THE ENDLESS ENIGMA · The new immersive exhibition entitled ‘Dalí, l’énigme sans fin’ (‘Dali: the endless enigma’) will encompass more than sixty years in the career of

A GIANFRANCO IANNUZZI RENATO GATTO - MASSIMILIANO SICCARDI CREATION

PRESS KIT

THE ENDLESS ENIGMA

6 MARCH 2020 - 3 JANUARY 2021

WITH THE MUSICAL COLLABORATION OF LUCA LONGOBARDI

© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 Culturespaces/Nuit de Chine

CONTENTS

Page 1

PRESS RELEASE

Page 3

ITINERARY OF ‘DALÍ: THE ENDLESS ENIGMA’

Page 16

DALÍ: SOME KEY DATES

Page 17

THE PRODUCTION TEAM

Page 18

THE IMMERSIVE EXHIBITION SOUNDTRACK

Page 19

PINK FLOYD

Page 20

‘GAUDÍ: THE ARCHITECT OF THE IMAGINARY’– SHORT PROGRAMME

Page 22

CULTURESPACES DIGITAL®

Page 23

THE CULTURESPACES FOUNDATION

Page 24

THE CARRIÈRES DE LUMIÈRES

Page 25

PRESS IMAGES

Page 30

THE GALA-DALÍ EXHIBITION AT THE CASTLE OF LES BAUX-DE-PROVENCE

Page 31

PRACTICAL INFORMATION

In 2020, the Carrières de Lumières will be illuminated by Salvador Dalí’s famous psychedelic works. The new immersive exhibition entitled ‘Dalí, l’énigme sans fin’ (‘Dali: the endless enigma’) will encompass more than sixty years in the career of the Catalan master, who developed and invented various artistic styles.

Visitors will be able to explore a thematic itinerary comprising surrealistic and metaphysical landscapes and will be immersed in the artist’s amazing and highly imaginative works. Exhibited around the world (the Gala-Salvador Dalí Foundation at Figueres, the Dalí Museum in Florida, the Reina Sofía Museum in Madrid, and MoMA in New York) these works, which can be interpreted on so many levels, will be brought together in Les Baux-de-Provence. Displayed and brought to life on the floors and sixteen-metre-high walls, visitors will be able to observe every detail of the brushstrokes, lines, and material effects.

Paintings, drawings, photographs, installations, films, and archive images will focus on the unique personality of the painter with the famous moustache, as well as on his obsessions with the strange and the supernatural, and his fascination with his wife Gala, his muse and collaborator.Emblematic masterpieces, such as The Persistence of Memory, the Face of Mae West (Usable as Surrealist Apartment), Atomic Leda, and the Temptation of Saint Anthony, highlight Dalí’s immense talent as a creator of new languages and unique canvases, inspired by the greatest masters of painting, ranging from Velasquez, Raphael, Michelangelo, and Vermeer to Millet.The latest production by Gianfranco Iannuzzi, Renato Gatto, and Massimiliano Siccardi will focus on the various facets of the artist’s approach: from his initial Impressionist- and cubist-inspired works to his mystical works with their religious themes, and his Surrealistic period to his work with the theatre, photography, and the cinema.

- IN COLLABORATION WITH THE DALÍ FOUNDATION

THE FIRST DIGITAL IMMERSIVE EXHIBITION DEVOTED TO THE OEUVRE OF DALÍ

PRODUCED BY GIANFRANCO IANNUZZI RENATO GATTO - MASSIMILIANO SICCARDI-WITH THE MUSICAL COLLABORATION OF LUCA LONGOBARDI

THE ENDLESS ENIGMADALÍ6 MARCH 2020 - 3 JANUARY 2021

Dossier de presse - Carrières de Lumières 1

In collaboration with the Dalí Foundation

More than thirty years after his death, Dalí and his ‘Paranoiac-Critical Method’ still resonates today. Visitors will discover, from a fresh perspective, the painter’s hallucinations and dreamlike delirium, which he channelled into artistic works. ‘Dalí, l’énigme sans fin’ (‘Dali: the endless enigma’), which will last for around forty minutes, will reflect the painter’s inner world in an almost hypnotic atmosphere.

