By Jan Švankmajer
Jan Svankmajer wrote this notable booklet on tactile paintings while he stopped directing movies and experimented intensively with tactile artwork after repeated censorship through the communist governmnent of Czechoslovakia. Illustrated with over a hundred imges, this ebook is organised round many reproductions of Svanmajker's wondrous tactile artwork items, tactile poems, experiments and video games. It comprises dialogues with, and artistic endeavors through, different participating artists from the crowd of Czech and Slovak Surrealists. Svankmajer additionally gathers jointly as members such outstanding exponents of tactical event as Edgar Allan Poe, Guillaume Appollinaire, Salvador Dali, Marcel Duchamp, Meret Oppenheim, Edith Clifford Williams, Ay-O, Valie Export, F.T. Marinetti and Karel Teige.
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Jan Svankmajer wrote this outstanding ebook on tactile artwork whilst he stopped directing movies and experimented intensively with tactile artwork after repeated censorship by means of the communist governmnent of Czechoslovakia. Illustrated with over a hundred imges, this ebook is organised round many reproductions of Svanmajker's wondrous tactile paintings items, tactile poems, experiments and video games.
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Additional resources for Touching and Imagining: An Introduction to Tactile Art
Tactile Wooden Spoons, 1978 21. indd 29 20. Tactile Cooking Spoons, 1978 22. Tactile Boards, 1978 (view from the reverse side) 6/03/2014 10:04 am 23. Tactile Tub, 1990 24. Tactile Lids, 1978 25. indd 30 6/03/2014 10:04 am sources of tactile imagination 31 26. Tactile Rolling Pin, 1990 27. indd 31 6/03/2014 10:04 am 32 Touching and Imagining 28. Masturbation (tactile object), 1975 Masturbation (Experimentation with pictorial analogies to a tactile object) Participants: František Dryje, Michel Dubret, Gilles Dunant, Vratislav Effenberger, Jiří Koubek, Emila Medková, Vince.
Smooth, round object, the exact identification of which is immaterial, represents here the coolness of the professional concentration and the coolness and technical smoothness of the syringe, its shape reminiscent of the curve of the restorer’s left thumbnail, his left hand drawing the attention to the centre of the picture. Two tassels hanging free above the curve of the nail – two skilled hands with deft golden fingers. Two sequincovered spheres hanging above the half weight of a pull-down kitchen lamp, two eyes which, with the curve of the fingernail, represent the curve of the restorer’s intense concentration – these are the main agents of a sadistic aggression against the head with its footprint in place of a face, aggression that is directed against the passive martyr, against the painted masochist who lacks the pleasure of suffering.
These ‘fowl’ fleas (it was assumed the dog had acquired the fleas from domestic fowls) were visible only when she caught them and immersed them in a glass of water where she then could see them, when wearing her glasses. They were tiny, brown fleas with shiny legs, the females were round and the males had pointy backsides. Studying their life cycle she figured out that they hatched in seven days and lived for thirteen. Realizing that they reproduced very quickly she conducted an intensive campaign against them into which she drew her husband, initially unwillingly, and later on as quite an active co-operator.