1 A. Breton, Surrealist Manifesto (1924), translated by Lela Mati', Kru[evac 1961, 36.

2 D. Mati', André Breton oblique, Belgrade 1978, 9.), Paris 1977. This text was first published by Du[an Mati', Un chef d’orchestre, André Breton 1896–1966 et le mouvement surréaliste, La nouvelle Revue Française, No. 172, Paris 1967, 676–685.

3 Idem.

4 Ibid., “Our young writers are unflaggingly seeking not to be outdone in their Dadaist competition and escape from logic. Thus, a magazine of our ‘young ones’ promotes this borrowed program as its own> Surrealism, which is not a literary school, seeks to occupy a vast indeterminate area which still has not fallen under the ‘protectorate of reason’. This projected expedition will not cause our Dadaists too much trouble, after all. A simple tram ride to Guberevac will suffice.” Politika, 27 November 1924, The Legacy of Marko Risti', SANU (Serbian Academy of Sciences and Arts) Archives, Belgrade, 14882, box VIII> “We hope that Belgrade’s Surrealists..., rallied around the almanac The Impossible, will get over their infantilism, as a surrogate for cosmopolitan anarchy, just like children get over scarlet fever and diphtheria> when they synthesize their duplicity...” A.Ili', The Impossible, Surrealism and Psychoanalysis, ?ivot i rad (Life and Work) , Belgrade, January 1931, 19.

5 The Legacy of Marko Risti', SANU Library, Belgrade.

6 M. Risti', After the Death of Milan Dedinac and André Breton, Svedok ili sau;esnik (Witness or Accomplice), Belgrade 1979, 244. (M.Risti', La nuit du tournesol, André Breton 1896–1966 et le mouvement surréaliste, La nouvelle revue Française, No. 172, Paris 1967, 700.)

7 Idem, 245.

8 M. Risti', 12 C, Sarajevo 1989, 221–296.

9 D. Mati', André Breton oblique, 29.

10 R. Vu;kovi', Srpska avangardna proza (Serbian Avant–Garde Prose), Belgrade 2000, 218–219.

11 Risti' sent Breton his translations of passages from the latter’s texts, among which a passage from the noted article on Marcel Duchamp, published in the Belgrade Putevi (Roads) in 1923, and that same year Breton wrote back to him, enclosing a book “of poems and dreams”, Clair de Terre, marking the beginning of many years of exchange and cooperation between French and Serbian Surrealists. M.Risti', Witness or Accomplice, 250, 272, For years, ever since 1924 up to around 1980, publications on Surrealism arrived at various Risti'’s Belgrade addresses from all over the world, making up one of the best and choicest libraries on Surrealism, which are kept in the voluminous Legacy of Marko Risti' in SANU in Belgrade. The large and valuable archives of Ko;a Popovi' has been bequeathed to the Historical Archives of the City of Belgrade as a legacy.

12 ?. Ro[ulj, Monny de Boully in Periodicals, Srpska avangarda u periodici (The Serbian Avant–Garde in Periodicals), Belgrade 1996, 170–171.

13 “It was the time of the Weimer Republic... The few US dollars father sent us regularly from Belgrade via registered mail, turned into hundreds of thousands, millions, of German marks. I was fifteen. The only thing that interested me were books and museums... That same year, 1919, in Berlin, I went to all the bookstores and bought everything I thought important. By sheer chance I came across the magazine Littérature, various Dada leaflets and a collection of Eluard’s, illustrated by Max Ernst’s montages, now so famous, under the name> Les Malheurs des Immortels. For the sake of the truth, I always say that I was so thrilled with Eluard’s book that my head whirled< I felt as if the key to a new, inexhaustible, mysterious universe had been entrusted me” says Monny de Boully in his posthumously published book Zlatne bube (The Golden Beetles), Belgrade 1968, 120–121. But, for the sake of truth, as de Boully puts it, memories need to be slightly edited, especially if, like his, they were recorded many years later. Eluard and Ernst met in Cologne in 1921, and the mentioned collection was published in Paris in 1922. Ergo, Monny de Boully could have seen this collection in 1925 at the earliest, during his first visit to Paris, when he “came to know and became very fond of” Eluard, whom he often visited in his villa in Eaux–Bonnes, “where the bathroom was decorated by sea monsters from the imagination and Max Ernst’s palette,” Idem, 137.

14 Idem, 127 through 133. Du[an Mati' was again in Paris then, having previously left it in 1923. D. Mati', op. cit., 103.

15 Monny de Boully, Textes surréalistes, La Révolution surréaliste, No. 5, Paris, 1925, 5< M. Risti', Primer (The Example), in H. Kapid/i'–Osmanagi', Hrestomatija srpskog nadrealizma (Poezija i tekstovi) (A Chrestomathy of Serbian Surrealism (Poetry and Texts)), Sarajevo 1970, 34.

