:asopis Nadrealizam danas i ovde izlazio je

1931-1932. godine u Beogradu kao zvani;na revija

srpskog nadrealizma, a objavqena su samo tri

broja> prvi je iza[ao juna 1931, a preostala dva

januara i juna 1932. godine. Me]u yegovim sarad-

nicima uglavnom su bili svi ;lanovi avan-

gardne grupe nadrealista koji su godinu dana

ranije (1930) objavili svoj manifest u almanahu

Nemogu'e-Læimpossible.1 :asopis Nadrealizam danas

i ovde, ili NDIO, kako su ga skra'eno nazivali

yegovi osniva;i, po ugledu na francuski Le sur-

réalisme A.S.D.L.R. (Le surréalisme au service de la

révolution, 1930-1933), bio je logi;an nastavak

yihovih kolektivnih aktivnosti zapo;etih jo[

1929. godine. Sa druge strane, pak, sadr/ajem,

tipografijom i dizajnom stranica on ukazuje na

ideolo[ku reviziju ciqeva nadrealisti;kog

pokreta do koje je do[lo 1929\30. godine.

Desilo se da je u trenutku objavqivaya, 1930,

almanah Nemogu'e-Læimpossible, ve' bio, u neku

ruku, deo burne istorije nadrealizma, jer se

zaokret unutar pokreta desio godinu dana ranije

sa Bretonovim Drugim nadrealisti;kim mani-festom. Po;etni stavovi su preformulisani>

nadrealizam je postao pokret u slu/bi revolu-

cije, a dijalekti;ka metoda, za koju su pred-

stavnici levice tvrdili da je uspe[na u

re[avayu socijalnih tenzija, po nadrealistima

je podjednako bila va/na i za razumevaye prob-

lema @qubavi, sna, ludila, umetnosti i religi-

je#.2 Grupa nadrealista okupqena oko revije

Nadrealizam danas i ovde (NDIO) prihvatila je,

dakle, 1931. godine ovu novu poziciju fran-

cuskog nadrealizma, pa je nesmetano produ/ena

umetni;ka saradya na liniji Beograd-Pariz,

uspostavqena jo[ 1926. godine. Tokom 1931-1932.

objavqeni su radovi gotovo svih istaknutih

predstavnika nadrealizma na ;elu sa Bretonom>

Elijara (Éluard), Kara (Char), Care (Tzara),

Krevela (Crevel), Perea (Péret), Dalija (Dali),

Miroa (Miró), Ernsta (Ernst), Tangija (Tanguy) i

}akometija (Giacometti). Neki od yih, kao

Breton, Elijar ili Krevel, u;estvovali su i u

Anketi o /eqi, zajedno sa ;lanovima beogradske

grupe nadrealista i obi;nim gra]anima, pri

;emu je odgovor Salvadora Dalija posebno

zna;ajan. U yemu se, izme]u ostalog, ka/e>

@Nijedna /eqa nije gre[na, jedina je pogre[ka u

yihovom potiskivayu. Sve su moje /eqe, da

upotrebim teku'u terminologiju, prqave, gadne,

odvratne, itd... Voqi pridajem veliku va/nost,

teraju'i yen mehanizam ;ak do æparanoja;kog

delirijumaÆ stavqenog u slu/bu ostvarivaya

/eqa. Nemam takozvanih æuzvi[enihÆ /eqa. One

koje smatram najplemenitijim jesu one koje sma-

tram naj;ove;anskijim, to jest najperverznijim.#3

To [to je Daliju, kao nijednom drugom autoru,

ukazana velika i osobita pa/ya na stranicama

zvani;ne revije beogradskih nadrealista, upu'u-

je na zakqu;ak da je yegov uticaj po;etkom 30-ih

godina XX veka bio najsna/niji ne samo u

pariskom jezgru pokreta, ve' i izvan yega.4

Najpre su u drugom broju ;asopisa NDIO odvojeni

prvi listovi luksuznije hartije za dve Dalijeve

slike Peinture (Slika), koja se kasnije pojavquje

pod nazivom Tour du plaisir ou Vertige (Vrhunaczadovoqstva ili Vrtoglavica) i Guillaume Tell

(Viqem Tel), dok su Tangijeva slika (Les belles

manières, Lepo pona[aye) i }akometijev objekat

(Objet embarrassant à poser, Objekat nezgodan zapoziraye) podelili jednu istu stranicu.

