{"id":298052,"date":"2025-05-05T12:12:09","date_gmt":"2025-05-05T12:12:09","guid":{"rendered":"https:\/\/news.talkwithrattan.com\/index.php\/2025\/05\/05\/the-last-surrealist\/"},"modified":"2025-05-05T12:12:09","modified_gmt":"2025-05-05T12:12:09","slug":"the-last-surrealist","status":"publish","type":"post","link":"https:\/\/news.talkwithrattan.com\/index.php\/2025\/05\/05\/the-last-surrealist\/","title":{"rendered":"The Last Surrealist"},"content":{"rendered":"<div style=\"text-align:center\"><img decoding=\"async\" src=\"https:\/\/i1.wp.com\/static01.nyt.com\/images\/2025\/05\/01\/04cul-last-surrealist-93163-cover\/04cul-last-surrealist-93163-cover-facebookJumbo.jpg?ssl=1\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"The Last Surrealist\" title=\"The Last Surrealist\" \/><\/div><p> <br \/>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">It was Paris in the late 1950s, and <a class=\"css-yywogo\" href=\"https:\/\/onlineonly.christies.com.cn\/s\/selections-israel-museum-jerusalem-sold-benefit-acquisitions-fund\/jean-claude-silbermann-b-1935-57\/63046\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Jean-Claude Silbermann<\/a> knew where the Surrealists met every evening from 5 to 6 p.m. He waited outside Le Musset, a cafe between the Palais Royal and the Louvre, until Andr\u00e9 Breton \u2014 the writer and poet who led the fluctuating, anarchic group \u2014 emerged with about 15 of his acolytes.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cI didn\u2019t know how to do anything. I hadn\u2019t even written any poems,\u201d Silbermann, now 90, said. \u201cIt was ridiculous, but I went straight over to him and said: \u2018You are Andr\u00e9 Breton. I am Jean-Claude Silbermann. I\u2019m a Surrealist.\u201d At the time, and now, Silbermann thought of Surrealism as a frame of mind, a way of being in the world, and at its heart is revolt. Breton told the young man to join the nightly meetings whenever he wanted.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Born in 1935 in Boulogne-Billancourt, on the western outskirts of Paris, Silbermann cut ties with his family as a teenager, leaving home to try his hand at poetry instead of joining his father\u2019s successful hat making business. \u201cI loved poetry since I was a little boy. At 18, I read \u2018Alcools,\u2019 by Guillaume Apollinaire. I opened the book, and when I closed it, the world had changed,\u201d he told me, his French gallerist <a class=\"css-yywogo\" href=\"https:\/\/galeriesator.com\/homepage\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Vincent Sator<\/a>, and the critic and art historian <a class=\"css-yywogo\" href=\"https:\/\/palaisdetokyo.com\/en\/personne\/philippe-dagen\/\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Philippe Dagen<\/a>, on a recent sunny afternoon in Paris at Galerie Sator in the Marais, where some of the artist\u2019s enigmatic works hung on one wall.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">From the leafy suburbs of Paris, the young Silbermann traveled to Oslo and then Copenhagen, where he hitchhiked, worked on cargo boats and sometimes read palms to make a meager living. \u201cIt was a con, but it paid for my cigarettes, my room and my food,\u201d he said. \u201cIt was a very pleasant life.\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-2\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Back in Paris a few years later with a wife and a child, he acceded to pressure from his father to work in the family trade but was miserable with his bourgeois lifestyle. \u201cI gained 15 kilos in three months,\u201d he said. \u201cFifteen kilos of anxiety. Fifteen kilos of anguish.\u201d His fateful meeting with Breton brought him back to poetry and, later, painting, both of which remain critical in life.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">In 2024 Dagen introduced Silbermann to Sator, whose grandmother Simone Khan was Breton\u2019s first wife. She was an active member of the Surrealists and opened her own gallery after World War II, to champion the movement\u2019s artists. And from May 8 to May 11, at <a class=\"css-yywogo\" href=\"https:\/\/www.independenthq.com\/fair\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Independent, the art fair<\/a> in Manhattan \u2014 just over 100 years after Breton wrote his first <a class=\"css-yywogo\" href=\"https:\/\/theanarchistlibrary.org\/library\/andre-breton-manifesto-of-surrealism\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">\u201cManifesto of Surrealism\u201d<\/a> \u2014 Sator is showing Silbermann\u2019s colorful works filled with dreamlike imagery in the United States for the first time.