16 La révolution d’abord et toujours, Clarté, No. 77, Paris, 1925, 5–6.

17 M. Nadeau, Istorija nadrealizma (History of Surrealism), Belgrade 1980, 119.

18 Ve;nost (Eternity), Nos. 1– 5, Belgrade 1926.

19 R. Vu;kovi', op. cit., 224. G. Te[i', Antologija pesni[tva srpske avangarde 1902–1934 (An Anthology of Serbian Avant–garde Poetry 1902–1934), Novi Sad 1993, 389–392.

20 M. de Boully, The Golden Beetles, 136. In a text devoted to the new magazine La Guerre civile, founded by Surrealists headed by Aragon, Risto Ratkovi' wrote> “the ideology of Surrealism is above all revolutionary> idealism unmasked. It makes no difference whether it is a dark abyss of the spirit or Marx’s mathematics, for all is the subconscious, and the conscious only a sanction of the subconscious.”, Eternity, No. 2, Belgrade 1926, s.p. Du[an Mati' stresses this magazine, and then the almanac 50 u Evropi (50 in Europe) and Tragovi (Trails), as publications in which “Surrealism was asserted” domestically. D. Mati', op. cit., 9–10.

21 In a 1922 letter, Milan Dedinac says that The Public Bird is in press, then in later correspondence that it is on a shelf, that it has been retyped, etc. The first public reading of The Public Bird was held at the Cvijeta Zuzori' Art Pavilion in Belgrade in 1926, “amid the works of Ljuba Ivanovi'”, and, addressing the elite bourgeois audience, Dedinac took as his motto an extract from Aragon’s speech delivered in Madrid> “All that life or death mean to me, what is it to you, really| A paradox, perhaps|”, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

22 The editorial office regularly sent these two magazines to major Yugoslav cities, but also to Paris and Frankfurt, because Hermann Wendel was interested in an exchange. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box VI.

23 Marko Risti' was in Paris from the end of 1926, and his first visit to Breton, on 23 December of the same year, left an indelible impression. Still, judging by Dedinac’s letter of 15 February 1927, their first disagreements had already started> “Marko, if you can, please try and get in touch with Breton and friends again. I cannot advise you to pass over certain differences, not knowing either your present situation, and even less the nature of these misunderstandings... Our position is immeasurably more stupid and brutal than theirs in France is... For, just imagine what freedom means in our country... and what in theirs| Not to mention our press law|” The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

24 M. Risti', Objava poezije (Proclamation of Poetry), Novi Sad 1964. 80, 85, B. Aleksi', Otkrivenje u nadrealizmu (The Revelation in Surrealism), Belgrade 1983, 42.

25 A. Breton, op. cit., 48.

26 S. Freud, Autobiography, Novi Sad 1969, 47–48.

27 Breton offered instructions for achieving the spontaneous automatism of thought> “Get yourself some writing materials, having ensconced yourself as cosily as possible for your spirit to concentrate on your own self. Bring yourself as much as you can into a state of utmost passivity or a state of utmost receptiveness. Disregard your genius, all your talents and the talents of everybody else. Resolvedly tell yourself that literature is one of the saddest roads leading to all. Write quickly, without a preconceived topic, quite quickly, lest you stop and are tempted to re–read what you have written. The first sentence will come of its own, the more so as every second breeds a sentence alien to our conscious thought.” A. Breton, op. cit., 40–41.

28 A. Breton, op. cit., 50–51. 29 Pierre Reverdy wrote> “A picture is the pure creation of the spirit. It cannot be engendered by any comparison between, but by the approximation of two more or less distant realities. The more distant and faithful the relation between two approximated realities, the stronger the picture will be – and the more realistic emotionally and poetically it will be.” Idem,

29. 30 Idem, 51.

31 Svedo;anstva (Testimonies), No. 7, Belgrade 1925, s.p.

32 Les feuilles libres, No. 35, Paris 1924, the Legacy of Marko Risti', SANU Library, Belgrade.

33 M. Risti', Na dnevnom redu (On the Agenda), Pokret (Movement), No. 16, Belgrade 1924, in Od istog pisca (By the Same Author), Novi Sad 1957, 18.

34 M. Risti', Tri mrtva pesnika (Three Dead Poets), Rad JAZU (Yugoslav Academy of Sciences and Arts), Vol. 301, Zagreb 1954, 290.

35 It would be interesting to give at least one example, from the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box VI, of the new explorations started in Testimonies> as a parallel for Rimbaud, a poem was singled out from the magazine Otad/bina (Homeland), in which “a girl, whose brother is being led away by Turks, prays that he turn around at least once more so that she could see his eyes and embroider them on the sleeves of her blouse. He says to her> Redless black on the left embroider Blackless red on the right embroider, As the black weeps for the red So does a brotherless sister, As the red weeps for the black So does a sisterless brother.”

