ABSTRACT
Regardless of the formal title and the individual arguments put forward in different texts, Surrealist artworks take up a vast majority of the images published in the opening feature, more than twenty-five pages long and encompassing reproductions of over fifty paintings, sculptures and photographs. The edition of Atorie coincided with Kaigai Chogenjitsushugi Sakuhin ten, complementing the simultaneously running exhibition with works produced by Surrealist artists and photographers from Japan, supplementing their exclusion from the show. The amateur photo clubs comprising zen’ei shashin or the Surrealist ‘photo avant-garde’ acquired some characteristics of Surrealist groups by enlisting among their members the most prominent Surrealist critics, such as Takiguchi and Yamanaka, as well as Surrealist painters with an interest in photography, such as Imai. In order to better understand the strategic experiments with displacement in staged Surrealist photography we can turn to Nougé’s renowned series Subversion des images , showing a group of sitters interacting with mostly invisible objects.