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Last fall, Silbermann\u2019s canvases, which are mounted on wood and cut into various shapes with a saw, were shown at the Pompidou\u2019s blockbuster <a class=\"css-yywogo\" href=\"https:\/\/www.centrepompidou.fr\/en\/program\/calendar\/event\/gGUudFS\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">\u201cSurrealism\u201d<\/a> exhibition, <a class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2024\/02\/28\/arts\/design\/surrealism-centennial-pompidou-brussels.html\" title=\"\">one of many global exhibitions to celebrate the movement\u2019s centenary<\/a>. The show eschewed chronology for a spiraling maze of themes \u2014 dreams, the chimera, political monsters, the night, eros and more \u2014 that traced Surrealist tendencies all the way back to ancient Greece.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-4\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">\u201cListen, I was very happy I was the only Surrealist alive in the exhibition. All the others were dead,\u201d Silbermann told us in the gallery when asked what it was like to be part of a momentous historical retrospective. \u201cMaybe not for long, but still, I was the only one alive, and that was a lot of fun.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">He insists that Surrealism \u2014 \u201can attitude toward the world, not a stamp you put on a passport,\u201d he said \u2014 is not over. The museum, the past, can only teach you so much: It is \u201ca great tomb, we have to do something else. Me, it\u2019s over, but the young people will interpret Surrealism in new ways,\u201d he said humbly. \u201cI am the last Surrealist alive, but not the only living Surrealist.\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-5\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Sator said that he will be showing \u201cyoung works,\u201d with nearly all paintings made from 2021 to 2024. Only \u201cVous Partez D\u00e9ja?\u201d (\u201cYou\u2019re already leaving?\u201d) is from earlier. That 2009 work shows a bright yellow bird, its feathers flecked with light, clutching two dusky pink and purple skulls as it takes flight. Golden foliage sprouts from the feathers atop its head.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cI have a taste for intellectual provocation,\u201d Silbermann said. \u201cI never know what I\u2019m going to do when I start working. This is not extraordinarily original. But I stop working when I don\u2019t understand it, when it escapes me. That\u2019s when I tell myself that it\u2019s over, because all of a sudden, I don\u2019t understand anything about it.\u201d He has trouble with titles but is happy with \u201cYou\u2019re Already Leaving?,\u201d which he realized after it was finished must be a portrait of himself and his wife, Marijo.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">When I asked who the bird is, he laughed and did not answer. He and Marijo now live on the island of Port-Cros and Sannois, a Paris suburb.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-6\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Sigmund Freud\u2019s theory of the unconscious has been important to Silbermann, as it was to many of his peers. He also talks about ideas like intuitive knowledge over reason, of the importance of the unknown, of being entangled in your life and art, and of having the profound desire, as well as the courage, to pursue art. \u201cThere are better things to do with your life,\u201d he said of his art practice, \u201cbut I couldn\u2019t do anything else. I didn\u2019t have a choice. I had to be an artist. Surrealism is courage, fantasy, liberation, revolt.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">In some works, figures move through fantastical scenes, locked in ambiguous courtship, becoming one with animals or landscapes, as in \u201cL\u2019Attente et Le Moment du Fruit Orange\u201d (\u201cThe Wait and the Moment of Orange Fruit,\u201d 2024), or \u201cL\u2019Attente et Le Moment du Blason\u201d (\u201cThe Wait and the Moment of the Shield,\u201d 2021-2022).<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-7\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Other pieces may be read as psychological stages both pained and transcendent. \u201cL\u2019Attente et Le Moment de La Nuit\u201d (\u201cThe Wait and the Moment of Night,\u201d 2023) and \u201cL\u2019Attente et Le Moment de L\u2019Arc-En-Ciel\u201d (The Wait and the Moment of the Rainbow,\u201d 2022) feature writhing, nightmarish figures. \u201cLa Nuit\u201d is ominous, while \u201cL\u2019Arc-En-Ciel\u201d has a sense of release: The monsters take up only the lower half of the image, which is otherwise serene, with two men hovering weightlessly.