Published Essay 'Desiring to be Led Astray'
'Papers of Surrealism'; Issue 6, Autumn 2007
Editorial Board: Dawn Ades, David Lomas and Jennifer Mundy
Associate Editors: Anna Dezeuze and Julia Kelly
Find essay at http://www.surrealismcentre.ac.uk/papersofsurrealism/journal6/index.htm
Image: Sophie Calle, Suite Vénitienne
The essay proposes to explore the practice of ‘following’ as a tactical legacy of surrealist errance, by examining a range of contemporary art practices in relation to their surrealist precursors. The essay reflects on work by Vito Acconci, Bas Jan Ader, Tacita Dean, Rut Blees Luxemburg, Effie Paleologou, Janet Cardiff & George Bures Miller, before using the critical connections between André Breton’s text Nadja and Sophie Calle’s project Suite Vénitienne, as a point of conceptual departure, to suggest that the act of following has the capacity to draw together a number of divergent concerns or theoretical positions in relation to the notions of doubling or mirroring; mimicry, simulation and camouflage. The notion of ‘following’ or being led is interrogated as the location or conceptual site where a host of surrealist ideas are buried, and whose ghosts persist to haunt.
Image: Bas Jan Ader, In Search of the Miraculous - One night in Los Angeles, 1973.
Papers of Surrealism, Issue 6: Contents
Tyler Cann, ‘Surreal Sight Seer: Len Lye and Surrealism’
Emma Cocker, ‘Desiring to be Led Astray’
Barbara Creed, ‘The Unheimlich Pacific of Popular Film: Surreal Geography and the Darwinian Sublime’
David Lomas, ‘James Gleeson’s Desiring Production’
Anne Marsh, ‘A Surrealist Impulse in Contemporary Australian Photography’
Stephen Mould, ‘Dusan Marek, a Land-locked Czech Surrealist in the Antipodes’
Ken Wach, ‘Ivor Francis’s Schizophrenia of 1943’
Anthony White, ‘Graeme Doyle, The Cunningham Dax Collection and Surrealist Discourse’
Anthony White, ‘Terra Incognita: Surrealism and the Pacific Region’
- emma cocker
- Emma Cocker is a writer, artist and Senior Lecturer in Fine Art. Operating under the title Not Yet There, her enquiry focuses on exploring models of (art) practice and subjectivity, which resist or refuse the pressure of a single or stable position by remaining willfully unresolved. As a practice-based enquiry, Not Yet There is shaped by an interdisciplinary, hybridized approach, operating restlessly along the threshold of writing/art. Whilst embracing the potential of the essayistic (as a tentative attempt or trial), Cocker’s practice also includes experimental, performative and collaborative approaches for producing texts about, parallel to and as art practice. Processes of condensation, extraction, fragmentation, listing, footnoting, cross-referencing and appropriation are adopted as critical methods for art-writing, alongside the cultivation of a serialized form of prose-poetry collectively entitled Condensations.