Abstract: The group activity of the Romanian surrealists meant a re-invention of certain surrealist practices that the artists around André Breton promoted by the end of the 1930s. When the II World War destroyed the network of communication between surrealist artists from different countries, the Romanian group continued the surrealist experiments on its own. Their results were very well received by the Paris surrealist group when the links were reestablished around the 1947 international surrealist exhibition at Galerie Maeght. The paper analyses the surrealist discourse of the Bucharest group as a minor language usage, where some key concepts like body, love, object are reinterpreted in a way that they cannot be inserted into the value system of the emerging Romanian society in the late 1940s. Works by Gherasim Luca and his fellow group members explore territories that the dominant language does not integrate into the discourse of ’normality’.
Keywords: body, cultural mediation, love, minor, object, surrealism
Source: Transylvanian Review vol. XXII, Supplement No. 1, 2013: Mapping literature, eds. Balázs Imre, Ioana Bot, Adrian Tudurachi, Sanda Berce, Petronia Petrar, Erika Mihálycsa, Elena Păcurar