Privilegiju da im delo bude objavqeno preko

cele strane u ;asopisu NDIO, osim Dalija,

dobili su jo[ crte/i Maksa Ernsta Portrait

(Portret) i ?ivanovi'a Noa Uspomena, jer su

ova dvojica u krugu srpskog nadrealizma bili

posebno ceyeni> Noe, kao jedini slikar u grupi

nadrealista, a Ernst kao prototip nadreal-

isti;kog umetnika, ;ija je slika Sova bila kamen

temeqac ;uvenom Risti'evom Nadrealisti;komzidu, koji je napravqen 1927. godine u Beogradu po

uzoru na Bretonov u Parizu.5 Taj specijalni

Dalijev status, kao u nekom kre[endu, zavr[ava

se u tre'em i posledyem broju beogradskog

nadrealisti;kog magazina. Tu je preveden odlo-

mak iz yegovog romana ?iveo Nadrealizam!,zatim op[iran odgovor na sedam pitaya Anketeo /eqi i, najzad, tu se pojavquju tri reprodukci-

je yegovih slika> Le lever du jour (Zora), Ensemble

masochiste (Mazohisti;ka celina) i La persistance

de la mémoire (Upornost se'aya). Osim toga,

posledyi broj ;asopisa NDIO donosi i jedan

kolekivni eksperiment srpskih nadrealista po

Dalijevoj metodi nazvan Pred jednim zidom, simu-lacija paranoja;kog delirijuma interpretacije.

Osim tako upadqivo podvu;ene saradye sa

Dalijem, na stranicama ove revije mo/e se

uo;iti izvesna doslednost redakcije u izboru

69

Nadrealizam danas i ovdeRevija /eqa srpskog nadrealizma

likovnih priloga> Ernstova slika Délectation

morose (Mrgodno u/ivaye), Miroov objekat

Homme et femme (Mu[karac i /ena), a tu su jo[ i

kola/ Du[ana Mati'a, Ja sam ni/e no pesak oveno'i i lavirani crte/ R. ?ivanovi'a Noa, Drvoo;iju. O tome koliko su srpski nadrealisti bili

ponosni na svoju saradyu sa vode'im pred-

stavnicima francuskog nadrealizma svedo;i i

napomena na koricama drugog broja ;asopisa

NDIO, koja se ne[to malo izmeyena, ali na

istom mestu, pojavquje i na po;etku posledyeg

broja iz 1932. godine. U yoj se ka/e> @Prilozi

francuskih nadrealista koji se ovde objavquju

bilo na francuskom jeziku bilo u prevodu do

sada nisu nigde objavqivani i poslati su u

rukopisu specijalno za ovaj broj ;asopisa

Nadrealizam danas i ovde. Isto tako su i ilus-

tracije (Dali, Ernst, Tanguy, Giacometti) izra]ene

po originalnim fotografijama, poslatim za

ovaj broj, a ne po reprodukcijama. One se tako]e

ovde objavquju prvi put, izuzev Guillaume Tell-a,

koji je ovih dana (decembra 1931) objavqen u

;etvrtom broju ;asopisa Le surréalisme

A.S.D.L.R.#6 Sinhronizacija u vremenu nije bila

sasvim ostvarena, radi se o jednomese;nom

zaka[yeyu u odnosu na vreme objavqivaya

pomenute Dalijeve slike u pariskoj reviji, ali

simultanost u sferi ideologije bila je tada pot-

puna izme]u dve grupe nadrealista - one u Parizu

i one u Beogradu. Tu ravnote/u i usagla[enost

dijaloga nije bilo mogu'e dugo zadr/ati izme]u

te dve grupe umetnika, pre svega zato [to je,

ubrzo, bio grubo prekinut rad beogradskih

nadrealista zbog hap[eya Oskara Davi;a, }or]a

Jovanovi'a i Ko;e Popovi'a, o ;emu je izvestio

Rene Krevel (René Crevel) u tekstu @Des surréalistesyougoslaves sont au bagne# objavqenom u Le surréal-

isme A.S.D.L.R.7

Tribina nadrealisti;kog pokreta, ;asopis

Nadrealizam danas i ovde, sa koje su nadrealisti

odgovarali na napade kritike – kako one koji su

dolazili sa levog krila, pre svega, od

teoreti;ara marksizma, tako i na one koje su im

upu'ivani od konzervativnih gra]anskih

intelektualaca – uga[ena je sredinom 1932.

godine. Koncept internacionalne saradye i

kolektivnih aktivnosti, posle osipaya grupe,

zameyen je individualnim radom na objavqi-

vayu kyiga pesama ili saradyom u pojedinim

levo orijentisanim ;asopisima. Da je do[lo do

ozbiqnog ideolo[kog pregrupisavaya u nad-

realizmu moglo se zakqu;iti i po likovnim

prilozima u posledya dva broja ;asopisa

Nadrealizam danas i ovde. Naime, osim pomenutih

Dalijevih, Ernstovih i drugih napred navedenih

dela, objavqene su dve fotografije sa jasnom

politi;kom porukom> Skidaye krstova saKremqa i Mrtvi simboli smrti, uz koje je citi-

rana Aragonova kritika religioznog fanatizma.

Tre'i broj NDIO donosi, preko cele strane, tuce

fotografija koje ilustruju socijalna kretaya u

krizom zahva'enom svetu od {angaja do Beograda,

pod naslovom Umesto @socijalne umetnosti#, a

na kraju, pod nazivom Nadrealisti;ki elementiu modernom dru[tvenom /ivotu objavqene su jo[

dve fotografije> Deca sama sa ma[inom i

Ma[ta u slu/bi propagande – obe su preuzete iz

kyige La Russie au travail, koja se u to vreme

upotrebqava kao izvor za ilustracije i u levo

orijentisanim listovima, na primer u beograd-

skom Sto/eru.