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">These artworks appear slight from afar, but up close they possess a quiet luminosity and \u2014 even when dark \u2014 a sense of combinatorial play and tongue-in-cheek titles that also defined Silbermann\u2019s early work. In 1965, he created the centerpiece for the 11th International Exhibition of Surrealism. Entitled \u201cLe Consommateur\u201d (\u201cThe Consumer\u201d), the giant sculpture was a figure made from what he called a \u201cdisgusting pink mattress\u201d with a siren for its head, an open fridge for its back and a washing machine for its gut, in which daily newspapers tumbled over and over.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-8\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Silbermann said that he is political in his life as a citizen, but not in his art. The stories he tells of his life bear witness to the violence and turmoil of the 20th century, and yet carry humor, amazement, modesty, optimism. He told of the French German Dadaist Hans Arp, who evaded conscription in World War I by filling in his papers with the correct details but then adding them all up in a vague column of nonsense \u2014 \u201ca recipe for imbecility.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">To Silbermann this was not just chance or fate but play in the face of life and death. \u201cIt\u2019s beautiful,\u201d he said. He told of the relative of a friend in the World War II French Resistance who made a daring escape from the Gestapo. At the end of the war, Silbermann, who is Jewish, and his extended family were hiding in a house in the hills while his father served in the Resistance. German soldiers arrived and burned the house to the ground, giving the group just 10 minutes to escape. Silbermann described the fire as transfixing, Sator told me.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-9\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In 1960, along with many other French intellectuals, Silbermann signed the \u201cManifesto of the 121,\u201d an open letter opposing the Algerian War, in which he refused to serve. Wracked and disoriented by the conflict, Silbermann was nearly driven to suicide, he said. He was ill for three years and couldn\u2019t write poetry any longer. At the suggestion of a friend, he began to paint. During our interview, he smiled and said it came more easily than poetry, quoting an old jazz standard: <a class=\"css-yywogo\" href=\"https:\/\/www.google.com\/search?q=ella+fitzgerald+it+don%3Bt+mean+a+thing+if&amp;rlz=1C1GTPM_enUS1027US1027&amp;oq=ella+fitzgerald+it+don%3Bt+mean+a+thing+if+&amp;gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIICAEQABgWGB4yCggCEAAYgAQYogQyCggDEAAYogQYiQUyCggEEAAYgAQYogQyBggFEEUYQDIGCAYQRRhAMgYIBxBFGEDSAQkxMTY4M2owajSoAgCwAgE&amp;sourceid=chrome&amp;ie=UTF-8#fpstate=ive&amp;vld=cid:e98a21f4,vid:3y_d_aQg2xI,st:0\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">\u201cIt don\u2019t mean a thing if it ain\u2019t got that swing.\u201d<\/a><\/p>\n<p class=\"css-at9mc1 evys1bk0\">Then he adapted the sentence, perhaps so it covered the relationship between art and life: \u201cif you don\u2019t have this thing, you don\u2019t have anything.\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.nytimes.com\/2025\/05\/05\/arts\/design\/the-last-surrealist.html\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It was Paris in the late 1950s, and Jean-Claude Silbermann knew where the Surrealists met every evening from 5 to 6 p.m. He waited outside Le Musset, a cafe between the Palais Royal and the Louvre, until Andr\u00e9 Breton \u2014 the writer and poet who led the fluctuating, anarchic group \u2014 emerged with about 15 [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":298053,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","fifu_image_url":"https:\/\/static01.nyt.com\/images\/2025\/05\/01\/04cul-last-surrealist-93163-cover\/04cul-last-surrealist-93163-cover-facebookJumbo.jpg","fifu_image_alt":"","footnotes":""},"categories":[1],"tags":[4147,18661,231702,9403,231705,231703,231704,231706,1021],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/posts\/298052"}],"collection":[{"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/comments?post=298052"}],"version-history":[{"count":1,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/posts\/298052\/revisions"}],"predecessor-version":[{"id":298054,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/posts\/298052\/revisions\/298054"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/media\/298053"}],"wp:attachment":[{"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/media?parent=298052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/categories?post=298052"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/news.talkwithrattan.com\/index.php\/wp-json\/wp\/v2\/tags?post=298052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}