36 Testimonies, No.7, Belgrade 1925, s.p.

37 R. Caillois, Mimétisme et psychasthénie légendaire, Minotaure, No. 7, Paris 1935, 5–10.

38 R. Krauss, L’Amour fou, New York 1985, 19.

39 Serbian Surrealism has variably been said to have started in 1922, when Roads, the counterpart of the French magazine Littérature appeared, to 1924, i.e., the text “Surrealism” by Marko Risti' in Testimonies. The first, “pre–Surrealist” period, thus would have lasted long, from 1922\24 to 1930 and the publication of the manifesto of the Serbian Surrealists in the almanac The Impossible, while the period of Surrealism would be quite short – from 1930 to 1932, H. Kapid/i'–Osmanagi', Srpski nadrealizam i njegovi odnosi sa francuskim nadrealizmom (Serbian Surrealism and its Relations with French Surrealism), Sarajevo 1966. Other researchers, however, consider Pre–Surrealism to have lasted from 1922 to 1927, because the coming out of Dedinac’s The Public Bird (1926) marks the beginning of Surrealism, which lasted until 1932 in the form of collective action, or until 1938 in the individual work of the individual group members, J. Deli', Srpski nadrealizam i roman (Serbian Surrealism and the Novel), Belgrade 1980, 20. Being quite unfunctional, divisions of this type are avoided in this work.

40 J. Deli', op. cit., 27.

41 M. Crnjanski, Obja[njenje Sumatre (The Explanation of Sumatra), Srpski knji/evni glasnik (Serbian Literary Herald), Belgrade, 16 October 1920.

42 One of the interviewees, }. Kosti', wrote carefully and exhaustively on the subject, U sredi[tu nadrealizma, :eljust dijalektike (In the Centre of Surrealism, The Jaws of Dialectics), Belgrade 1989.

43 The A–4 page as a standard size of the A format was the best suited for printing research and artistic works. K. Teige, Konstruktivisti; ka tipografija na putu ka novoj formi knjige (Constructivist Typography on the Road to A New Book Form), Va[ar umetnosti (Art Fair), Belgrade 1977, 183.

44 M. Risti', By the Same Author, 113–114.

45 The circulation belonged to the French–Serbian Bookstore of A. M. Popovi' and the Librarie Jose Corti in Paris, Nemogu'e– L’impossible, Belgrade, 1930, s. p.

46 In the view of Branko Aleksi', Breton’s world outlook was deeply imbued with the teaching of Heraclitus, as reflected in the following position> ”If you have no hope, you will never meet with the unexpected, which is unexplored and (which is) in the impossible (dans L’impossible). And Breton’s ambition was to ‘passionately strive’ to turn that ‘impossible’ into the ‘possible’ – which directly points to the title of the Surrealist almanac published in Belgrade in May 1930> Nemogu'e–L’impossible,” B. Aleksi', Breton i Risti' u pe'ini vila (Breton and Risti' in the Cave of the Fairies), op. cit., 203.

47 K. Teige, Constructivist Typography on the Road to A New Book Form, 174.

48 During his stay in Paris, in November 1929, Milan Dedinac had occasion to meet Dali, as well as to witness the “fuss” surrounding the publication of this famous script in La révolution surréaliste, No. 12, Paris 1929, 34–37. At that time Dedinac was working with Eluard on the French translation of The Public Bird, letter of Milan Dedinac to Du[an Mati', 17 November 1929, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

49 M. Risti', By the Same Author, 242. “Film offers more lyrical possibilities than any other art. Dealing mainly with pictures (namely, exclusively concrete elements) film can directly suggest, indeed prove, the metaphysical idea of freedom to the viewer. Chance, happenstance, distortion of psychology, all which is obscure, arcane, insidious and illogical, all which does not torment us in dreams anymore, all the deep, abysmal side of reality in fact does not come to expression in today’s first–rate movies. On the contrary, the most famous directors take pains to make their plots as ordinary as possible... Except for René Clair, Man Ray, Francis Picabia, Marcel Duchamp, Jean Borlin, who in their pure film ENTR’ACTE, achieve the height of excitement employing to the full the transcendantal irrationality of cinematographic happening – the development of this art evolves in the direction of theatrical reconstruction and a more or less successful adaptation to life dynamism”, Monny de Boully wrote perspicaciously and insightfully, O ;istom filmu (On Pure Film), Eternity, 1926, s.p. Marko Risti' referred to the same film for which Clair and Picabia wrote the script on the occasion of the French Film Library exhibition in Belgrade in 1954, M. Risti', By the Same Author, 245.