Zna;ajne promene u ideolo[koj ravni

nadrealisti;kog pokreta osim u sadr/aju, mogle

su se uo;iti, ve' na prvi pogled, po izmeyenoj

koncepciji tipografije i grafi;kog dizajna

;asopisa Nadrealizam danas i ovde. Dok je prvi

broj, objavqen juna 1931. godine, bio jo[ uvek

blizak almanahu Nemogu'e-Læimpossible, drugi i

tre'i broj su oblikovani u duhu konstruk-

tivisti;ke redukcije tipografskih elemenata.

Celokupan dizajn i prelom stranica u ;asopisu

jasno je bio podre]en yegovoj propagandnoj

funkciji - debele crne linije, o[tri crveno-

crni kontrasti i krupna slova na koricama

ukazuju na publikaciju koja nastoji da se nametne

[irokom krugu ;italaca. Zamagqen odnos izme]u

nadrealizma i @istorijskog materijalizma# tre-

balo je razjasniti kako teorijskim tekstovima

tako i jasnim opredeqeyem za konstruk-

tivisti;ku tipografiju u kojoj je, prirodno,

istaknuto mesto pripadalo fotografiji i

yenim retori;kim sposobnostima.

Mada je ;itaocima 1932. godine ponu]ena

pretplata na komplet od ;etiri broja, ;asopis

Nadrealizam danas i ovde ubrzo se gasi, ve' po

izlasku tre'eg broja. Po[to je ;itav poduhvat

izdavaya nadrealisti;kih publikacija finan-

siran novcem ;lanova grupe, i NDIO je [tampan

u skromnom tira/u od nekoliko stotina

primeraka. Verujemo da 'e izdavaye reprinta

almanaha Nemogu'e-Læimpossible iz 1930. i

;asopisa Nadrealizam danas i ovde iz 1931-1932.

godine pomo'i novoj generaciji ;italaca da se

upozna sa autenti;nim delima srpskog nadreal-

izma, jer ne treba zaboraviti da je jedna od

nadrealisti;kih parola glasila> @Ako volite

qubav, vole'ete i nadrealizam.#7

Milanka Todi'

70

1 Od prvobitnih trinaest ;lanova nadrealisti;kegrupe koji su podr/ali manifest, uz ;asopis suostali gotovo svi> }or]e Jovanovi', vlasnik iurednik, Oskar Davi;o, Milan Dedinac, }or]eKosti', Du[an Mati', Ko;a Popovi', PetarPopovi', Marko Risti', Aleksandar Vu;o, Vane?ivadinovi' Bor, ?ivanovi' Noe (ponekad sepotpisuje i Noje). Me]u saradnicima ;asopisavi[e nije bilo samo Mladena Dimitrijevi'a iBranka Milovanovi'a.

2 A. Breton, Drugi nadrealisti;ki manifest, odlomak,Uvod, NDIO, br. 2, Beograd 1932, 2.

3 Anketa o /eqi je sadr/ala sedam pitaya, a na yusu odgovore dali razni u;esnici> od mladih;inovnica do kyi/evnika i predstavnikanadrealizma. Pored Dalijevog tu su bili odgovoriAndre Bretona, Rene Krevela i Pola Elijara,Nadrealizam danas i ovde, br. 3, Beograd 1932, 31.Saradya izme]u francuskih i srpskih nadreal-ista bila je intenzivna i vrlo prijateqska, [to

potvr]uje i emotivan Krevelov tekst posve'enhap[eyu grupe nadrealista u Beogradu i OskaraDavi;a u Biha'u, R. Crevel, Des surréalistesyougoslaves sont au bagne, Le surréalisme au service dela révolution, no. 6, Pariz, 1933, 36-39.

4 B. Aleksi', Dali> Inédits de Belgrade (1932), Changeinternational\Equivalences, Paris 1987.

5 M. Todi', Nemogu'e, umetnost nadrealizma 1926-1936, Nemogu'e - Læimpossible, Art du surréalisme1926-1936, Muzej primeyene umetnosti, Beograd 2002.

6 Nadrealizam danas i ovde, br. 2, Beograd (januar)1932, s.p.

7 R. Crevel, Des surréalistes yougoslaves sont au bagne, Lesurréalisme A.S.D.L.R, no. 6, Pariz, 36-39.

8 @If you love love, youæll love Surrealism#, R. Short,Dada & Surrealism, London 1994, 145.

71

Napomene

72

Nadrealizam danas i ovde (Surrealism Here and

Now) was published from 1931 to 1932 in Belgradeas the official review of the Serbian Surrealists, butonly three issues came out> the first one in June1931 and the remaining two in January and June1932. Among its contributors were more or less allthe members of the avant–garde group of Sur-realists who had published their manifesto a yearearlier (1930) in the almanac Nemogu'e–Læim-

possible.1 Thus, the review Surrealism Here and Now,

or NDIO, as its founders called it for short, after thefashion of the French Le surréalisme A.S.D.L.R (Le

surréalisme au service de la révolution, 1930–1933)was the logical sequel to their collective activitiesbegun already in 1929. On the other hand, its con-tent, its typography and page design are indicativeof the ideological revision of the goals of theSurrealist movement which occurred in 1929\30.

