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人类真的如沧海一粟般渺小，我们对自身都无从完全了解，更何况那宇宙万物。由弗洛伊德“潜意识理论”诱发的超现实主义，其伟大意义在我来讲，除去那哗众取宠、稀奇古怪的形式之外，是它把关注的目光从万物投向了我们的内心，甚至是那不被我们清楚的潜意识当中。有很多人误解超现实主义所表现的东西是虚幻的，其实真真假假如 “庄周梦蝶”，到底是庄子梦蝶了，还是他在蝶之梦中？答案千年来还飘于风中。
Surrealism was a philosophical, poetic, and then visual movement that grew up at the beginning of the 1920s in Paris, and continued 3)Dada’s assault on 4)rationalism, and reason. But, in a way, it was more systematic. What the Surrealists were interested in was exploring the workings of the unconscious mind, which, of course, came from the Austrian5)psychoanalyst, 6)Sigmund Freud.
And they discovered two essential routes into the workings of the unconscious. The first is exemplified in this work by Catalan painter, Joan Miro. And that is a thing called 7)automatism. Now, Miro doesn’t go completely crazy. He doesn’t loose total control. But Automatism starts with the idea that 8)doodling, a loss of awareness, and a loss of control, both in writing and then drawing, somehow is tuning into the unconscious. And Miro used to do doodles and drawings, which he’d then feed into his large paintings.
Once he’s established that “automatic,” random background he then starts to overlay it with a much more calculated series of signs or symbols that we’d call 9)biomorphic. And we can start to read things, perhaps a human figure, or a leg, or a head, or a spider, or an insect, or a shooting-star. And then this thing, here, that some see as a balloon on a string, but others see as a 10)spermatozoa. And, in fact, the work seems to me, at least, to make most sense when you see it as some kind of creation myth. And, in fact, Miro called it The Birth of the World. It’s a painting, in a way, about becoming.
Now this automatist route is the first way that the Surrealists try to get into the unconscious. The second was much more controlled at every level, and probably its greatest 11)exponent was Salvador Dali.
It never ceases to amaze me, when I see this image — it has been endlessly reproduced in posters that are often bigger than the image itself — how small it is. This is Salvador Dali’s Persistence of Memory. And what we have here is a painted dreamscape. Where, with these 12)limp watches or clocks, hanging in a landscape that seems to be of another 13)realm. The notion that time, somehow, has lost its power, lost its 14)potency, become limp or 15)flaccid, is clear.
Dali gives a little realistic touch, not just in the 16)voyeuristic way that he paints, but the landscape in the background is clearly that of the coastline near Figueras, his hometown, where he grew up, and where he lived, in Catalonia. Here in the foreground is this odd 17)morphic, or biomorphic creature, which with its long eyelashes and its profile seems to read as Dali, himself, with a tongue, or a snail, or something more 18)phallic, seemingly 19)dribbling out of his nose. And with these ants crawling over, not the cheese-like watches, that Dali himself described as the “20)camembert of time,” but on a hard, metal clock. And ants, for Dali, were a kind of 21)phobia from childhood, symbol of a nightmare. And he talked about a 22)paranoiac critical method where he produced images that actually you could read or see in a number of ways. They were images within images. And he once famously said that the only difference between himself and a madman, was that he wasn’t mad.
超现实主义是哲学的、诗意的，然后是视觉的运动。它在上世纪20年代初的巴黎出现，继续着“达达主义运动”对理性和理智的批评。但是从另一方面来说却有更强的系统性。超现实主义者感兴趣是探索潜意识的运作。当然，众所周知，这个意念来自奥地利心理学家西格蒙德·弗洛伊德。
他们发现了潜意识运作的两大根源。第一个是由（西班牙）加泰罗尼亚画家胡安·米罗的这幅作品所显示出来的，这种称为“自动主义”的行为。看，米罗并没有完全疯狂和完全失控。自动主义的基本概念是乱写乱画，是认知上的困惑，控制上的迷失，无论在书写还是绘画上，不知怎的就会进入潜意识状态。米罗经常乱画乱涂，然后再演变成更大的图画。
一旦他完成随意的“自动主义”的背景图，就开始编排一系列更精心设计的、我们称之为生物形态的标记或符号。开始会看到像是人类的形象，或是人腿，头颅、蜘蛛、昆虫、流星，然后在这里会是一个拉线的汽球。但是有人觉得是精子。不过看了就知道还是将这作品看作一种创造性神话最为恰当，至少在我看来如此。而事实上，米罗称之为《世界的诞生》，从某种意义来说，这是一幅关于演变的画。
超现实主义者先尝试透过自动主义进入潜意识，而第二个途径在各方面则是更受控制的，最佳的演绎者可说是萨尔瓦多·达利。
每次我看到这幅作品都感到震撼——它已经被复制成无数的海报，而且经常是比原来的作品还大——原作原来是这么的小。这是达利的《永恒的记忆》。在这里，我们可以看见一个被描绘的梦境。这里，那些扭曲的时钟像是被挂在另一世界。很明显的，时间这个概念，莫名其妙地，已失去力量，没有活力，变得软弱无力及没生气。
达利还是在画中给予了一些真实的触感，而这不仅仅体现在他那窥秘癖式的表现手法，还表现在画中背景的风光——菲格拉斯附近的海岸，那是他在加泰罗尼亚长大的地方。前面那个古怪形态或生态的生物，有着长长的眼睫毛和一个看似达利本人的侧面，又像是有舌头或一条蛇，或是像生殖器似的东西从鼻子里流出来。还有，那些蚂蚁不是爬行在被达利描绘为“时间的乳酪”的乳酪似的时钟上，而是爬行在一个坚硬的金属钟上。达利眼中的蚂蚁是童年阴影，是噩梦的象征。他曾谈过他创作图像时用的一种妄想狂似的方法，而这些图像我们又可以从不同的角度来进行解读。那是图像中的图像。他曾经说过一句很著名的话，说自己的跟疯子的惟一分别就是，他没有疯掉。
翻译：梁海英
Surrealism was a philosophical, poetic, and then visual movement that grew up at the beginning of the 1920s in Paris, and continued 3)Dada’s assault on 4)rationalism, and reason. But, in a way, it was more systematic. What the Surrealists were interested in was exploring the workings of the unconscious mind, which, of course, came from the Austrian5)psychoanalyst, 6)Sigmund Freud.
