#surrealism

#surrealism

Karina Lumiere paints like someone who trusts color more than language. Her work does not whisper its intentions. It glows, pulses, seduces. This is abstraction born not from theory, but from devotiondevotion to intuition, to sensation, to the unapologetic power of hue as an emotional instrument. Her path to abstract expressionism was never academic. It unfolded in solitude, shaped by meditation and spiritual practice, where listening became more important than learning and presence eclipsed instruction.

Un Chien Andalou means "an Andalusian dog," though the much-studied 1929 short film of that title contains no dogs at all, from Andalusia or anywhere else. In fact, it alludes to a Spanish expression about how the howling of an Andalusian signals that someone has died. And indeed, there is death in Un Chien Andalou, as well as sex, albeit death and sex as processed through the unconscious minds of the young filmmaker Luis Buñuel and artist Salvador Dalí, whose collaboration on this enduringly strange movie did much to make their names.

Jodorowsky's most recent project is Alejandro Jodorowsky. Art Sin Fin (Taschen), two volumes in which he reviews his career, almost as boundless as it is surreal. Curated by editor and academic Donatien Grau, director of contemporary programs at the Louvre, this monograph is a work of art in itself and a manifesto that captures Jodorowsky's kaleidoscopic, mysterious, and dreamlike creative spirit across all his universes, from film and theater to poetry and comics, by way of philosophy and tarot.

"I don't trust my imagination very much, so I often create works based on things I've actually experienced," says Hewa. "I want to animate those indescribable states where all sorts of emotions get mixed up together." In these micro-animations (that do well on social media, both because of their quick runtimes and windows into varyingly haunted and serene worlds), Hewa animates women dreaming of other realities, dinner guests locked into a perpetual state of laughing and empty streets lined with crooked houses.

It's ambitious to make a movie about how making movies is like harvesting dreams, projecting viewers' inner lives back at them, often to visceral, abstract, and sometimes tummy-hurting ends. This is ambitious for even the director of Long Day's Journey into Night, a puzzling 2018 noir that concludes with a 56-minute continuous-shot meant to be experienced in 3D, and Kaili Blues (2015), which boasts its own 41-minute unbroken take. To say the least: This is not easy shit to pull off.

Rooted in the American Midwest, Heartland merges the surreal with the everyday in a new series of paintings created in the artist's family garage amid the central Iowa landscape where Schaeuble lives and works. The exhibition takes its title from the term "heartland," first coined by British geographer Sir Halford Mackinder to describe the fertile core of central Eurasia-believed, by him, to be the key to global dominance.

This one-of-a-kind night always expands the Surreal Salon exhibition to, in essence, include hundreds of works of art by way of the costumes YOU put together to help punctuate this unique exhibition! In addition to the over five dozen works featured in the Surreal Salon exhibition, the big night includes live music from the band Bon Bon Vivant, djs, food trucks, and a number of other surprises.

The corpse of a man killed trying to rob the place days earlier lies in the dirt nearby, covered by a hunk of cardboard. The local cops roll up before Armando can depart and harass him, presumably because he's driving a Beetle and has a beard. Armando keeps his cool and continues on his way, Chicago's "If You Leave Me Now" coming out his car's speakers as he arrives in the northeastern city of Recife,

Kyungha, a writer experiencing a health crisis (I can sense a migraine coming on like ice cracking in the distance), agrees to look after a hospitalised friend's pet bird. The friend, Inseon, makes films that expose historical massacres in Korea. At the centre of the book is a mesmerising sequence between dream and reality where Kyungha stumbles toward Inseon's rural home, blinded by snow, then finds herself in ghostly company.

The term reflects her unique method of applying spray paint, bringing depth, complexity, and a painterly sensibility to her work. This exhibition presents 21 new spray paintings based on the theme "See-Through," delicately depicting moments where humor and introspection intersect through the coalescence of everyday objects and surreal scenes. The word "See-Through" harbors a mysterious meaning that serves to stimulate Stickymonger's imagination.

The night started with a sale of 13 lots from the estate of the late Chicagoan collectors Cindy and Jay Pritzker that surpassed Sotheby's high estimate of $88.5.m to bring in $91.7m ($109.5m with fees). A stellar group of 24 works by Surrealist heavy-hitters from an unnamed collection (marketed as "Exquisite Corpus") followed, generating $81.9m ($98m with fees), squarely within the group's estimate range ($66.7m-$98.9m).

It is a surrealist film whose surrealism resides not merely in the bizarre parched landscape of the Sierra Morena mountain range with its bleached skulls, hanged bandits, crows and mysterious inns in which seductive encounters are to be had, but also simply in the bewildering juxtaposition of individual tales and anecdotes, stories which grow out of each other. The surrealist effect (and the comedy) is in the jolt from one micro-narrative to the other, and the realisation that the overall story is thwarted and undermined.

In the uncanny world of Yuichi Hirako, the relationship between humans, nature, and the built environment plays out in vibrant color and unique proportions. The Tokyo-based artist creates large-scale sculptures, paintings, and installations that explore coexistence, often through compositions that appear crowded with domestic objects, food, cats, and figures whose faces are obscured by cartoonish head coverings shaped like trees or antlers.

Chinese Propaganda Posters From The Cultural Revolution Ages, 1960s-1970s Artist Makes These Really Useful Work Meeting Achievement Badges - Try To Collect Them All Ethereal Cut Paper Illustrations of Women In Water By Sonia Alins "Explore The Lost Land": The Superb Digital Concept Artworks By Bastien Grivet Darth Vader and the Underworld: Kevin Cassidy's Brutal and Infernal Demons Artist Friend Spent Over 500 Hours On These Paintings Capturing The Suffering

Brecht Vandenbroucke is a Belgian illustrator, painter, comic author, and filmmaker born in 1986 in Veurne, who studied illustration at Sint-Lukas University College of Art and Design in Brussels and now lives in Antwerp, where his satirical works critique modern society through vibrant, pop culture-infused visuals. His style blends surrealism, Disney-inspired whimsy, and influences from artists like Mark Beyer, ATAK, Charlotte Solomon, and Glen Baxter, resulting in dense compositions filled with long-limbed creatures, logos, and chaotic scenes that mix humor with underlying darkness.

Under skies heavy with storm-gray clouds, the architectural ruins in Lee Madgwick's paintings seem to exist somewhere between reality and imagination. His works are not just landscapes but psychological portraits-of solitude, fragility, and the strange poetry found in decay. With a style that merges surrealism and realism in equal measure, Madgwick transforms the familiar English countryside into a dreamlike world that's quietly charged with tension.

Zhiyong Jing is a painter living and working in Beijing, China, well known for his surreal dreamlike artworks that explore themes of hope, isolation, and absurdity. He earned a BFA in oil painting from the Tianjin Academy of Fine Arts in 2005 and credits his education with shaping his signature style, which combines childlike simplicity with adult complexity and wit. Jing's paintings often feature cinematic scenes filled with haunting figures, ghost-like shapes, and paradoxical imagery, drawing heavily from personal dreams, memories, and emotional experiences.

My entire education, everything I had ever been told or had told myself, insisted that the production was never meant to be improvised: I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience.