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,5tf/Hlhhl*ndtona0radley174 JA[0UES-All[flE00lFFAfl0 hnWalkerIBZ MA0EM0ISELIEI0IZESKI $imon0aker184 R00ll,lALBUM106 llul',|Alltl0ll[ES SimonBaker.196 lltA[S l.lichaelflichardson?n4 ftEflllMflrl-iltAlttss'Jll0l,lAilBrkhhoflhingsl SimonBakubl Simon0akertlhe Eftnpotogical tttlild hrdl0enis llollierl.,lA)( [RllSIS I|UMRE0-||[A0LESS ttrt0MAl,l ITrans<strong>ta</strong>lionl floberl 0esn0s208 fll'IEMA Miehaelflichardson21? 0!,lEltlffi Camtinellancock214 PABLIPllASS[ [tBMilhrlllll.40RAIE T0 P|[ASS0 [Trans<strong>ta</strong>tion] Roger VitracPl[A5$0tlrans<strong>ta</strong>tion] MichelLein$FIRE: F0R PABI0 P|[ASS0 [Transhlion] Jacques BamnlilnAdes220 AP0IALYPSE IFBlliller230 Ail0ELS SimonBakerllEllE ll0L[YI{000 tlmnslationl 0eorges BahithbhlfthaellichardsonHhhardsnnhbHtrffilJsfftftIeoryesBa<strong>ta</strong>illeTHIMAI{ERIIA'ffinnJsfftffLnhhrlawnAdes23624t244248252256?5tIRA]llSLAIIOllSItlE A[A0EM|[ ll0flSt 0eorges Ba<strong>ta</strong>ilteTllE M00ERll SPlflll Al'|I lllt PLAY 0F TflAt'tsp0Slll0ilS 0eorges 0a<strong>ta</strong>itteAl\l0R[ lt,lAss0il, Ail FI]lil0L00t[AL s]ljry [art EinsteinAL0ERT0flA[0METTl MichelLeirrsPl[AS50MEIE0R 0eorgesRibdmonl-0essaignes0lflt0ilARYilfltS[0t'[EilT5 0F 00tll[{tl[5.,lI UUt Hllillll0s tlrans<strong>ta</strong>tronl].hIhhhHar0eoryesBa<strong>ta</strong>itle?01202271sILIIIEI BIOLIOORAP1lYilsIffl/t/0Rl(silst 0F fl0llRts, A00tfloilAt [flt0tls260ilflrs otl InAilslAillllt t)(ilB]Il0il [AIAr00lJts
212 0t[Tt0l'lAflYA Anorr, ()eargu lleni Rhiire on the RooJ oJtht Tracadtra during DemoLiilon, Sprtng1936 (fig rB)B Anon, 'Prounce'iltrine, ,\alle de Fran.u,A[usle d'Ethnographie du Ti'ocadao, r9q",(fis ts)C DOCUNIENTS,5, rgzgD DOUUNIENTS. T, rg3oE DOCUI,IENTS, B, r93oO1,4ELETTESIn his Critical Dictionary cntry 'Sun' (7, tg3o), Zdenkl F..reports on a February village jdte in the French Alps der,_ -the making, offering and consumption ol omelerrc: :account of this thanksgivine sun ritual fits into the anrl-:" ,logical interest runnins throughout DOCUME\TS :epitomises the contemporaneous rise in France in the artr:given to regional identities. Reich went on to \\ri':Massacre' (8, r93o) describing past Roman rituals. illu.::.,by a photograph ol a similar contcmporary ceremonr i:, i'-Guinea captioned: 'Although pia sacrifices have disapp-,.lrom our part of the world, they have remained fi-equ.:'. rOceania where, on jite days, 5o to roo pigs are -iac:----(Photo \4rilliamson, Mafulu N4oun<strong>ta</strong>ins people ol \Guinea, London, rgrz).'In rgz8 at the Mus6e Ethnographique du Tr-or,,iGeorges Henri Rividre decided to expand upon rhe F lcollections in the Salle de France and created a separari f:IlIIjdedicated to the rcsearch, archive and presen-ation , - -customs and material culture encouraging scientiilr ,.with the aim of modernising a ficld with nos<strong>ta</strong>leic rend.:-.The Mus6e National des Arts et Traditions Pop,-l-_,.(MNATP) was opened in rg38 and, lrom rg6q, was hori:.. -
OMELETTES 213fr1 arrott aenie d. ftsr.! el d. n;niqre sadcn!;:par le cleur. Nrrs ilevors nlin renarquer le faitqre la rondc p;ripliriqne traitu clar: son rJrainuriquem€rl Jc Siguli, alore gue ic cla*tcarcantral !ir,r sculement .:le 3ru*etilde ju*q*';I'in:art oir Sigurd la rejoint ; erfia, la chm*rd#rit lJnrnelilile asise *r une c|uise dbr plcieslr ute mothsn .]i*rL- A!b$ de cette noniagne{lanboie ;nlv;lnblemenr I'enceinte de ferla , \l'aLerlolc,- lin d'rute. lerfts, nns eo<strong>ta</strong>'sici l'ancien sujet cxp!