In point of fact, at the time of its publication in1930, the almanac Nemogu'e–Læimpossible had in away already been part of the turbulent history ofSurrealism, as the about–turn inside the movementhad taken place a year before with Bretonæs Second

Surrealist Manifesto. The initial premises werereformulated> Surrealism became a movement inthe service of the revolution, and the dialecticalmethod, which representatives of the left claimedsuccessfully addressed social tensions, was in theview of the Surrealists equally important for under-standing the problems of Ælove, dream, madness,art and religion.Æ2 The group of Surrealists assem-bled around the review Surrealism Here and Now

(NDIO) accepted in 1931 this new position ofFrench Surrealism so that artistic cooperation alongthe lines Belgrade–Paris, established already in1926, continued unhindered. Thus, during the1931–1932 period, works by almost all the promi-nent representatives of Surrealism, starting withBreton and then Eluard, Char, Tzara, Crevel, Péret,Dali, Miró, Ernst, Tanguy and Giacometti werepublished in it. Some of them, like Breton, Eluardor Crevel, participated in the Survey on Desire,together with the Belgrade group of Surrealists andordinary citizens, with the answer given bySalvador Dali being particularly important. In it he,inter alia, says> ÆNo desire is blameworthy, the onlyfault lies in repressing them. All my desires, to usethe current idiom, are dirty, foul, repulsive, etc. ...I attach great importance to will, driving its mech-

anism even up to a æparanoiac deliriumæ put in theservice of the fulfillment of desires. Of so–calledÆloftyÆ desires I have none. The ones I consider thenoblest are the ones I consider the most human,i.e., the most perverse.Æ3

The fact that, like no other author, Dali featuredso prominently on the pages of the official review ofthe Belgrade Surrealists, clearly demonstrates thatin the early 1930æs he wielded the strongest influ-ence not only within the Parisian core of the move-ment, but also outside it.4 To begin with, the secondissue of NDIO reserved its first glossy pages for twoof Daliæs paintings, Peinture, which later appearedunder the title Tour du plaisir ou Vertige, andGuillame Tell, while Tanguyæs painting Les belles

manières and Giacomettiæs Objet embarrassant à

poser shared a page. Apart from Dali, Max Ernstand ?ivanovi' Noe had the privilege of their work,namely their drawings Portrait and Uspomena (The

Memento), being reproduced on an entire page inNDIO, because these two artists were held in par-ticularly high esteem in the Belgrade Surrealist cir-cle> Noe, as the only painter in the Surrealist group,and Ernst as the prototype of the Surrealist artist,whose painting The Owl was the cornerstone ofRisti'æs famous Surrealist Wall created in 1927 inBelgrade after the fashion of Bretonæs in Paris.5 And,Daliæs special status crescendoes, as it were, in thethird and last issue of the Belgrade Surrealist maga-zine. A translation is given of a passage from hisnovel Long Live Surrealism!, as well as his replies toseven questions in the Survey on Desire and threereproductions of his paintings> Le lever du jour,

Ensemble masochist and La persistance de la

mémoire, and along with that, a collective experi-ment of the Serbian Surrealists employing Daliæsmethod, entitled Pred jednim zidom, simulacija

paranoja;kog delirijuma interpretacije (In Front of a

Wall, A Simulation of the Paranoiac Delirium of

Interpretation). Apart from conspicuously featuringDali, the pages of the last issue of NDIO show aconsistency of the editors in selecting art contribu-tions> Ernstæs painting Délectation morose, Miróæsobject Homme et femme, and also Du[an Mati'æscollage Ja sam ni/e no pesak ove no'i (I am Lower

than the Sand Tonight) and R. ?ivanovi' Noeæs washdrawing, Drvo o;iju (The Eye Tree). How proud theSerbian Surrealists were of their cooperation withthe spearheads of French Surrealism can be seen

Surrealism Here and Now, A Review of Desires of Serbian Surrealism

73

from the note given on the covers of the secondissue of the magazine NDIO, which appears, some-what changed but in the same spot, also at thebeginning of the third and last, 1932 issue. It says>ÆThe contributions by French Surrealists featuringhere in either the French language or in translationhave not been published anywhere to date and havebeen sent in manuscript especially for this issue ofSurrealism Here and Now. Also, the illustrations(Dali, Ernst, Tanguy, Giacometti) have been madefrom the original photographs, sent for this issue,and not from reproductions. They are also pub-lished here for the first time, except for Guillame

