The work of art, just like any fragment of human life considered in its deepest meaning, seems to me devoid of value if it does not offer the hardness, the rigidity, the regularity, the luster on every interior and exterior facet, of the crystal.
To see, to hear, means nothing. To recognize (or not to recognize) means everything. Between what I do recognize and what I do not recognize there stands myself. And what I do not recognize I shall continue not to recognize.
Beauty will be CONVULSIVE or will not be at all.
Dali is like a man who hesitates between talent and genius, or, as one might once have said, between vice and virtue.
No one who has lived even for a fleeting moment for something other than life in its conventional sense and has experienced the exaltation that this feeling produces can then renounce his new freedom so easily.
Leave everything. Leave Dada. Leave your wife. Leave your mistress. Leave your hopes and fears. Leave your children in the woods. Leave the substance for the shadow. Leave your easy life, leave what you are given for the future. Set off on the roads.
In the world we live in . . . everything militates in favor of things that have not yet happened, of things that will never happen again.
No rules exist, and examples are simply life-savers answering the appeals of rules making vain attempts to exist.
It is living and ceasing to live that are imaginary solutions. Existence is elsewhere.
To speak of God, to think of God, is in every respect to show what one is made of. . . . I have always wagered against God and I regard the little that I have won in this world as simply the outcome of this bet. However paltry may have been the stake (my life) I am conscious of having won to the full. Everything that is doddering, squint-eyed, vile, polluted and grotesque is summoned up for me in that one word: God!
Nothing retains less of desire in art, in science, than this will to industry, booty, possession.
To reduce the imagination to a state of slavery--even though it would mean the elimination of what is commonly called happiness--is to betray all sense of absolute justice within oneself. Imagination alone offers me some intimation of what can be.
There is nothing with which it is so dangerous to take liberties as liberty itself.
If I place love above everything, it is because for me it is the most desperate, the most despairing state of affairs imaginable.
Everything tends to make us believe that there exists a certain point of the mind at which life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease to be perceived as contradictions.
It is impossible for me to envisage a picture as being other than a window, and why my first concern is then to know what it looks out on.
If surrealism ever comes to adopt a particular line of moral conduct, it has only to accept the discipline that Picasso has accepted and will continue to accept.
The approval of the public is to be avoided like the plague. It is absolutely essential to keep the public from entering if one wishes to avoid confusion. I must add that the public must be kept panting in expectation at the gate by a system of challenges and provocations.
What one hides is worth neither more nor less than what one finds. And what one hides from oneself is worth neither more nor less than what one allows others to find.
Surrealism, n. Pure psychic automatism, by which it is intended to express, whether verbally or in writing, or in any other way, the real process of thought. Thought’s dictation, free from any control by the reason, independent of any aesthetic or moral preoccupation.
Perhaps I am doomed to retrace my steps under the illusion that I am exploring, doomed to try and learn what I should simply recognize, learning a mere fraction of what I have forgotten.
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