50 K. Teige, op. cit., 188.

51 The bookseller Obradovi' was summoned to the Town Hall and asked> “How dare you release The Impossible, that Surrealist party organ, without having sent a copy for censorship|”, to which he aptly replied> “That is no organ, but a poetry picture book, without an editor, so that under the press law I was not required to submit it for censorship”, letter of Aleksandar Vu;o sent to Marko Risti' on 28 July 1930. The new concept of the almanac was not exactly clear to the Belgrade cultural public either, because Nemogu'e–L’impossible “sold poorly” even at the exhibition of Surrealist publications staged in 1932 at the Cvijeta Zuzori' Art Pavilion in Belgrade, letter of Aleksandar Vu;o sent to Marko Risti', 31 January 1932, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

52 A. Breton, Poemes, Nemogu'e–L’impossible, Belgrade 1930, 106–109. That poem was later published in Breton’s collection Le revolver à cheveux blanc (1932), M. Risti', After the Death of Milan Dedinac and André Breton, Witness or Accomplice, 263.

53 A. Thirion, Note súr L’argent, La révolution surréaliste, No. 12, Paris 1929, 24–28< M. Risti', After the Death of Milan Dedinac and André Breton,Witness or Accomplice, 262.

54 “As they noted that in principle, despite all individual differences, there existed between them a given spiritual kinship, and that a certain abiding detachment distinguished them from everything around them imposed as spiritual life, the signatories felt that a more precise emphasis on what they had in common and a more disciplined collective activity were called for under the given circumstances, for the sake of which each one of them accepted to sacrifice the psychological aspect of their respective ’Egos’. Even in the unpredictable dialectical moments of this activity, they are resolved to maintain and keep constant and irreducible the evolution of their unceasing ideological and moral definition. This first joint publication represents only one visible moment in designating this necessary definition”, and behind this manifesto were> Aleksandar Vu;o, Oskar Davi;o, Milan Dedinac, Mladen Dimitrijevi', Vane ?ivadinovi'–Bor, ?ivanovi'–Noe, }or]e Jovanovi', }or]e Kosti', Du[an Mati', Branko Milovanovi', Ko;a Popovi', Petar Popovi', Marko Risti', Nemogu'e–L’impossible, Belgrade 1930, s.p.< the Manifesto was first published in the daily Politika, Belgrade 14 April 1930, and, together with the presentation of the almanac, it also came out in French in the new magazine La Surréalisme au service de la révolution, No. 1, Paris 1930, 11–12.

55 M. Nadeau, op. cit., 84.

56 The survey on desire contained seven questions, and replies were given by an array of interviewees> from young lady clerks to writers and representatives of Surrealism. In addition to Salvador Dali’s answers, André Breton, René Crevel and Paul Eluard also gave their views. Surrealism Here and Now, No. 3, Belgrade 1932, 31. The cooperation between French and Serbian Surrealists was intensive and very friendly, as confirmed by Crevel’s emotionally charged text devoted to the arrest of a group of Surrealists in Belgrade and of Oskar Davi;o in Biha', R. Crevel, Des surréalistes yougoslaves sont au bagne, Le surréalisme au service de la révolution, No. 6, Paris 1933, 36–39.

57 E. Lissitzky, Unser Buch, B. H. D. Buchloch, From Faktura to Factography, October, The First Decade 1976–1986, London 1988, 94.

58 A. Breton, Le Surréalisme et la peinture, La Révolution surréaliste, Nos. 4, 6, 7, 9–10, Paris 1925.

59 M. Nadeau, op. cit., 106–107.

60 L. Trifunovi', Srpsko slikarstvo 1900–1950 ( Serbian Painting 1900–1950), Belgrade 1973, 237.

61 H. Kapid/i'–Osmanagi', op. cit., 333< M. B. Proti', Srpski nadrealizam 1929–1932 (Serbian Surrealism 1929–1932), Nadrealizam, socijalna umetnost (Surrealism, a Social Art 1929–1950), Museum of Contemporary Art, Belgrade 1969, 10, 222. My profound thanks to Mme. Jelena Veli;kovi', who, in April 2002, related to me her recollections of this exciting Surrealist exhibition.

62 Letter from Aleksandar Vu;o to Marko Risti' in Vrnja;ka Banja, 24 January 1932, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

63 Ibid.

64 The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II. It can be seen from Miroslav Krle/a’s letter of 11 March 1934, that he asked Marko Risti' on behalf of Krsto Hegedu[i' to send “materials of a Surrealist nature for the spring exhibition of ‘Zemlja’ (Earth), preferably (if any) original compositions, book designs, photomontages or photographs,” but no joint exhibition took place. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box III.

65 L. Aragon, A. Breton, Protestation, La Révolution surréaliste, No 6, Paris, 1926, 31< A. Breton, Le Surréalisme et la peinture, No. 4, Paris, 1925, 30.