Tell, which was recently (December 1932) pub-lished in the fourth issue of the magazine Le sur-

réalisme A.S.D.L.R.Æ6 As Daliæs painting was pub-lished in it a month later than in the Parisianreview, the timing was not wholly synchronous butthe ideological concurrence between the twogroups of Surrealists – the one in Paris and the onein Belgrade – was complete. A balanced and syn-chronized dialogue between the two groups ofartists could not be kept up for long, primarilybecause the work of the Belgrade Surrealists wassoon harshly cut short by the arrests of OskarDavi;o, }or]e Jovanovi', and Ko;a Popovi', onwhich René Crevel reported in the text Des surréal-

istes yougoslaves sont au bagne published in Le sur-

réalisme A.S.D.L.R.7

The platform of the Surrealist movement, thereview Surrealism Here and Now, from which theSurrealists responded to domestic criticism, boththat leveled from the left wing, by, primarily, marx-ist theoreticians, and that coming from conserva-tive bourgeois intellectuals, wound up inmid–1932. The group having dissipated, the con-cept of international cooperation and collectiveactivities was replaced by individual work with itsmembers publishing poetry books or contributingto a number of leftist magazines. The undeniableideological regrouping of the Surrealists was evi-dent also from the art featuring in the last twoissues of Surrealism Here and Now. Namely, apartfrom the works by Dali, Ernst, and the other men-tioned works, it also carried two photographs witha clear political message> Taking Down the Crosses

from the Kremlin and The Dead Symbols of Death,accompanied by a quotation of Aragonæs critique of

religious fanaticism. The third issue of NDIO fea-tured a full–page splash of a dozen photographsillustrating social developments in thecrisis–gripped world from Shanghai to Belgrade,under the title Instead of Social Art, and, at the end,under the title Surrealist Elements in Modern Social

Life, another two photographs> Children Alone With

a Machine and Imagination in the Service of

Propaganda – both taken over from the book La

Russie au travail, which was drawn on for illustra-tions by the left–oriented papers of the time, forinstance the Belgrade Sto/er (The Pivot).

Apart from its content, the changed concept ofthe typography and layout of the magazineSurrealism Here and Now, obvious even at a glance,indicated significant changes in the Surrealistmovement on the ideological plane. Whereas thefirst issue published in June 1931 was still much likethe almanac Nemogu'e–Læimpossible, the secondand third issues were designed in the spirit of theconstructivist reduction of typographic elements.The overall design and page make–up of the maga-zine were clearly subordinated to its propagandafunction – the solid black lines, the sharp red–blackcontrasts and the hefty letters on the covers suggesta publication intended to elicit a large readership.The blurred relationship between Surrealism andÆhistorical materialismÆ was to be elucidated bothby theoretical texts and a clear preference for con-structivist typography, with, naturally, photographyand its rhetoric potential playing a prominent role.

Although the 1932 readership was offered asubscription for a series of four issues, like manyother avant–garde papers, Surrealism Here and Now

closed down already after the publication of thethird. Since the entire Surrealist editions project wasfinanced by the members of the group, NDIO wasalso published in a modest circulation of severalhundred copies. We trust that the reprinting of the1930 almanac Nemogu'e–Læimpossible and of the1931–1932 review Surrealism Here and Now, willhelp the new generation of readers familiarizethemselves with authentic Serbian Surrealismworks, for we should not forget that one of theSurrealist slogans was> ÆIf you love love, youæll loveSurrealismÆ.8

Milanka Todi'

1 Almost all of the original thirteen members of theSurrealist group who supported the manifesto,remained with the review> Djordje Jovanovi', theowner and editor, Oskar Davi;o, Milan Dedinac,Djordje Kosti', Du[an Mati', Ko;a Popovi', PetarPopovi', Marko Risti', Aleksandar Vu;o, Vane ?ivadi-novi' Bor, ?ivanovi' Noe (who sometimes signs him-self as Noje). Only Mladen Dimitrijevi' and BrankoMilovanovi' were no longer among the reviewæs con-tributors.

2 A. Breton, Second Surrealist Manifesto, fragment,Introduction, NDIO, No. 2. Belgrade 1932, 2.

3 The Survey on Desire contained seven questions, andreplies were given by an array of interviewees> fromyoung lady clerks to writers and representatives ofSurrealism. In addition to Daliæs answers, AndréBreton, René Crevel and Paul Eluard also gave theirreplies, Surrealism Here and Now, No. 3, Belgrade1932, 31. The cooperation between French and

Serbian Surrealists was intensive and very friendly, asconfirmed by Crevelæs emotionally charged textdevoted to the arrest of a group of Surrealists inBelgrade and of Oskar Davi;o in Biha', R.Crevel, Dessurréalistes yougoslaves sont au bagne, Le surréalismeau service de la révolution, No. 6, Paris, 1933, 36–39.

4 B. Aleksi', Dali> Inédits de Belgrade (1932), Changeinternational\Equivalences, Paris, 1987.

5 M. Todi', Nemogu'e, umetnost nadrealizma1926–1936, (Læimpossible, Art du surréalisme1926–1936), Museum of Applied Arts, Belgrade,2002.

