1/2
Man Ray, Installation view, 1944, Fondazione Marconi, Milan, 2012
1/4
Man Ray
Before & After, 1943
Contatto
10,5 x 7,3 cm
Before & After, 1943
Contatto
10,5 x 7,3 cm
Press Release
Man Ray 1944
Opening and presentation of the volume: November 6, 2012
November 7 – 24, 2012
Opening and presentation of the volume: November 6, 2012
November 7 – 24, 2012
The Marconi Foundation is pleased to present the unpublished novel 1944 by Man Ray, together with Antonio D’Orrico, Janus, Giorgio Marconi and Carlo Cambi.
The novel is issued for the first time in English, an anastatic edition published by Carlo Cambi Editore.
There is also a new Italian translation (the first one was published some time ago in 1981 in the volume Man Ray Tutti gli scritti, curated by Janus, Feltrinelli Publ.).
1944 was handwritten by Man Ray on a big bound book, on the back side of which the artist had drawn a little label.
On the first page there is a black ink stain, as if all the words of the novel originated from there.
The novel, divided into three chapters, is introduced by a foreword by Man Ray, where he tries to define the nature of the words, and by a critical essay written by Janus, the most authoritative scholar of Man Ray and a close friends of his.
Man Ray left his book to Janus. The novel is unfinished both in the beginning and in the ending: the first pages were misteriously torn after the death of the artist and the story is suddenly cut off without a conclusion.
This incompleteness is part of its appeal. 1944 is the title of the novel, at that moment the world was still the scene of the frightening Second World War; Man Ray has always used original titles for his works, but probably the artist foresaw the importance of 1944, sensing the end of the War with the illusion of a safer world.
The main character is Robor, who got lost in an imaginary city. Robor in latin means virile strenght but also intellectual energy; it’s a name that could be read in reverse, Man Ray was fascinated by wordplay, as all the surrealists were.
The protagonist is an aviator, he was a painter before the war, he goes towards a fictionary world trying to forget those images of violence and death that shocked him so much.
The novel is issued for the first time in English, an anastatic edition published by Carlo Cambi Editore.
There is also a new Italian translation (the first one was published some time ago in 1981 in the volume Man Ray Tutti gli scritti, curated by Janus, Feltrinelli Publ.).
1944 was handwritten by Man Ray on a big bound book, on the back side of which the artist had drawn a little label.
On the first page there is a black ink stain, as if all the words of the novel originated from there.
The novel, divided into three chapters, is introduced by a foreword by Man Ray, where he tries to define the nature of the words, and by a critical essay written by Janus, the most authoritative scholar of Man Ray and a close friends of his.
Man Ray left his book to Janus. The novel is unfinished both in the beginning and in the ending: the first pages were misteriously torn after the death of the artist and the story is suddenly cut off without a conclusion.
This incompleteness is part of its appeal. 1944 is the title of the novel, at that moment the world was still the scene of the frightening Second World War; Man Ray has always used original titles for his works, but probably the artist foresaw the importance of 1944, sensing the end of the War with the illusion of a safer world.
The main character is Robor, who got lost in an imaginary city. Robor in latin means virile strenght but also intellectual energy; it’s a name that could be read in reverse, Man Ray was fascinated by wordplay, as all the surrealists were.
The protagonist is an aviator, he was a painter before the war, he goes towards a fictionary world trying to forget those images of violence and death that shocked him so much.
“The sense of the novel is a reversal, if Robor is a word that could be read on the contrary, also the history has the same ambivalence, it’s peace and war at the same time” commented Janus, and again “this novel is a kind of essay on painting and writing, an effort to make cohabiting both activities”.
On the occasion of the publication of the novel the Marconi Foundation will present an exhibition with works by Man Ray realised at the same time of the novel.
In 1940 Man Ray was forced to leave Paris and he took refuge in Los Angeles, where he met important personalities, he got prestigious awards and he was the subject of various exhibitions. There he also met Juliet Browner, his muse, model and wife from 1946.
He has dedicated to her the amazing series of photos The Fifty Faces of Juliet, some of which are exhibited.
On display there will also be some drawings from the series Studies for Leda & Romeo or Juliet, a play of optical illusions, one of his “object of affection” Contraption (Marchingegno) (1944), various photos among which Chessboard (1942) that is also the last image of the novel: Robor goes into a surreal place similar to a cafè or a nightclub, full of naked women and “here and there a couple is bent over a chessboard” (Man Ray), “a mix of dreams and memories that seems to be so strong that the pen of the author stops.” (Janus).
On the occasion of the publication of the novel the Marconi Foundation will present an exhibition with works by Man Ray realised at the same time of the novel.
In 1940 Man Ray was forced to leave Paris and he took refuge in Los Angeles, where he met important personalities, he got prestigious awards and he was the subject of various exhibitions. There he also met Juliet Browner, his muse, model and wife from 1946.
He has dedicated to her the amazing series of photos The Fifty Faces of Juliet, some of which are exhibited.
On display there will also be some drawings from the series Studies for Leda & Romeo or Juliet, a play of optical illusions, one of his “object of affection” Contraption (Marchingegno) (1944), various photos among which Chessboard (1942) that is also the last image of the novel: Robor goes into a surreal place similar to a cafè or a nightclub, full of naked women and “here and there a couple is bent over a chessboard” (Man Ray), “a mix of dreams and memories that seems to be so strong that the pen of the author stops.” (Janus).