitions (Jonathon Rosen, Elliott Earls), demonic beings (Roman Cieslewicz, Karel Teissig) and creatures from other worlds floating through indefinite space (Andrzej Klimowski, Eva Švankmajerová). These images have retained their ability to fascinate and generate disquiet, which proves that they keep on affecting the viewer’s unconscious. Uncanny: Surrealism and Graphic Design is divided into seven thematic sections and reveals how some of the main topics investigated by Surrealist artists have been, and still are, fascinating artists and designers internationally. The themes explored include the intriguing power of the image’s metamorphosis; the lexicon of anatomical images and the fragmented human body; the inexplicable juxtaposition of fortuitous objects; the female figure as avatar of desire; and the use of psychic automatism to freely express the unconscious. The exhibition also includes an historical section with illustrations for Surrealist publications in the 1930s, such as the journal Minotaure (1933–39), alongside greatly influential collages and graphic works by Max Ernst as well as historical and contemporary examples of visual experimentation with the moving image. The result is a collection of challenging and strikingly compelling graphic images and designs produced throughout the second half of the 20th century up to the present. The exhibition features the work of designers and graphic artists such as Jan Švankmajer, Eva Švankmajerová, Jindrich Štyrský, Karel Teige, Karel Teissig, Josef Vylet’al, Zdenek Ziegler (Czechoslovakia); Roman Cieslewicz, Jan Lenica, Franciszek Starowieyski, Bronislaw Zelek (Poland); Laboratoires CCCP, M/M Paris (France); Andrzej Klimowski, Vaughan Oliver, Quay Brothers, Graham Rawle (UK); Elliott Earls, Edward Fella, Jonathon Rosen, Stefan Sagmeister, Brian Schorn (USA). A fully illustrated catalogue with an introductory essay by Rick Poynor will be available.

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international enterprises Uncanny: Surrealism and Graphic Design

1 Synopsis 2 List of Selected Works 3 Selected Installation Shots 4 Selected Press Cuttings

Salvador Dalí Gala, 1936 Minotaure no. 8 magazine cover, 31,5 x 24,5 cm The Moravian Gallery in Brno Photo: MG Archive

Toyen André Breton, Spojité nádoby, 1934 Book, 19,7 x 13,5 cm Private collection Foto: MG archive

Uncanny: Surrealism and Graphic Design /List of Selected Works

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M/M (Paris) Ingeborg Bachmann: Tout, 2006 poster, 172 x 116,5 cm The Moravian Gallery in Brno Pierre Faucheux André Breton: Anthologie de l’humour noir, 1966 book cover, 16,6 x 11 cm Private collection

Zdenek Palcr Rolf Thiele: Morálka 63 (Moral 63), 1965 poster, 80 x 59 cm The Museum of Decorative Arts, Prague Karel Vaca May Spils: K veci, milácku (To the Point, Darling), 1968 poster, 80,8 x 57,5 cm The Moravian Gallery in Brno


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M/M (Paris) Witness Screen, Écran Témoin, 2002 Poster, 175,5 x 118,5 cm The Moravian Gallery in Brno Foto: MG archive

Max Ernst Une Semaine de Bonté, 1934 Artist book, 28 × 20,6 cm Private collection photo: MG Archive


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Franciszek Starowieyski Strindberg, The Dance of Death, 1974 Poster, 82 × 57,5 cm Private collection Foto: MG archive

Marion Bataille La Poésie Surréaliste, 2001 book cover and spreads Marion Bataille photo: MG Archive Vaughan Oliver, Tim Vary (designers) & Simon Larbalestier (photographer) Paysage après la bataille, 1998 Poster, 62 x 41,5 cm Vaughan Oliver Foto: MG archive

Jan Švankmajer Bilderlexikon, Zoologie, Tab. 18, 1972 collage, 45 x 33 cm Jan Švankmajer photo: MG Archive Benbo George Particles, 2008 collage print, 32,6 x 29,6 cm Benbo George Photo: MG Archive Uncanny: Surrealism and Graphic Design /List of Selected Works

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Eva Švankmajerová Jan Švankmajer: Alice, 1987 poster, 58 x 85 cm The Moravian Gallery in Brno

Stefan Sagmeister Everything I Do Always Comes Back to Me, 2002 enlarged magazine spreads, 60 x 78 cm (1 and 2 of 6 pieces) The Moravian Gallery in Brno

Stefan Sagmeister Everything I Do Always Comes Back to Me, 2002 enlarged magazine spreads, 60 x 78 cm (3 and 4 of 6 pieces) The Moravian Gallery in Brno

Stefan Sagmeister Everything I Do Always Comes Back to Me, 2002 enlarged magazine spreads, 60 x 78 cm, (5 and 6 of 6 pieces) The Moravian Gallery in Brno Uncanny: Surrealism and Graphic Design /List of Selected Works