6 Surrealism Here and Now, No. 2. Belgrade (January),1932, s.p.

7 R. Crevel, Des surréalistes yougoslaves sont au bagne,Le surréalisme A.S.D.L.R, No.6, Paris, 36–39.

8 R. Short, Dada & Surrealism, London, 1994, 145.

74

Notes

AAdler Alfred (Adler Alfred), II \ 40, 46, 47, 48Andri' Ivo, III \ 53An]eli' }or]e, III \ 55Aragon Luj (Aragon Louis), I \ 13< II \ 43, 49< III \ 50, 51Arhimed, III \ 42Aristotel, III \ 18, 32, 53

BBah Johan Sebastijan (Bach Johann Sebastian), III \ 34Barbis Anri (Barbusse Henri), III \ 3Bare Moris (Barrés Maurice), I \ 15Bergson Anri (Bergson Henri), II \ 44< III \ 55Be[evi' Stevan, II \ 43Bjelinski Bruno, III \ 59Blagojevi' Desimir, II \ 42Blok Aleksandar Aleksandrovi;, III \ 58Bogdanovi' Milan, I \ 12, 13Bodler {arl (Baudelaire Charles), I \ 4, 15< III \ 17Bonaparta Napoleon (Bonaparte Napoléon), II \ 4Breton Andre (Breton André), I \ 12< II \ 2, 7, 15, 20, 22, 31<

III \ 9, 16, 33, 48, 50, 51Burdel Antoan (Bourdelle Antoine), III \ 54

CCara Tristan (Tzara Tristan), II \ 23, 43< III \ 40, 48Cesarec August, II \ 46, 47Crnjanski Milo[, I \ 12, 14< II \ , 41, 44, 46< III \ 53, 56, 57

::aplin :arli (Chaplin Charley), I \ 11, 13:ur;in Milan, II \5

DDali Gala (Dali Gala), III \ 17Dali Salvador (Dali Salvador), II \ 11, 14, 50, 51< III \ 17, 31, 51,

64, 65Darvin :arls Robert (Darwin Charles Robert), III \ 18, 19, 36Davi;o Oskar, I \ 6, 21, 23< III \ 48Dedinac Milan, II \ 35< III \ 14, 37, 45, 67Dekobra Moris (Dekobra Maurice), II \ 41Dicgen Jozef (Dietzgen Joseph), II \ 14Didro Deni (Diderot Denis), III \ 45Dimitrijevi' Stanojlo, I \ 13Dirkem Emil (Durkheim Emile), III \ 53Dostojevski Fjodor Mihajlovi;, I \ 12, 13< II \ 43< III \ 44, 55, 60Drainac Rade, II \ 41, 46< III \ 1Du;i' Jovan, II \ 40, 41, 42< III \ 11

D/D/ejms Viljem (James Wolliam), II \ 40, 44

}}akometi Alberto (Giacometti Alberto), II \ 54< III \ k1}entile }ovani (Gentile Giovanni), II \ 5}ilas Milovan, III \ 59}onovi' Janko, I \ 7, 10

EEdip, III \ 35Elijar Pol (Eluard Paul), II \ 15, 27, 28, 30< III \ 20, 32, 48, 51Engels Fridrih (Engels Friedrich), II \ 2, 4, 5, 6< III \ 4, 5, 6, 7, 11,

13, 15, 54

Erenburg Ilja, III \ 56Ernst Maks (Ernst Max), II \ 52< III \ 62FFaust Johan (Faust Johann), I \ 22< III \ 55Fi[er Kun (Fischer Kun), II \ 4Fojerbah Ludvig (Feuerbach Ludwig), II \ 2, 4, 6< III \ 13, 43Frans Anatol (France Anatole), I \ 14< II \ 45Frojd Sigmund (Freud Sigmund), II \ 19, 31, 46, 47< III \ 29, 35,

36, 47, 55

GGalebova Sonja, II \ 28Galilej Galileo (Galilei Galileo), I \ 3Galoga/a Stevan, I \ 12, 14< III \ 1, 2, 8, 9, 10, 11Gete Johan Volfgang (Goethe Johann Wolfgang), III \ 19, 27, 53,

58, 60Gligori' Velibor, I \ 14< , II \ 48Grol Milan, I \ 13< II \ 44

HHabunek Vlatko, II \ k.Hamlet, I \ 13, 22Hartman Eduard (Hartmann Eduard von), II \ 4, 5Hegel Georg Vilhelm Fridrih (Hegel Georg Wilhelm Friedrich),

I \ 4, 6< II \ 2, 3, 4, 5, 21, 34, 48< III \ 5, 6, 9 Herostrat, I \ 3Huserl Edmund (Husserl Edmund), II \ 9

IIbrovac Miodrag, I \ 10, 16Ili' Vojislav, mla]i, II \ 41

JJak[i' }ura, I \ 12Jerkovi' Du[an, III \ 58Jovanovi' }or]e, I \ 10, 15, 21, 22, 23, 24< II \ 9, 10, 12, 16, 18, 29,

