“Surrealism is not an aesthetic but an ideological and political movement”, with these words Arturo Schwarz opens at the Theatre “Franco Parenti” in Milan the presentation of his latest book: Il Surrealismo. Ieri e oggi Storia, filosofia, politica. The book published by Skira is, within the international literary scene, an unequivocal proof of the extreme topicality of the surrealist movement. The publication is organized into three books and summarizes the work led by Schwarz, leading expert of this current, for ten years.
At the presentation also attended journalist Natalia Aspesi and the art critic Demetrio Paparoni, while in the audience interesting personalities of international culture were present including the Baroness Lucrezia De Domizio Durini, committed to creating a private biography of Schwarz, which will be published during 2015 by Mondadori and Abrams. During the presentation of the book the author offered interesting inspirations which showed that Surrealism was above all a state of mind born (as specified at the time by Apollinaire) with the man and destined to die only when human being will cease to fight for freedom and injustice and to fall in love of his neighbor. Among the topics, the woman as the only deity recognized by Schwarz, love as a major theme that animates the surrealist movement and the alchemy that should not be considered as a cognitive process to reach the gold, but as golden knowledge that helps man in the unveiling of complex principles. The alchemist for excellence, according to Schwarz, is Marcel Duchamp, who expressed his alchemical being through his imagination and creativity. Being able to put a name and then a new identity to the ready made and being able to make his life a complex artistic expression, make of Duchamp one of the greatest alchemists that human society has ever produced.
The second book, however, presents a comprehensive anthology of texts published by various surrealist groups still active, while the third, on digital media (CD), collects a reasoned repertoire of the major surrealists periodicals and a register of the exhibitions of the movement. In the debate with the public arose more personal information about the writer as the will of not looking at reality according to his personal way of seeing things, not wanting to impose his own opinions (attitude that Schwarz would like in its interlocutors) and never judging the artists for their political positions, but only for their art. The book, a real milestone in the study of Surrealism, should also be considered as a great legacy offered to the society by a man who has strongly marked the evolution of contemporary art history.