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Karel Teissig Mladý Törless, 1967 Poster, 79,5 x 57,5 cm The Moravian Gallery in Brno Foto: MG archive

Ed Fella Ed Fella in Stockholm, 2003 Poster, 43 x 28 cm Ed Fella Foto: MG archive Uncanny: Surrealism and Graphic Design /List of Selected Works

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Roman Cieslewicz Zoltán Várkonyi: Katastrofa, 1961 poster, 84,5 × 58,5 cm The Moravian Gallery in Brno photo: MG Archive

Hans Bellmer Poupée, 1935 Minotaure no. 6 magazine spread, 31,5 x 50,5 cm The Moravian Gallery in Brno photo: MG Archive

John Gall & Ned Drew The Box Man by Kobo Abe, 2001 Book poster, 20,2 x 13 cm John Gall Foto: MG archive Karel Teissig Karel Kachyna: Poslední motýl (The Last Butterfly), 1990 Poster, 82 × 57 cm The Moravian Gallery in Brno Photo: MG Archive Uncanny: Surrealism and Graphic Design / List of Selected Works

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Elliott Earls Photography, 2008 Poster, 98,5 × 65 cm Elliott Earls Foto: MG archive

Jonathon Rosen Snake Eyes no. 2, 1992 magazine cover, 27,5 × 21,4 cm Jonathon Rosen photo: MG Archive Uncanny: Surrealism and Graphic Design /List of Selected Works

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Jindrich Heisler & Frederick Kiesler Néon no. 2, 1948 magazine cover (facsimile), 61,5 x 40 cm The Museum of Czech Literature (PNP), Prague

Franciszek Starowieyski Alban Berg: Lulu, 1979 poster, 91,5 x 67 cm Private collection

Rudolf Nemec Jaromil Jireš: Valerie a týden divuů (Valerie and Her Week of Wonders), 1970 poster, 81,5 x 58 cm The Moravian Gallery in Brno Jan Švankmajer Jan Švankmajer: Zahrada (The Garden) 1968 poster, 84,2 x 59 cm The Moravian Gallery in Brno Uncanny: Surrealism and Graphic Design /Selected Installation shots

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Andrzej Klimowski Fiodor Dostojewski: Biesy (The Devils), 1980 poster, 83 x 58 cm Private collection

Yves Tanguy Paul Éluard & André Breton: Dictionnaire abrégé du Surréalisme, 1938 illustrated book, 24 ,2 x 16 cm The Museum of Czech Literature (PNP), Prague Brian Schorn Kathy Acker, 1994 poster, 43,2 x 28 cm Private collection Uncanny: Surrealism and Graphic Design /List of Selected Works

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Zdenek Ziegler Karel Zeman: Ukradená vzducholoď(The Stolen Airship), 1967 poster, 82 x 58 cm The Moravian Gallery in Brno Karel Teige Vítezslav Nezval: Žena v množném císle, 1935 book cover, 22 x 14 cm Private collection

Grandpeople Vagant no. 4, 2007 magazine cover and spread with illustration, 28 x 21 cm Private collection

Roman Cieslewicz Alphabet for the book Guide de la France mystérieus, 1964 25 letters, 21 x 14,5 cm Jindrich Heisler Alphabet, 1952 25 letters, 21 x 14,5 cm Uncanny: Surrealism and Graphic Design /List of Selected Works

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1 Synopsis 2 List of Selected Works 3 Selected Installation shots 4 Selected Press cuttings

The Moravian Gallery Brno, Czech Republic 22 June - 24 October 2010


The Moravian Gallery Brno, Czech Republic 22 June - 24 October 2010 Uncanny: Surrealism and Graphic Design /Selected Installation shots

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Uncanny: Surrealism and Graphic Design /Selected Installation shots

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Kunsthal Rotterdam Rotterdam, The Netherlands 24 September - 4 December 2011


Kunsthal Rotterdam Rotterdam, The Netherlands 24 September - 4 December 2011 Uncanny: Surrealism and Graphic Design /Selected Installation shots

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Uncanny: Surrealism and Graphic Design /Selected Installation shots

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1 Synopsis 2 Selected List of Works 3 Selected Installation shots 4 Selected Press cuttings

The Moravian Gallery, Brno, 23 June - 24 October 2010 Uncanny: Surrealism and Graphic Design /Selected press cuttings

The New York Times, 4 August 2010

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The New York Times, 4 August 2010

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étapes: design et culture visuelle, July 2010

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Divnost a grafick˘ design aneb Cosi tísnivého: Surrealismus a grafick˘ design

Marta Sylvestrová

V˘stava Cosi tísnivého: Surrealismus a grafick˘ design, pfiipravená hostujícím britsk˘m kurátorem Rickem Poynorem se tû‰í velkému zájmu náv‰tûvníkÛ leto‰ního Bienále grafického designu v Brnû. Vyvolala ohlas v˘znamn˘ch zahraniãních médií – francouzskou verzi v˘stavního katalogu otiskl francouzsk˘ ãasopis Étapes No. 183, recenzi v˘stavy a rozhovor Stevena Hellera s autorem v˘stavy pfiinesl 4. srpna deník The New York Times Today. Moravská galerie v Brnû jedná nyní o zahraniãních reprízách s lond˘nsk˘m vystavovatelem Barbican Centre Enterprises.