32, 42< III \ 36, 39, 45, 48, 59Jovanovi' Stole, I \ 13

KKant Imanuel (Kant Immanuel), I \ 17, 18< III \ 47Karlajl Tomas (Carlyle Thomas), II \ 40Ka[anin Milan, II \ 40Katarina II Velika, carica, III \ 52Kiriko }or]o de (Chirico Giorgio de), III \ 17Kirten Peter, I \ 13Klodel Pol (Claudel Paul), I \ 13Ko;i' Petar, I \ 15Kokto ?an (Cocteau Jean), I \ 13Kolumbo Kristofer (Colombo Cristoforo), III \ 53, 54Konstan Ben/amen de Rebek (Constant Benjamin de Rebecque),

I \ 18, 22Kopernik Nikola (Copernicus Nicolaus), III \ 53, 54Kosti' }or]e, I \ 6, 20, 21, 22, 23, 24 < II \ 25< III \ 48Krevel Rene (Crevel René), II \ 27< III \ 32, 45Krklec Gustav, III \ 58Krle/a Miroslav, I \ 12< III \ 53, 59

LLajbnic Gotfrid Vilhelm (Leibnitz Gottfried Wilhelm), I \ 16< III \ 19Lamark ?an-Batist (Lamarck Jean-Baptiste), III \ 19Laro[fuko Fransoa (La Rochefoucauld Francois), III \ 54Larus Pjer (Larousse Pierre), III \ 56Lasal Ferdinand (Lassalle Ferdinand), II \ 5

75

INDEKS

Nadrealizam danas i ovde, br. I, II, III

Lenjin Vladimir Ilji;, II \ 5< III \ 9, 13, 60Levi-Bril Lisjen (Levy-Bruhl Lucien), III \ 47Line Karl fon (Linné Carl von), III \ 19Lopi;i' Vuk St., III \ 14Lorenc Hendrik Anton (Lorentz Hendrik Antoon), III \ 14Lotreamon Isidor Dikas (Lautréamont Isidore Ducasse), I \ 3, 4, 5, 12Lukrecije Kar, III \ 18Luna;arski Anatolij V., II \ 5Luter Martin (Luther Martin), II \ 3

MMalarme Stefan (Mallarmé Stéphane), I \ 12< II \ 43, 45Manojlovi' Todor, I \ 12, 15, 16, 17< II \ 43, 45, 46< III \ 53Marineti Emilio Filipo Tomazo (Marinetti Emilio Filippo

Tommaso), II \ 42Marko Kraljevi', I \ 13< III \ 55Markovi' Milan, II \ 43Markoni Guljelmo (Marconi Guglielmo), III \ 61Marks Karl (Marx Karl), I \ 6< II \ 4, 5, 6< III \ 4, 5, 6, 7, 8, 15, 19, 54Masle[a Veselin, III \ 2Mati' Du[an, I \ 6, 17, 21, 22, 23, 24< II \ 43, 46< , III \ 38, 48, 50, 66Matovi'-Zatarac Milivoj, III \ 31Mato[ Antun Gustav, I \ 15Merin I. (Bihalji Merin Oto), III \ 1, 2, 3, 4, 5, 6, 7, 8, 10, 60Metodije, III \ 59Mici' Ljubomir, III \ 52, 53Mileti' Svetozar, I \ 15Mili'evi' ?ivko, II \ 40, 43Milo[evi' Mom;ilo, II \ 40, 43Milovanovi' Branko, II \ k.Miro Huan (Miró Joan), III \ 63Mladenovi' Ranko, III \ 53Mu[icki Lukijan, I \ 15

NNastasijevi' Mom;ilo, III \ 30Nedeljkovi' Du[an, III \ 1, 53, 54, 55, 56, 57Nerand/i' Milan, II \ 48Nerand/i' Tasa, II \ 48Ni;e Fridrih (Nietzsche Friedrich), I \ 21< II \ 43< III \ 29, 46, 58Nikolajevi' Du[an, I \ 13< III \ 53, 55, 56, 57, 60

NJNjego[ Petar Petrovi', III \ 54

OObrenovi' Milan, kralj, I \ 12

PPajo ?il (Payot Jules), III \ 53Pandurovi' Sima, III \ 59Papini }ovani (Papini Giovanni), I \ 13Paskal Blez (Pascal Blaise), III \ 43Pere Ben/amen (Péret Benjamin), III \ 20, 42Petkovi' Vladislav Dis, I \ 12< III \ 59Petrovi' Rastko, I \ 11, 12, 13, 14< II \ 44< III \ 53, 67Petrovi' Svetislav, II \ 43Petrovi' Veljko, II \ 40Platon, II \ 9< III \ 42Po Edgar Alan (Poe Edgar Allan), I \ 12Popovi' Bogdan, II \ 5, 40, 44, 45< III \ 2, 54Popovi' Jovan, III \ 60Popovi' Ko;a, I \ 8, 19, 22, 23< II \ 9, 10, 19, 20, 25, 27, 34, 36, 37<

III \ 14, 41, 45, 48Popovi' Milo[, I \ 12Popovi' Pavle, II \ 40

Popovi' Petar, I \ 7, 24< II \ 28, 39Potemkin Grigorij Aleksandrovi;, knez, III \ 52, 54, 56, 58