66 Many years later Thirion wrote about this visit to Belgrade and the hospitality accorded him by the Vu;o and Risti' families, A. Thirion, Révolutionnaires sans Révolution, Paris 1972, 267. Dr Jelena Vu;o kindly showed me this book, as well as two photographs of Katia Drenovska with her daughter from that period< M. Risti', After the Death of Milan Dedinac and André Breton, 262.

67 The Legacy of Marko Risti', Art Experimentation of the Group of Belgrade Surrealists (1926–1939), Gift of Marko, {eva and Mara Risti', Leg. de Marko Risti', Experimentation du grupe des surréalistes de Belgrade, Don. de Marko, {eva et Mara Risti', Museum of Contemporary Art, Belgrade, 1993.

68 Nemogu'e – L’impossible, Belgrade 1930, 113.

69 Letter of A. Vu;o sent to M. Risti' on 3 July 1930, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

70 M. B. Proti', Serbian Surrealism 1929–1932, Surrealism, a Social Art, 1929–1950, Museum of Contemporary Art, Belgrade 1969, 12–13< P. Waldberg, Surrealism, London 1978, 93–95.

71 M. Risti', 12 C, 37.

72 Idem, 34–35.

73 K. Teige, On Photomontage, op. cit., 143–197< E. Wolfram, History of Collage, London 1975, 42–50; A. Sobota, Art Photography in Poland 1900–1939, History of Photography, No.1, London 1980, 33.

74 R. E. Krauss, The Optical Unconscious, Cambridge 1994, 42.

75 Idem, 46.

76 Apart from Risti' and Bor, Rastko Petrovi' also established personal contacts with Ernst in America. M. Risti', Three Dead Poets, 307.

77 B. Aleksi' thought that this picture, which he called Two Doves, was bought at Ernst’s exhibition at the Parisian Galerie Van Leer in March 1927, B. Aleksi', Chronologie, Stevan ?ivadinovi' Bor, Museum of Contemporary Art, Belgrade 1990, 142. However, Max Ernst exhibited in the mentioned gallery from 10 to 24 March 1926, namely several month before the Risti' newlyweds had come to Paris, see Max Ernst, The Museum of Modern Art, New York, 1993, 362. In his letter to Marko Risti' from 1935, Krsto Hegedu[i', among other things, stressed that he wanted to see “the collection of collages and photographs, wall drawings – the walls about which Krle/a has told me”. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box IV.

78 M. Risti', After the Death of Milan Dedinac and André Breton, Witness or Accomplice, 253 –254.

79 Marko Risti'’s installation Surrealist Wall was included in the new permanent display of the Museum of Contemporary Art in Belgrade in April 2002, as an autonomous work of art, while at the same time, Breton’s Wall was displayed at the Parisian Pompidou Center, the popular Boburg, within a large exhibition entitled The Surrealist Revolution.

80 B. Aleksi', Chronologie, Stevan ?ivadinovi' Bor, Museum of Contemporary Art, Belgrade 1990, 141.

81 M. Risti', 12 C, 223.

82 K. Teige, On Photomontage, 149.

83 The collages and drawings from the La vie mobile cycle were subsequently numbered 1 to 13, while originally only the first collage had been numbered, because it bore the title of the entire cycle.

84 R. E. Krauss, The Originality of the Avant–Garde and Other Modernist Myths, Cambridge 1986, 106–107.

85 M. B. Proti', Serbian Surrealism 1929–1932, 15 and 106–107< In Unseren Seelen Flattern Schwarze Fahnen Serbische Avantgarde 1918–1939, Herausgegeben von Holger Siegel, Leipzig 1992, 192–193.

86 Preserved correspondence shows that Risti' continued to work on collages and photographs, but also film, not only upon returning from Paris, but also after the publication of the almanac. Indeed, without his participation the collages in the magazine Surrealism Here and Now would not have come out. Thus, in his letter to Marko Risti' of 14 July 1930, Aleksandar Vu;o said> “We have received your letter, the little film, which is very pleasing, and the collages which are pretty – especially Bor’s... I showed your collages and photographs to }oka, Davi;o and Noe...”, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

87 M. B. Proti', op. cit., 15.

88 B. Aleksi', Chronology, 142. In 1963, Risti' stated> “The greatest significance of Surrealism is in the fact that it was Max Ernst’s ‘Wind Bride’, that it was a type of wind bringing fresh air, clearing horizons, without which, spiders would indeed have spun a web all over the skies.”, Witness or Accomplice, 170.

