Gonzo interpretation of Surrealism's sorceress

It is a well-known and lamentable experience that cultural dissemination often suffocates culture. Even the most radical and groundbreaking art projects fade as the galleries hang up their helpful plans; even the most transcendent and chaotic artistic life is made easily digestible by cinemas
- translated into something we can approach with a curious curiosity and what we consider a cultivated interest in precisely the "culture". Surrealists were aware that they had to flee from all this.

In this book, the cultural writer and author Susanne Christensen encounters the British-born artist Leonora Carrington (1917 – 2011) in numerous indirect ways. The reader may join the encounter with an uncompromising, tormented and at the same time humorous artistry that began in the interwar period, and Carrington's escape from a hardened culture to the liberation project of surrealism.

The birdmen of burnley by Leonora Carrington

There is a rebellious will in this essay, which is both eccentric and rebellious, with a braid of associations. Despite its richness and unpredictable form, the book is seen as a sincere attempt to get to the core: keeping in touch with one's own motivations and departing from the substance's most important meaning. We are dealing with a kind of psycho-sympathetic experiment, a kind of gonzo-hermeneutics, a participatory interpretation.

"This will be strange, this will be a strange journey," is the introduction to Christensen's foreword, and it soon becomes clear that she is not writing a biography, but a portrayal of life in which she wants to elicit a way of life, a way of life, a mentality.


In the first part of the book, we meet Leonora as a young girl in a family with tall. . .

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