RRacin Ko;o, II \ 5< III \ 14Rembo ?an Artir (Rimbaud Jean Arthur), I \ 3, 5, 12, 13, 15< II \

20, 46< III \ 37Rid D/on (Reed John), I \ 12Rigo ?ak (Rigaut Jacques), II \ 20Risti' Marko, II \ 7, 10, 22, 34, 46< III \ 14, 21, 45, 48, 51, 67Rostan Edmon (Rostand Edmond), II \ 43< III \ 53Ruben Raka, III \ 67

SSad Alfons Fransoa, markiz de (Sade Alphonse François, marquis

de), I \ 3, 4, 6< III \ 31Sekuli' Isidora, II \ 40Sen-?ist Antoan (Saint-Just Antoine), I \ 3Sinkler Apton (Sinclair Upton), I \ 12< III \ 3Spenser Herbert (Spencer Herbert), III \ 46Spinoza Baruh (Spinoza Baruch de), I \ 3, 18< III \ 31Stojadinovi' Bo/idar, I \ 10Stojanovi' Du[an, II \ 5

{{ar Rene (Char René), II \ 26< III \ 20{eling Fridrih Vilhelm (Schelling Friedrich Wilhelm), III \ 19{imi' Stanislav, I \ 11, 12, 14{tirner Maks (Stirner Max), I \ 21{tajner Rudolf (Steiner Rudolf ), II \ 8

TTangi Iv (Tanguy Yves), II \ 54Tartalja Marino, II \ k.Tel Vilijem (Tell Guillaume), II \ 51Todorov Kosta, I \ 1Trocki Lav, III \ 59

UUjevi' Augustin Tin, II \ 36< III \ 57, 58

VVajld Oskar (Wilde Oscar), II \ 40< III \ 44Valeri Pol (Valéry Paul), I \ 22< II \ 45Vasi' Dragi[a, III \ 53Va[e ?ak (Vaché Jacques), I \ 3, 17, 19, 20< II \ 18, 20, 21Velimirovi' Nikolaj, episkop, III \ 60Velmar Jankovi' Vladimir, II \ 46Vermer Jan van Delft (Vermeer Jan van Delft), III \ 17Vels D/ord/ Herbert (Wells George Herbert), II \ 16Vinaver Stanislav, II \ 5, 44< III \ 27, 52, 53Vitmen ?an Froa (Wittman Jean Frois), II \ 19Vivaldi Antonio (Vivaldi Antonio), III \ 34Vu;o Aleksandar, I \ 10, 14< II \ 12, 16, 26, 43< III \ 11, 25

ZZogovi' Radovan, III \ 59

??ivadinovi' Bor, Vane ( Stevan), I \ 23, 24< II \ 9, 14, 16, 29, 30,

37, 48< III \ 19, 37, 48, 67?ivanovi' Radojica Noe, I \ 8a, 8b, 10, 16a, 17, 20, 22, 23, 24< II \

16, 53< III \ 66, 67

(k - na koricama)

76

Nadrealizam danas i ovde, br. 1–3, Beograd 1931–1932.

Reprint izlazi povodom izlo/be @Nemogu'e, umetnost nadrealizma 1926–1936#

prire]ene u Muzeju primeyene umetnosti u Beogradu, novembar 2002 – februar 2003.

© 2002, Muzej primeyene umetnosti, Beograd

Izdava;> Muzej primeyene umetnosti

Vuka Karawi'a 18, Beograd

e–mail> mpu¤yubc.netZa izdava;a> Ivanka Zori', direktor

Urednik> Dr Milanka Todi'

Prevod> Biqana Vela[evi' i Ksenija Nik;evi'

Indeks> Jelena Pera'

Kompjuterska obrada> Studio B&Z, Beograd

{tampa> Cicero, Beograd

{tampaye ove publikacije pomoglo je Ministarstvo kulture i javnog informisaya Republike Srbije.

Reprint ;asopisa Nadrealizam danas i ovde [tampan je u petstotina i dva primerka,

numerisanih od 1 do 502, a posve'en je grupi srpskih nadrealista.

Primerak Copy No.

Surrealism Here and Now, Nos. 1–3, Belgrade 1931–1932

Reprint published to accompany the exhibition ÆThe Impossible, 1926 –1936 Surrealist ArtÆat The Museum of Applied Arts, Belgrade, November 2002 – February 2003 © 2002, The Museum of Applied Arts, Belgrade

Published by> The Museum of Applied Arts Vuka Karad/i'a 18, Belgrade

e–mail> mpu¤yubc.net For the publisher> Ivanka Zori', Director Editor> Milanka Todi', Ph.D. Translation> Biljana Vela[evi' and Ksenija Nik;evi'Index> Jelena Pera' Prepress> Studio B&Z , Belgrade Printed by> Cicero, Belgrade

The publishing of this journal was assisted by the Ministry of Culture and Public Information of Republic Serbia.

The journal Surrealism Here and Now has been reprinted in five hundred and two copies,numbered from 1 to 502, and is dedicated to the group of Serbian Surrealists.

YU ISBN 86–7415–073–X