* *d.ment dc la uinrtfaqon que dans lr:s vieill* *sc nais diinqirter1,r,'r rlr rn.ar rqu"rrrrnr 1.a- un ,r'rr",,, 1 hurn-rrivart. .Je rrois qre cctt; eoincielcnce surprenan:enotr dsnn. L. rroyenr de con:pl6terd une midrcn 'ilril,.atrr,* .d; l "iir;cns r,r <strong>ta</strong> .;rumonjcriturile Ce Sto*herge, Sloneh*ge rols donn3porr air:i dire l€ sqnJette afch;t{ctrniqur i lssa.{ar de l'.poque paione <strong>ta</strong>riiive. sai<strong>ta</strong>nt dsfrangailL,s dc |gos, mr: lont cor*irre l{ {ujet sou* sa iorme nryihique, <strong>ta</strong>ndisqreladanse de !'ardt et *s rornbte!*r vir;nie! lour morlrrt {ort probnLiementla {ormr r*s laqarlle avait iirq la cirdnonie rinrellc, ainsi qu* la dispoeition etles nouv(lnenir der grcup* tle lid|l*. La place dc chanterr c.ntral iait primiiiv.r.ent x{{r,r lnr un tralre accomplirrant un ad. k.a quelcanqle a! mo,E€at!l l$ rayoni d! soleil l.lait renaient iclairrr liurel, rarrlis que ies lidiiescnlol<strong>ta</strong>;.nt en rorCe c. .!rtr. Eacr; ea a.crxipasaiert I'rtior par m chant etpar d* ees<strong>ta</strong> rituels. !i lorsqur ro!! consralors que ler nissionsires chritie*la'rtrllir '!. h,;i., A'L {.ii*i *r.i, Lut: iitr*,,.|i.?. -- ti ij ]i. t J'd!,t ,li a ,';]D-:-Jose built museum in the Bois de Boulogne. Rividre's novelr--..rlrralist displays dor,vnplayed the aesthetic nature of the:rcl in favour of revealing its use-value and context. This'-.r'aordinary collection is now being decentralised toL,:'seille and renamed Nlus6e des Civilisations de I'Europe et. -e \I6diterran6e. This move and the creation of Q.<strong>ta</strong>i- .,.-rilr' are part of the current dispersal of thc lr{us6e de{ ,mme's holdings.":In DOCUNIENTS, European folklore and popular tradi-:r: can be traced in the religious prodLlctions of 'passion' les' lrom Notre-Dame-de-Liesse and Neapoli<strong>ta</strong>n creches: -rr2g), I<strong>ta</strong>lian and Austrian ossuaries (8, r93o), carnivals and. ,-r-rrrmances such as the circus acts mentioned in--.dization' (+, r92g), the singer Georgius ('Theatrical: _Jore ', 5, Ig3o) and malpole dances ('The Sacred Feminine'r:rrer. 7) Ig3o). Arts and crafts appear through Jean:,:::iat'd's ceramics ('Pottery', 4, I93o) and in two illustrated:LlngesbyJ. Pouels, which acknowledge an exhibition of 'arl:,,'riiiz'atthe Palais desBeaux-Arts inBrussels (4, t9zg). CHLe slAsSACltl D[s roRcsUn ;acrifice rituel de prcs, or,:i l'ft veut, rn ieg de maqsarre Isigni{iration religieure, avair lio illomr, sur h nron<strong>ta</strong>qn. de fd*.c.io,duraat le moysn ;ige iusqu'n la lin Crla teral*wce. Uie .ratte d! glt'siirle mrntiorc * jea d* Iolaccic6me rn. rortu*e tbre*{e JrPdsu ten!: imm*rorill {lJ. Ljnr r*lationde 11ii6, aesc? i;iaillq imprinieI llornr (X, mrr penet ,lerrron*iher l* irails geirarrx dcee iru dn$lirr.l-* ntrdi gras, pndan; que laville pmtiiirale eultr * lilerti pardcr dwilles, de* mageaniles d dsc6*es $oterqtr{t, ur imnsnse cur'1;gr .!l*trn.i parcolt l* vil[ rt *dirigc, {inalrnent, vrr* ia morbgnede Te*<strong>ta</strong>xkt T&k l. rugri{ic*ffed* mrnavalr r*l obxurci; par laerLrdsr qrrc lc reilneurr rcmain*ellplcienr cr" ricoi* jour, HaLilllrde prurpre o d'or, ih mo'tt€li dlcelirnC tou<strong>ta</strong> lerr richer* ct )eur pui:"$ao.c, 1...s iftiz. qratti.t; de Ia R*edu nroyen ige, repr6ratir par ieursdiligu&, firnrent dars ic eoligrtrcize grorpe r{isrincs de erl*i &ssrign*r:s. Cl,aqre guanirr mvrie.d&n, c. $rtlg.. !n larrmu, ltrxernil.i iri ldr*e, rslrcit n voir,.Rien r rqcire, dano renc rdrdmorir, ur din*urnrmt difftc* dr *lui d* aurcrpararlg: sili<strong>ta</strong>irer. fo*iarl lorlr cetlc trrrlf 3'al!itd ; un ;titcrffit cliiaodinnire,..Perdart q* Ll eorurg ;ivalirmr pour la prime traditiornelle, p*dani que 1alorle alpiuu,lit "rnime, a*lame le vairqu*r or demanr! la rCpiti:irn do l: .orxr,on preide aur Jcrnier; prlpratiir, 9ix atross*s c*ucilt dr rlrat rou{e, *erp&clacrn par w por. vivant, xnt pi*x: *ur l* scnrrtel.rlc <strong>ta</strong> rron<strong>ta</strong>gne- Dcrriire is12[T i}II OIJI5TIOt{ OF LAY ETlll'lOOflAPllY PLAIES OF PILORIMAOE, SAIRIFICE