89 D. Sretenovi', Bor, peintre de la nostalgie, Stevan ?ivadinovi' Bor, Museum of Contemporary Art, Belgrade 1990, 129.

90 K. Teige, On Photomontage, 160.

91 P. Bonitzer, Slikarstvo i film (Painting and Film), Film Institute Belgrade 1998, 87 to 89.

92 S. M. Eisenstein, Monta/a Atrakcija (The Montage of Attractions), Belgrade 1964, 57. In his 1923 essay, The Montage of Attractions, Eisenstein wrote about the similarity of the theater, film and collage> “I introduce attraction as a regular, independent and primary element in the construction of a theater performance – a molecular unity (i.e., the unity of the constituent elements of the effective force of the theater, namely theater in general. This fully corresponds to the ’painting arsenal’ employed by Georges Grosz or the elements of photographic illustration (photomontage) of Rodtchenko.” Idem, 30.

93 D. Mati'. La péche trouble dans L’eau claire, (translated by K. Popovi'). Le surréalisme au service de la révolution, No. 6 Paris, 1933, 31–32. The contributions of Zdenko Reich, Préface a une étude sur la métaphore (25–27) and Marko Risti', L’humour attitude morale (36–39) were published in the same issue. Under the title Des surréalistes yougoslaves sont au bagne, Réne Crevel first drew attention to the strengthening of nazism and fascism and then presented the “Surrealist Movement” in Belgrade and described the arrests of Oskar Davi;o, }or]e Kosti', Ko;a Popovi' and }or]e Jovanovi' in December 1932 (36–39).

94. E. Roters, Collage und Montage, Tendenzen der Zwanziger Jahre, Berlin 1977, 3\38–3\41.

95 Du[an Mati'’s collage I Am Lower Than the Sand Tonight would belong to this group of works, but the reproduction in black and white does not allow of a more detailed comparison. Surrealism Here and Now, No. 3, Belgrade 1932, s.p.

96 A. Vu;o, The Exploits of the “Five Cockerels” Gang, Belgrade 1959, 13–14.

97 I am deeply indebted to Dr. Jelena Vu;o who showed me the preserved photographs (negatives) of five boys, }or]e and Jovan Vu;o with their friends, which were photographed for photomontages in the book The Exploits of the “Five Cockerels” Gang,

98 “The economy of the rediscovery of the known is gratifying” and “with its techniques art translates the shapeless into legible form, even into form which determines the order of perception and visual language.” J. Baudrillard, Simboli;ka razmena i smrt (Symbolic Exchange and Death), Gornji Milanovac 1991, 252.

99 Mati', Jovanovi', Vu;o, Risti', Thirion, Davi;o, Dedinac, Popovi', Kosti', ?ivadinovi'–Noe and others are mentioned as contributors to Saop[tenja (Statements). As the contents are also indicated one can conclude that the Bulletin would have been very similar to the almanac< the illustrations include> photographs, collages, le cadavre exquis, etc. Although this Surrealist magazine never started coming out, it seems that systematic work had been done on it and contributions gathered among the Parisian Surrealists also. On 23 November 1931, Ko;a Popovi' wrote to Marko Risti' from Paris> “Thirion told me that he would send you a collage of their (personal) photographs which should be printed on en plenier page if it is to make any sense”, and a bit further on in the same letter he says that Risti' himself, without go–betweens, should directly cooperate with the Paris Surrealist headquarters. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box III.

100 The statement of Miodrag Ibrovac, a Professor at the University of Belgrade, which was the motif for the photomontage, is quoted on Strana Ibrovac (The Ibrovac Page)> “ I feel that you have corrupted this language awfully. Your speech lacks purity and tact. You mingle with coachmen and domestics, and they are uncouth. Do not keep company with them. One can pity them, but should not talk to them”. NDIO, No. 1, Belgrade 1931, s.p.

101 }. Jovanovi', Sada i ovde (Here and Now), NDIO, No. 1, Belgrade 1931, 13.

102 In 1932, Jovan Popovi' saw the disagreements among intellectuals who thought dialectically and “aligned themselves with the young class” as follows> “For eight years now the Surrealists have been engaging in endless theorizing and defining and interpreting their Surrealist view of the world, whereas we assembled around The Pivot have been working practically for a year and a half and the result is visible or will be”, a letter Jovan Popovi' sent to Vane ?ivadinovi' Bor, Belgrade, 10 November 1932, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box I.

103 W. Benjamin, Surrealism – The Last Snapshot of the European Intelligentsia, Essays, Belgrade 1974, 265.

104 M. Nadeau, op. cit., 202.

105 B. Aleksi', Dali> Inédits de Belgrade (1932), Paris 1987.

106 Vane ?ivadinovi' Bor’s letter from Paris to Marko Risti' on 4 July 1931. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box I.

107 Salvador Dali, Objects surréalistes and Objets psycho–atmosphériques –anamorphiques, Le surréalisme au service de la révolution, Nos. 3, 5, Paris 1931, 16–17, 45–48. 108 Rosalind Krauss devoted an exciting analysis to Dali’s theory on objects avoiding form, R. E. Krauss, The Optical Unconscious, 149–192.