And they discovered two essential routes into the workings of the unconscious. The first is exemplified in this work by Catalan painter, Joan Miro. And that is a thing called 7)automatism. Now, Miro doesn’t go completely crazy. He doesn’t loose total control. But Automatism starts with the idea that 8)doodling, a loss of awareness, and a loss of control, both in writing and then drawing, somehow is tuning into the unconscious. And Miro used to do doodles and drawings, which he’d then feed into his large paintings.
Once he’s established that “automatic,” random background he then starts to overlay it with a much more calculated series of signs or symbols that we’d call 9)biomorphic. And we can start to read things, perhaps a human figure, or a leg, or a head, or a spider, or an insect, or a shooting-star. And then this thing, here, that some see as a balloon on a string, but others see as a 10)spermatozoa. And, in fact, the work seems to me, at least, to make most sense when you see it as some kind of creation myth. And, in fact, Miro called it The Birth of the World. It’s a painting, in a way, about becoming.
Now this automatist route is the first way that the Surrealists try to get into the unconscious. The second was much more controlled at every level, and probably its greatest 11)exponent was Salvador Dali.
It never ceases to amaze me, when I see this image — it has been endlessly reproduced in posters that are often bigger than the image itself — how small it is. This is Salvador Dali’s Persistence of Memory. And what we have here is a painted dreamscape. Where, with these 12)limp watches or clocks, hanging in a landscape that seems to be of another 13)realm. The notion that time, somehow, has lost its power, lost its 14)potency, become limp or 15)flaccid, is clear.
Dali gives a little realistic touch, not just in the 16)voyeuristic way that he paints, but the landscape in the background is clearly that of the coastline near Figueras, his hometown, where he grew up, and where he lived, in Catalonia. Here in the foreground is this odd 17)morphic, or biomorphic creature, which with its long eyelashes and its profile seems to read as Dali, himself, with a tongue, or a snail, or something more 18)phallic, seemingly 19)dribbling out of his nose. And with these ants crawling over, not the cheese-like watches, that Dali himself described as the “20)camembert of time,” but on a hard, metal clock. And ants, for Dali, were a kind of 21)phobia from childhood, symbol of a nightmare. And he talked about a 22)paranoiac critical method where he produced images that actually you could read or see in a number of ways. They were images within images. And he once famously said that the only difference between himself and a madman, was that he wasn’t mad.
超现实主义是哲学的、诗意的，然后是视觉的运动。它在上世纪20年代初的巴黎出现，继续着“达达主义运动”对理性和理智的批评。但是从另一方面来说却有更强的系统性。超现实主义者感兴趣是探索潜意识的运作。当然，众所周知，这个意念来自奥地利心理学家西格蒙德·弗洛伊德。
他们发现了潜意识运作的两大根源。第一个是由（西班牙）加泰罗尼亚画家胡安·米罗的这幅作品所显示出来的，这种称为“自动主义”的行为。看，米罗并没有完全疯狂和完全失控。自动主义的基本概念是乱写乱画，是认知上的困惑，控制上的迷失，无论在书写还是绘画上，不知怎的就会进入潜意识状态。米罗经常乱画乱涂，然后再演变成更大的图画。
一旦他完成随意的“自动主义”的背景图，就开始编排一系列更精心设计的、我们称之为生物形态的标记或符号。开始会看到像是人类的形象，或是人腿，头颅、蜘蛛、昆虫、流星，然后在这里会是一个拉线的汽球。但是有人觉得是精子。不过看了就知道还是将这作品看作一种创造性神话最为恰当，至少在我看来如此。而事实上，米罗称之为《世界的诞生》，从某种意义来说，这是一幅关于演变的画。
超现实主义者先尝试透过自动主义进入潜意识，而第二个途径在各方面则是更受控制的，最佳的演绎者可说是萨尔瓦多·达利。
每次我看到这幅作品都感到震撼——它已经被复制成无数的海报，而且经常是比原来的作品还大——原作原来是这么的小。这是达利的《永恒的记忆》。在这里，我们可以看见一个被描绘的梦境。这里，那些扭曲的时钟像是被挂在另一世界。很明显的，时间这个概念，莫名其妙地，已失去力量，没有活力，变得软弱无力及没生气。
达利还是在画中给予了一些真实的触感，而这不仅仅体现在他那窥秘癖式的表现手法，还表现在画中背景的风光——菲格拉斯附近的海岸，那是他在加泰罗尼亚长大的地方。前面那个古怪形态或生态的生物，有着长长的眼睫毛和一个看似达利本人的侧面，又像是有舌头或一条蛇，或是像生殖器似的东西从鼻子里流出来。还有，那些蚂蚁不是爬行在被达利描绘为“时间的乳酪”的乳酪似的时钟上，而是爬行在一个坚硬的金属钟上。达利眼中的蚂蚁是童年阴影，是噩梦的象征。他曾谈过他创作图像时用的一种妄想狂似的方法，而这些图像我们又可以从不同的角度来进行解读。那是图像中的图像。他曾经说过一句很著名的话，说自己的跟疯子的惟一分别就是，他没有疯掉。
翻译：梁海英