“... This sensational conflict is recounted by art historian Abigail Susik in her recent book Surrealist Sabotage and the War on Work. Taking the amorphous if persistent ‘anti-work position’ of Surrealist artists in interwar Europe and postwar United States as its purview, Susik’s account considers symbolic, rhetorical, and ‘parapolitical’ manifestations of sabotage in the writing and automatist practices of the Parisian Surrealists, the paintings and sculpture of Canary Islander and late-coming Bretonian Óscar Domínguez, and, across the Atlantic, the protest performances and exhibitions of the Chicago Surrealists in the 1960s. The book interprets these artistic interventions alongside contemporaneous political movements and material cultures, with particular attention paid to a shifting gendered division of labor. ...”
Man Ray, Séance de réve éveillé (Walking Dream Séance), 1924, Left to right: Max Morise, Roger Vitrac, Simone Breton, Jacques-André Boiffard, André Breton, Paul Éluard, Pierre Naville, Robert Desnos, Giorgio de Chirico, Philippe Soupault, Jacques Baron.
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