Poprvé nav‰tívil Rick Poynor Bienále Brno pfied deseti lety. Byl pfiedsedou mezinárodní poroty a jeho prezentace manifestu First Things First 2000 o odpovûdnosti pÛsobení grafick˘ch designérÛ vyvolala na brnûnském mezinárodním designérském sympoziu nejÏivûj‰í diskusi. KdyÏ byl pfied rokem osloven, aby na leto‰ním Bienále Brno prezentoval svÛj projekt, kter˘ odráÏí jeho osobit˘ pohled na souãasn˘ grafick˘ design, oãekávali mnozí, Ïe se jako autor zásadních publikací o nové digitální typografii (Typography Now: The Next Wave, 1991; Typographica, 2001; No More Rules: Graphic Design and Postmodernism, 2003) zamûfií na uvedené téma. Rick Poynor v‰ak uvedením v˘stavy Cosi tísnivého: Surrealismus a grafick˘ design pfiiznává svÛj dlouholet˘ zájem o umûleck˘ smûr, kter˘ ho, jak pfiiznává, od ‰kolních let fascinuje. „Surrealistické hledání „zázraãna“ je v˘zvou k hledání poezie, intenzity a smyslu pro „podivno“ v kaÏdodenním Ïivotû. Vûfiím, Ïe odpovídá na‰im hlubok˘m vnifiním potfiebám, které v‰ichni jako humánní bytosti máme,“ sdûluje Rick Poynor. Název v˘stavy „Uncanny“ (v nûmãinû unheimlich — nezvykl˘, divn˘, podivn˘) zvolil autor podle ménû

známého eseje Sigmunda Freuda, publikovaného v ãe‰tinû v roce 1919 pod názvem Cosi tísnivého, neboÈ podle jeho názoru nejlépe vystihuje pocit tûÏko vysvûtlitelného psychického rozru‰ení, podivn˘ch pocitÛ vyvolan˘ch vnímáním surrealistického umûní. Divnost je konceptem, kter˘ stojí v popfiedí zájmu souãasného kulturního kriticismu a fiada kurátorÛ se tomuto fenoménu soustavnû vûnuje (viz souãasn˘ zájem o dekadenci anebo tzv. shocking art). Poynora v‰ak nezajímají autofii, ktefií ve své grafické tvorbû vyuÏívají surrealistické symboliky jako v˘razového prostfiedku grafického sdûlení. Podrobil v˘bûr autorÛ pro v˘stavu pfiísnému kritériu „autenticity“, jíÏ je soustavná surrealistická mentalita umûlce, jeho „surrealistick˘“ zpÛsob Ïivota a osobité nazírání svûta spektrem surrealismu. Autory zastoupené na v˘stavû necharakterizuje spoleãn˘ systémov˘ vizuální jazyk, ale existují v jejich tvorbû po desetiletí se navracející témata, jimiÏ se soustavnû zaobírají, jako napfiíklad polymorfní transformace obrazÛ, fragmentace tûlesn˘ch ãástí a vnitfiní tûlesná anatomie, symbol oka jako ikony surrealistické obraznosti, slovníkové

Toyen, âeskoslovensko, André Breton, Spojité nádoby, 1934

Karel Teissig, âeskoslovensko, Mlad˘ Törless, 1967

Franciszek Starowieyski, Polsko, Mademoiselle, 1970

kniÏní obálka, 19,7 x 13,5 cm, 1934, soukromá sbírka

plakát, 79,5 x 57,5 cm, 1967, Moravská galerie v Brnû

plakát, 84 x 58 cm, Dydo Poster Gallery, Krakov

Foto: Moravská galerie v Brnû




Typografia, no. 1217, vol. 113, October 2010

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Lidove noviny, 17 Sep 2010

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The Moravian Gallery, Brno, 23 June - 24 October 2010

Hospodarske noviny , 17 Aug 2010

Brnensky denik , 14 Aug 2010

Uncanny: Surrealism and Graphic Design /Selected press cuttings

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A2 Magazine, 18 Aug 2010

Uncanny: Surrealism and Graphic Design /Selected press cuttings

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Uncanny: Surrealism and Graphic Design

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