"Once again we come across figures with loaves of bread on their heads . . . All of them are holding the Dalinian crutch, so meaningful in Dali's imagery. These elements must surely have the meaning here that the painter himself explains in his autobiography, The Secret Life of Salvador Dali: 'It would take quantities and quantities of crutches to give a semblance of solidity . . . crutches immobilise the ecstasy of certain attitudes of rare elegance, crutches to make architectural and durable the fugitive pose of a choreographic leap.' These figures of women also have hollows in the solar plexus, since according to Dali information is contained in empty spaces. Between them is a diver in a diving suit . . . a symbol of the immersion into the depths of the subconscious that awaits the visitor to the Theatre-Museum." (from the guidebook)
Ten Recipes for Immortality, 1973
"An installation with two cases of the luxury edition of the book in which Dali wrote Immortality of genetic imperialism, where he speaks at length on matters that interested him most at that time: 'Today the latest scientific discoveries show that the laws of God are those of inheritance contained in deoxyribonucleic acid, DNA, and which the ribonucleic acid, RNA, is no more than the messenger responsible for transmitting the genetic code, which is the legi intimus of two acids in question . . . This said, I can only hand over to the famous Salvador Dali, who has explained once and for all how the emperor Trajan of Seville sowed the seeds of Europe on conquering Dacia, thus making it possible so that generations, imperially, in aeternum, would be able to differentiate themselves from kangaroos." (from the guidebook)
"From here we go to the bedroom area, which features the bed in the form of a shell . . . and beside the bed, a sculpture made up of a gilded skeleton of a gorilla . . . To help understand this creation we can read some fragments from the Mystical Manifesto, which Dali wrote in 1951: "Aesthetically, through the fierce self-inquisition of the strictest, most architectural, most pythagorical and most extenuating of all 'mystical fantasy', the mystical artist must form himself, through the daily inquisition of these mystical fantasies, in a dermal-skeletal soul (the bones outside, the extremely fine flesh inside) . . . where the flesh of the soul can only grow towards the sky; mystical ecstasy is 'super-happy', explosive, disintegrating, supersonic, undulating and corpuscular, ultra-gelatinous, because it is the aesthetic blooming of the maximum in paradisiacal happiness that the human being can ever experience on earth." (from the guidebook)
Here, in the Fishmongers' Crpyt, deep within his own museum, Dali is buried.
And around a corner (and not in the guidebook), a painting by Jean-Louis Ernest Meissonier:
No comments:
Post a Comment