Exhibition 'Germaine Dulac. Je n’ai plus rien'

Curated by Imma Prieto, director of the Tàpies Museum, and Imma Merino, film critic and university professor, the project on Germaine Dulac aims to reflect on how the avant-gardes have rendered certain artists invisible who challenged the hegemonic and heteropatriarchal discourses imposed by society between the wars. This is an exercise in recovering the memory of a past in which many of them were relegated within the history of art, despite their practices becoming fundamental for the development of 20th-century artistic movements. With the intention of opening archives and emphasizing the importance of a cyclic time - so characteristic of the Tàpies trajectory - we look back to move forward through historical research and find silenced voices, while also seeking possible connections with the configuration of images from this surrealist perspective that will also be explored in the exhibition dedicated to Antoni Tàpies. In 1927, Germaine Dulac directed the short film 'La Coquille et le clergyman' (The Shell and the Clergyman), which was not screened until a year later, in 1928; it is considered the first surrealist film, predating the famous 'Un chien andalou' by Luis Buñuel, from 1929. The film, based on a script by poet Antonin Artaud, expresses a clergyman's obsession with a woman married to a general. Germaine Dulac (Amiens, 1882 - Paris, 1942) was a producer, director, filmmaker, and screenwriter considered a pioneer of surrealist cinema in the early 20th century. Dulac made more than thirty films between 1917 and 1935, wrote important theoretical texts, and collaborated in major film magazines of the time - Le Film, Mon cine, or Cinémagazine - where she expressed her ideas about the importance of authorship or about cinema as an artistic space from which to explore, through images, the interior of human beings. Her most significant collaboration was with the radical feminist magazine La Fronde.