109 A. Breton, Surrealism and Painting, P. Waldberg, Surrealism, 83.

110 A. Breton, L’Objet Fantôme, Le surréalisme au service de la révolution, No. 3, Paris 1931, 21.

111 A description of Breton’s object with a bicycle was published. S. Dali, Objets surréalistes, 17.

112 Letter by Aleksandar Vu;o sent to Marko Risti' on 21 July 1930. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

113 Letter of Aleksandar Vu;o sent to Marko Risti' on 14 July 1930, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, Box II.

114 M. Faber, Das Innere der Sicht, Östrreichisches Fotoarchiv im Museum moderner Kunst, Vienna 1989, 20.

115 K. Popovi', M. Risti', Nacrt za jednu fenomenologiju iracionalnog (Outline for A Phenomenology of the Irrational), Belgrade 1931, 74–82.

116 Vane Bor, Correspodance a Salvador Dali, Belgrade, 31 décembre 1932. Le surréalisme au service da la revolution, No. 6, Paris 1933, 46.

117 In the same letter Vu;o speaks about his plans to collaborate with Parisian journals> “I need those two pictures because I will offer all those you do not accept for the almanac to Bifour or Variété. So, please, if you do not need those two pictures, or if you have the film, send them to me”, letter of Nikola Vu;o, Paris, 17 February 1930, to Marko Risti'. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

118 S. Dali, Objets psycho–atmospériques–anamorphiques, 47.

119 R. E. Krauss, The Optical Unconscious, 150.

120 The Jaws of Dialectics, The Impossible, Belgrade 1930, 45. 121 W. Benjamin, op. cit., 262.

122 The Jaws of Dialectics, 45.

123 J. Novakovi', Bretonov nadstvarni svet (Breton’s Surreal World), Belgrade 1991, 11.

124 In a conversation with Nikola Vu;o I found out that he never had anything but a still camera and film and that he developed negatives and photographs in professional photo shops, as did Risti' and Bor. That was the practice resorted to by many other amateur photographers in Serbia between the two World Wars.

125 Nikola Vu;o’s letter to Marko Risti', Paris, 17 February 1930, the Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

126 D. Hollier, Surrealist Precipitates> Shadows Don’t Cast Shadows. October, The Second Decade 1986–1996, London 1996, 16.

127 R. Krauss, J. Livingston, L’Amour fou, Photography and Surrealism, New York 1985, 25–28.

128 When, after being forgotten for sixty years, the photographs of Nikola Vu;o were analyzed and presented to the public for the first time in the doctoral thesis of M. Todi', Istorija srpske fotografije 1939 –1940 (The History of Serbian Photography 1839–1940), (Faculty of Philosophy, Belgrade 1989) some papers and journals and even serious catalogues published the photograph The Wall of Agnosticism upside down, because some spectators did not readily recognize a wall made of brick, Photography in Serbia 1839 –1989, the SANU Gallery, Belgrade 1991, 309.

129 H. Read, Surrealism, London 1961, 45–75.

130 S. Sontag, Eseji o fotografiji (Essays on Photography), Belgrade 1982, 85.

131 On Breton’s and Risti'’s symbolic constructions related to darkness and light see J. Novakovi', Breton’s Surreal World, 19–25, 63–71, 113–141.

132 M. Todi', Nikola Vu;o, Fotografie und Surrealismus in Serbien, (Nikola Vu;o, Photography and Surrealism in Serbia), Vienna 1990, 80.

133 In the mentioned letter Vu;o writes, among other things> “They also include the latest pictures we took together in the vineyard> the hand on the car light and man–bicycle. I remember that you have very poor prints of those photographs and since I have the films, I will send you good copies in two days at the latest.” The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box II.

134 D. Mati', M. Risti', Uzgred budi re;eno (By the Way). Nemogu'e – L’ impossible, 133.

135 H. Kapid/i'–Osmanagi', Serbian Surrealism and its Relations With French Surrealism, 198. According to the author, he photographed his wife, Jelka Vu;o, twice on the same film, once en face and once from behind, in carefully prepared natural lighting, M. Todi', Nikola Vu;o, 80.

136 W. Schmied, Die neue Wirklichkeit Surrealismus und Sachlicheit, Tendenzen der Zwanzige Jahre, Berlin 1977, 4\4.

137 D. Hollier, Surrealist Precipitates> Shadows Don’t Cast Shadows, 7–24.

138 Idem, 7.

139 B. Aleksi', Chronologie, 142.

140 E. Jaguer, Les Mystéres de la chambre noire, Le Surréalisme et la photographie, Paris 1982, 36.

141 Only this photogram was displayed in 1969 at the Museum of Contemporary Art in Belgrade and another one was included in the Legacy of Marko Risti' later. During the preparations for the exhibition The Impossible, 1926 – 1936 Surrealist Art, thirteen new photograms by Risti' were found, which like the ones by Bor, had been created in 1928 in Vrnja;ka Banja.

