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'Don ask yammered; one between one at this hail undress´-

why lesser, known the describe the more!'

-André Pissoir

The Palais Ideal

Ferdinand Cheval and his extraordinary structure truly embody the spirit of surrealism and became an inspiration for a number of artists such as André Breton, Picasso, Tinguely and Max Ernst who have all created works in homage to this postman from the Drome region of France.

Jonathan Glancey, the Guardian's architecture and design correspondent, included The Palais Ideal in his list of favourite weird and wonderful designs. 'Give Us A Swirl' --
Glancey writes:
"A village postman from the remote Drome province of southern France, Ferdinand Cheval (1836-1924) spent 33 years creating an "ideal palace" from stones gathered on his daily 32km round. Poorly educated and with no knowledge of architecture, he shaped his surreal palace from daydreams, without help.

Considered a madman by fellow locals (whose descendents live off his legacy today, the palace being a big tourist attraction), Cheval was hailed by artists and intellectuals, from Breton and the surrealists to Picasso. Here was - and is - a work of wholly spontaneous surrealist art, a man's dreams turned into a gloriously abstract work of architecture.The Palais Idéal is overwhelmingly bizarre, its handmade architecture drawing its inspiration from what appear to be sources as diverse as Khmer temples, Swiss chalets, Neuschwanstein castle in Bavaria and Hindu shrines - despite Cheval's lack of learning, books or photographs. Some of the palace looks as if Gaudí had a hand in it, and the petrified fountain could easily be by Dalí. Today, Cheval's lifelong work is a national monument."

The most recent homage to Ferdinand Cheval now hangs at the entrance to the Palais Ideal Museum. The American artist Tim Shepard was inspired by the idea that as Cheval followed his postal route through the landscape around Hauterives it was this life, daily immersed in the forms from nature which provided the foundation upon which the Palais was built. Over several days in the summer of 2009 Shepard spent the morning and afternoon retracing Cheval's postal route ending up each day in the late afternoon at the Palais itself. "In doing so I gained such a strong sense of the relationship between the landscape and Cheval's own formidable expression of it." Shepard creates photomontages by combining together hundreds of photographs taken whilst visiting particular sites and landscapes. " I am interested in creating landscapes which exist somewhere between reality and imagination -- very much in the way one might remember a landscape or dream of a place where one has been. I like the idea of taking into sleep the things of the day and tearing them up in our mind to recombine them into dreams. Everything in my pictures exist -- they are photographs of actual things and are not altered in any way -- but after cutting up all these various elements they come together again and express something of the essence or spirit of the place rather than the actual place itself."

Homage to Facteur Cheval and his Palais Ideal by Tim Shepard

www.timshepard.co.uk
www.facteurcheval.com

Dali's Moustache

POEMA





Uma risada



de safira na ilha de Ceilão



As mais belas palhas



Têm a cor esmaecida



Na prisão



Numa fazenda isolada



NO DIA-A-DIA


agrava-se



O agradável


Um caminho carroçável


vos conduz ao desconhecido


O Café


roga por si mesmo



O ARTESÃO QUOTIDIANO DE VOSSA BELEZA



Senhora,



um par



de meias de seda

-

não é




Um salto no vazio



UM CERVO



Antes de tudo o amor




Tudo poderia acabar tão bem



Paris é uma grande aldeia



Vigial



o fogo incubado



a oração



Sabei que


os raios ultravioleta


terminaram seu trabalho

bom e rápido


O PRIMEIRO JORNAL BRANCO
DO ACASO

Vermelho será



O cantor errante

ONDE ESTARÁ?

na memória

em sua casa

NO BAILE DOS ARDENTES



Faço
dançando
O que se fez, o que se fará



From "Surrealist Manifesto", André Breton, 1924

nadja

swimming this into the shame

any of that past this in fact to deny
be from continued here or will as the lust rises later
besides born pressure is to not to read dead paper porn
as disciples loved to be raptured red by father
or god’s endlessly balls fear the us ‘s’
senseless only the motors worst money waste

these I had every unencumbered shiny day
what together we call time the two of us 44 brothers & sisters
will turn the sky as reborn beauty to the past life’s next living
necks that could offend my work strained disciples life
swimming this into the shame

in comfort the iron of front or erupted wires vomit
but the luck of disciplines trust as no future furniture
or the loving far in an out diffuses are grew of lies
not of jar in a life day
the worst feel pasted it to the walls
what the son of bees must have sucked through truth
what ‘s’ of us tough look a parents force

blood and personal is minds path
as might you the past with enigma
painful plants destroy their pants
no resistance II authentic front as explosives me
stirrings memory ’s’ or R the needed lighter condition ¬

opening

into nothing like Béton I mirrored
then as fast suns called flamed vacuum minds
i covered them to beautiful shiny stellar nerves
and dangerous child's hands went broke

it happened as eyes went up through her moon
before tightened it
the bursts of luscinias name became door spirits

time never screws to hang my seemed seconds
stapled her repetition
i would vomit as so born kids

bright

silence

opening

would it look?

talking silence

André Breton
1896, Tinchebray, France - 1966, Paris
Untitled
Undated
Ink on paper
13.5 x 8.2 cm
The Vera and Arturo Schwarz Collection of Dada and Surrealist Art
© ADAGP, Paris, 2007

André Breton, Thérèse Caen, Benjamin Péret, Yves Tanguy and Robert Rius
France, 1896-1966; France, 1889-1959; France, 1900-1955; France, 20th c.
The Lamp Smokes but the Nile Reeks (La lampe fume mais le Nil empeste)
ca. 1937-39
successive drawing, ink and pencil on paper
16.4 x 10.5 cm
The Vera and Arturo Schwarz Collection of Dada and Surrealist Art
© Estate of Yves Tanguy/Artists Rights Society (ARS), New York

Anonymous
Benjamin Péret, Tristan Tzara, Paul Eluard, and André Breton
1932
Gelatin silver print
23.5 x 29.5 cm
The Vera and Arturo Schwarz Collection of Dada and Surrealist Art

It's You it is not us…

It's you it is not us it's the fire that doesn't fear the wind
The kind that sweeps quicker than wind over the countryside
A young girl shakes her black hair in sleep
And watches us pass
And watches you pass it's you it is not us
The genius of the well lowers his magic blue hoop onto your path
It's no longer you is it you its not us
There are doors for every precipice
Even for the ones we fall over and all the way down there are birds
Birds that live only there
Whose wings form and X more vibrant than any other
Where are you going the address is grinding you I see fine nude legs
There are no precipices for you
No fleeting oaths that glide over resplendent waters
You are the light winding about the necks of trees
The light that escapes no one and that twists around the grindstone no one sees
Here is the sea here are the races and rosacres you love
The eternal armor of snows on the sea
The wet coupes whipped by the red algae of long avenues
Here are the beautiful aiguillettes
Is it there do you want to see the cross that never arises above sea-level
Do you want the forest of mirrors furrowed with black lightning
That hides behind the northen dawns

Do you attend the intimate coronations of queens with no subjects
Or else do you come from the serene pallor of mortal things
Like me questioning you and seeking your arms like a flame through a grill
What grill the grill of time
What time the time of tears
Where are the shapes of leaves of veils of huge butterfies that make the wind tremble

Where is the fire going the fire that doesn't fear the wind

André Breton (1926)

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