The entire digital exhibition will be set to the music of Pink Floyd. Constantly experimenting and rejecting all rational mechanisms, these icons of painting and music shared a fantastical visual imagination, in which obsessive visions and technical virtuosity were blended. Dalí’s deep colours and extended and voluminous forms emerge on the walls to the sound of tracks from legendary albums such as The Dark Side of the Moon and The Wall, plunging visitors into a soaring, peaceful, and troubling world. This retrospective exhibition associated with the music of the legendary 1960s group, will take visitors on a timeless journey that awakens the subconscious and buried thoughts, in which Dalí’s oeuvre remains a mystery and an endless enigma.

In 2020, the Culturespaces Foundation will continue its educational and cultural mission with the Carrières de Lumières, via its national programme ‘Art en Immersion’ (‘Immersion in Art’) for 1,000 children aged between nine to eleven suffering from social exclusion.

2 Dossier de presse - Dalí, L’énigme sans fin

1 - PROLOGUE

The immersive exhibition’s introduction focuses on a symbol that was very dear to Dalí: the egg, represented in every form, was a significant element in his paintings. It originally symbolised the resurrection of Jesus Christ in the Christian religion and was the emblem of purity and perfection. For Dalí, the egg evoked a renaissance or a previous life. The combination of an egg’s hardness and softness with its shell and interior is an allusion to an intrauterine world. The egg is a strong symbol that he used in his works and placed near his house at Portlligat and at Torre Galatea de Figueres, his last residence, near the Dalí Theatre-Museum.

A multitude of dark fragments spread over the walls of the Carrières de Lumières: an egg floating in space. From the egg emerges Dalí, as though the artist were being reborn. He invites the viewers to be part of his surrealist world: ‘… come in, enter my mind’.

Visitors are then plunged into the heart of a sandstorm, or into a desert landscape taken from the works Trilogy of the Desert: Mirage (circa 1946), and The Phantom Cart (1933).

The Phantom Cart features a cart reminiscent of Dalí’s childhood: as a child, the artist travelled with his family from Figueres to Cadaqués.

THE IMMERSIVE EXHIBITION’S ITINERARY

Salvador Dalí, The Phantom Cart, 1933, oil on canvas, 19 x 24.1 cm, the Gala-Salvador Dalí Foundation,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


2 - CADAQUÉS

‘Linked forever with Portlligat and I am home only here; elsewhere I am camping out.’

Visitors will discover the works of the young painter and, in particular, those he painted at Cadaqués. The village was a constant source of inspiration that influenced his works. After views of Cadaqués, shown as the village appeared at the time, a large fresco emerges based on the artist’s early works. These works bring together two of Dalí’s favourite subjects: his sister Anna Maria and the coastline of Cadaqués, which he described as ‘by far the most beautiful place in the world’. Figure at a Window (1925), held in the Reina Sofía Museum in Madrid, appears: the young woman who is contemplating the sea at Cadaqués is Anna Maria, the artist’s model until 1929, when he met his future wife.

Dalí invited the members of the Surrealist group to Cadaqués. The fishing port attracted major figures such as Marx Ernst, Paul Eluard, René Magritte, and André Breton. Dalí met the artists after being suspended from the San Fernando Royal Academy of Fine Arts in Madrid in 1923. He subsequently joined the Surrealist group, which rejected logic and reason in their compositions.

He met Gala (who was at the time Elena Eluard, the wife of Paul) in the summer of 1929. Henceforth, they would always be together and Gala became Dalí’s muse until the end of her life. The couple moved to Portlligat in 1930. He gradually created a house—which is now a museum—, which Dalí described as ‘a true biological structure. Each new pulse in our life has its own cell, a room’.

1. Salvador Dalí, Landscape of Cadaqués, Port Alguer, circa 1919, oil on canvas, 36 x 38.5 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

2. Salvador Dalí, Figure at a Window, 1925, oil on canvas, 105 x 74,5 cm, the Museo Nacional Centro de Arte Reina Sofia, Madrid, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: M. C. Esteban/Iberfoto/Bridgeman Images

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3 - THE THEATRE-MUSEUM

Dalí’s visual imagery was formed by the landscapes of his childhood as well as by the European avant-garde artists and the theatre. His love of art and the theatre grew in the 1930s. Exiled in the United States, between 1940 and 1948, Dalí took part in various projects such as the creation of costumes, theatre sets, and opera and film scenarios. He created the sets for four ballets.

In October 1941, Dalí began working with the Russian choreographer Léonide Massine on Labyrinthe, a ballet based on the myth of Theseus, set to music by Schubert. He wrote the booklet and designed the costumes and sets. One of the sets represented a man’s enormous head, with a cracked skull and a doorway through his torso.