142 R. Krauss, J. Livingston, L’Amour fou, 125.

143 P. Tausk, Photography in the 20th Century, London 1980, 101–102.

144 A. Breton, Surrealist Manifesto, 29, 21.

145 V. ?ivadinovi' Bor, O automatizmu u likovnoj umetnosti (On Automatism in the Fine Arts), Stevan ?ivadinovi' Bor. Pojetike srpskih umetnika XX veka (Poetics of 20th Century Serbian Artists). 4. MSU (Museum of Contemporary Art), Belgrade 1990, 085.

146 V. ?ivadinovi' Bor, On Automatism in the Fine Arts, Stevan ?ivadinovi' Bor, 085

147 P. Bonitzer, Slikarstvo i film (Painting and Film), 27.

148 V. ?ivadinovi' Bor, Feti[ kao ma]ioni;ar (The Fetish as a Magician), Stevan ?ivadinovi' Bor, 085.

149 Vane Bor photographed a series of portraits of Vjera Bakoti' at the wish of her future husband Ko;a Popovi' in 1931, according to the extant letter Popovi' sent to Marko Risti' from Paris on 30 November of that year, where, among other things, he says> “Please ask Vane to find Vera and to photograph her. If he wants to!”. The Legacy of Marko Risti', SANU Archives, Belgrade 14882, box III.

150 D. Sretenovi', Borovo slikarstvo ;e/nje (Bor’s Painting of Nostalgia), Stevan ?ivadinovi' Bor, 103 – 129.

151 D. Ades, Photography and the Surrealist Text, R. Krauss, J. Livingston, L’ Amour fou¸176.

152 Marko Risti', O dnevnicima, o kontinuitetu, o nadrealizmu i o vetru (On Diaries, on Continuity, on Surrealism and on the Wind). Conversation with Feliks Pa[i'. Witness or Accomplice, 170.

153 The Pivot, Nos. 10, 11, 12, Belgrade 1932, 296, 301, 316.

154 J. Deli', op. cit., 91. In a letter to {eva Risti' of 8 March 1937, Bela Krle/a among other things, emphasised the importance of the essay, saying> “Picasso is the latest craze here ...”. The Legacy of Marko Risti', SANU Archives, Belgrade, 14882, box III.

155 W. Benjamin, Surrealism, 266.

156 M. Nadeau, op. cit., 233–234, M. Risti', After the Death of Milan Dedinac and André Breton, Witness or Accomplice, 261–285, R. Risti', La nuit du tournesol, La nouvelle Revue Française, No. 172, Paris 1967, 699–706.

157 E. Jaguer, Les Mystéres de la Chambre Noire. Le surréalisme et la photographie, Paris 1982, 14, F. M. Neususs, R. Heune, Das Fotogramm in der Kunst des 20 Jahrhunderts, Cologne 1990, 266–267, M. Faber, Das Innere der Sicht., M. Faber, The Disappearance of Things, Museum moderner Kunst, Vienna 1992.

158 G. Ribemont–Dessaignes, Man Ray, Leurs feuilles libres, No. 40 , Paris 1925, 267–269.

159 M. Risti', Witness or Accomplice, 171.

160 In French Surrealist publications photographs feature in three ways> 1. photographs illustrating the text< 2. photographs represented as works of art, 3. technical manifestations of the photograph or the mechanisation of inspiration., A. Mousseigne, Funktion und Stellung der Fotografie in der Zeitschriften der Surrealistischen Bewegung 1929–1939 in Frankreich, Das Innere der Sicht, Östrreichisches Fotoarchiv im Museum moderner Kunst, Vienna 1989, 31–39.

161 K. Teige, On photomontage, 157.

162 M. Risti', 12 C, 35.

163 J. Cocteau, Photographié, Les feuilles libres, No. 26, Paris 1922, 133.

164 Surrealism Here and Now, No. 3, Belgrade 1932, 51.

165 Ibid., M. Risti', 12 C, 36–37.

166 L. da Vinci, Treatise on Painting, translated by Vjera Bakoti', Belgrade 1964, 45–46.

167 Surrealism Here and Now, No. 3, 51. The almanac Nemogu'e – L’ impossible and the manifesto of Serbian Surrealism were published on the same pages, in parallel with Dali’s important theoretical text on the method of “paranoiac–critical –activity”, according to which, inter alia, the Surrealist picture owes nothing to reality. S. Dali, L’ane pourri, Le surréalisme au service de la révolution, No. 1, Paris 1930, 9–12.