%0 Journal Article
%T The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gis¨¨le Prassinos
%A Andrea Oberhuber
%J Image and Narrative : Online Magazine of the Visual Narrative
%D 2011
%I Katholieke Universiteit Leuven
%X : Following in the ¡®revolutionary¡¯ aesthetic footsteps of the post-World War One avant-garde, many writers, painters, and photographers chose to partake in interartistic collaboration, thus defying the established boundaries between the different arts and their media and putting an end to the idea of the work of art as the ultimate production of a sole individual. Artistic contributions such as those by Magritte and Man Ray for ¨¦luard, or those by Masson for Aragon, Bataille and Leiris, are now considered classics of the surrealist book. Yet the collaboration between women writers and artists of the surrealist movement remains to this day largely unknown, notwithstanding their recognized intermedial practice. Most would combine two artistic practices in their works: writing and film (Belen a.k.a Nelly Kaplan), writing and photography (Claude Cahun), writing and painting (Leonora Carrington), or writing and drawing (Unica Z¨¹rn). In my analysis of the avant-garde book-object, I examine two examples of rethinking the book as a space of text/image experimentation in the framework of surrealist aesthetics. The first is Lise Deharme, who sees the book as a space for collaboration and intermedial dialogue, the second Gis¨¨le Prassinos, who views the book-object as a space for playful metamorphosis. These two writers and artists upset any previous understanding of the ¡®illustrated book¡¯ and come far closer to what is referred to today as the livre d¡¯artiste.   R¨¦sum¨¦: Fid¨¨le ¨¤ l¡¯esth¨¦tique   r¨¦volutionnaire   propre aux avant-gardes de l¡¯entre-deux-guerres, bon nombre d¡¯auteurs, de peintres et de photographes se sont lanc¨¦s dans l¡¯aventure de la collaboration interartistique d¨¦fiant par l¨¤ les fronti¨¨res entre les arts et les genres, mettant ¨¤ mort l¡¯id¨¦e de l¡¯ uvre d¡¯art comme l¡¯aboutissement d¡¯une d¨¦marche individuelle. Si les illustrations de Max Ernst pour Crevel, Tzara ou P¨¦ret, de Magritte et Man Ray pour ¨¦luard, de Masson pour Aragon, Bataille et Leiris ou de Miro pour Breton font aujourd¡¯hui partie des grands classiques du livre dit surr¨¦aliste, la collaboration entre femmes auteurs et artistes du mouvement surr¨¦aliste semblent encore aujourd¡¯hui moins connue. Ces cr¨¦atrices surr¨¦alistes faisaient pourtant preuve le plus souvent d¡¯une v¨¦ritable praxis interm¨¦diale, c¡¯est-¨¤-dire que, pour la plupart, elles investissaient d¡¯office deux arts et leur m¨¦dium respectif : l¡¯¨¦criture et le cin¨¦ma (Belen alias Nelly Kaplan), l¡¯¨¦criture et la photographie (Cl
%K Surrealist Book
%K interartistic collaboration
%K collaboration between women writers and artists
%K text/image experimentation
%K intermedial dialogue
%K Lise Deharme
%K Gis¨¨le Prassinos.
%U http://www.imageandnarrative.be/index.php/imagenarrative/article/view/163