]|AYWARO OALLERY LOiIDOI'I,11MAY - 3O J|JIY 2OO6Exhibition curated by Dar,rm Ades, Simon Baker and Fiona BradleyExhibition organised by <strong>Caroline</strong> <strong>Hancock</strong>, assisted by Isabel FinchThe Haylvard Gallery would like to thank the AHRC ResearchCentre for Studies of Surrealism and its Legacies, University ofEssex, for their generous contribution to the ca<strong>ta</strong>logueCa<strong>ta</strong>logue designed and tl,peset by Hoop DesignArt Publisher: <strong>Caroline</strong> WetheriltPublishing Co-ordinator: James DalrympleSales Manager: Deborah PowerPrinted in lraly by CraphicomRepro by DawkinsColourFront cover:Jacques-Andr6 Boiffard, Renie Jacobi, r93o (de<strong>ta</strong>il,cat.77)Back cover:Jacques-Andr6 Boiffard, Beneath the Mask, Pierre Prduert,r93o (cat. 73)Frontispiece: Anon, Portrait of Georges Ba<strong>ta</strong>ille, c.tgzo 3o (fig. r)Pages 17-32: DOCUMENTS, z, r9z9; 4, t929;4, r9z9;4, r9z9;6, r9z9; 6, r9z9; 7, r9z9;7, r9z9; 7, r9z9; 7, rgzg;r, r93o; z, t93o;4, r93o;5, r93o; 7, r93o;8, r93oPublished by Ha1'r,vard Gallery Publishing South Bank Centre,London SEr BXX, UKu,r,wv.hayvard. org. ukin association with The MIT Press of the Massachusetts Institute ofTechnology, 55 Halward St, Cambridge, Massachusett\ o2r42-r 3r5, USA, http: /,/mitpress.mit.eduISBN r B5g3z z5o 4 (Hayvard Gailery edition)Distributed in the UK by Cornerhouse Publications, 7o OxfordStreet, Manchester Mr 5NH (tel. +44 (o)161 2oo r5o3; fax. +44(o)r6r zoo r5o4; email: publications@cornerhouse.org;r,rr,wv. cornerhouse. org/publications).ISBN o-z6z-orz3o-B (The MIT Press edition)Distributed in all territories, excluding the UK, by The MIT PressFor special sales information, please emailspecial_sa1es@mitpress.mit.edu.Library of Congress Ca<strong>ta</strong>loging-in-Publication Da<strong>ta</strong>IJndercover surrealism: Georges Ba<strong>ta</strong>ille and Documents / DawnAdes and Simon Bakerp.cm.Includes bibliographical references and index.ISBN o-z6z-orz3o-B (alk. paper)r. Arts, European 2oth century z. Avant garde (Aesthetics)-Europe-History 2oth century. 3. Surreaiism-Europe. 4.Documents (Paris, France: r9z9 r93r). 5. Ba<strong>ta</strong>ille, Georges,IB97 196z Criticism and interpre<strong>ta</strong>tion. I. Ades, Dawn. II. Baker,Simon, rgTzNX54z.U53 zoo67oo'4tt dczz2c,c6c'4rq\4A1l rights reserved. No part of this book may be reproduced in anyform by any electronic or mechanical means (includingphotocopying, recording, or information storage and retrieval)without permission in writing from the publisher.@ Halward Gallery zoo6Texts O the authors zoo6Images @ the artists or es<strong>ta</strong>tes of the artists 2006, unless s<strong>ta</strong>tedother-wiseThis ca<strong>ta</strong>logue is not intended to be used for authentication orrelated purposes. The South Bank Board Limited accepts noIiability for any errors or omissions that the ca<strong>ta</strong>logue mayinadvertently con<strong>ta</strong>in.The publisher has made every effort to con<strong>ta</strong>ct a-11 copyright holders.If proper acknowledgement has not been made, we ask copyrightholders to con<strong>ta</strong>ct the publisher.
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