After the curtain is raised, the Carrières becomes a stage: the architectural and artistic elements of the ancient theatre, which later became the Dalí Museum, are highlighted to the rhythm of the music.

Inaugurated in 1974, the Dalí Theatre-Museum, considered to be one of the artist’s last works, was built over the vestiges of the former municipal theatre in Figueres. He wanted to create ‘the largest Surrealist object in the world’ and offer visitors a veritable experience.

‘I want my museum to be like a single block, a labyrinth, a great Surrealist object. It will be a totally theatrical museum. The people who come to see it will leave with the sensation of having had a theatrical dream.’

Salvador Dalí, Project for Labyrinthe, 1941, oil on canvas, 15 x 25.2 cm, private collection, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


4 - METAPHYSICAL SURREALISM

‘Each picture is a Mass in which I distribute the Eucharist of a knowledge. It is not about the gratuitousness of a spectacle, but rather an initiation to the Dalinian mystique.’

In 1930, Dalí presented his ‘Paranoiac-Critical Method’ in a theoretical essay entitled

‘L’Âne pourri’ (‘The Stinking Ass’, published in the magazine Le Surréalisme au service de la Révolution). Paranoia became his favourite approach. This method rendered the invisible manifest via a delirium of interpretation or the use of a double image in his works.

‘It is by a clearly paranoiac process that it is possible to obtain a double image, that is, the representation of an object which, without any figurative or anatomical modification, is at the same time the representation of another absolutely different object.’

His works assumed new meaning using this innovative approach. A metaphysical landscape emerges within the stone walls of the Carrières. The visitors are blinded by intense light and gradually the moving shadows and silhouettes of Millet’s reinterpreted work appear: the Angelus. Obsessed by this famous work (Jean-François Millet’s Angelus, 1857–1859), Dalí created a new composition, inspired by his ‘Paranoiac-Critical Method’.

Salvador Dalí, Reminiscence of Millet’s Angelus, circa 1934, oil on wood, 31.75 x 39.4 cm, the Dali Museum, St Peters-burg (Florida), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


The scene is linked to the Angelus prayer, a Biblical event in which two peasants are represented in a field. Dalí explained that he had Millet’s work analysed by the Musée du Louvre: the analysis revealed the presence of a rectangular form, probably a covered coffin to avoid shocking the public at the time.

For Dalí, deeply affected by the death of his brother Salvador three years before his birth, the Angelus is a contemplative scene. For him, the two figures in the picture have in fact just buried their child. In his version executed in 1934, Dalí represented the two figures and depicted them in a mystical context. Visitors are plunged into an intriguing landscape and then the work Atavistic Ruins after the Rain (1934) fills the exhibition space. In this work, the visitors can contemplate the rocks of the Cap Creus, reinterpreted by the artist.

‘All my eccentricities and my incoherent exhibitionism come from the one obsession of my life (...) I wish to prove to myself that I am not my dead brother, but the living one.’

Salvador Dalí, Atavistic Ruins after the Rain, 1934, oil on canvas, 65 x 54 cm,Private collection, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © Bridgeman Images


5 - EVOCATIONS

This sequence shows the grandiose frescos that Dalí composed, such as The Ecumenical Council (1960) and The Discovery of America by Christopher Columbus (1958). The latter, commissioned by Huntington Hartford for his modern art gallery in New York, figuratively represents the discovery of America. Painted at Portlligat, it is a huge canvas measuring 4.10 m by 2.65 m, which underlines the painter’s amazing imagination.

The exhibition space is invaded by thousands of bees that reveal the dream of the stretched out, sleeping Gala in Dream Caused by the Flight of a Bee Around a Pomegranate One Second Before Awakening (1944). Painted in the United States at the end of the Second World War, the canvas represents Gala levitating and asleep on a rock. The bee flying around her provokes Gala’s dream: everything is in a state of suspension and time has come to a stop.

In this sequence, visitors will also discover The Temptation of Saint Anthony (1946). This immense work, which is now held in Brussels, was created in New York and submitted to a competition held by the Loew Lewin Company, a film production company, and was intended to illustrate the cinematographic adaptation of Maupassant’s novel Bel Ami. In the end, it was Max Ernst who won the competition.

1. Salvador Dalí, Dream Caused by the Flight of a Bee Around a Pomegranate One Second Before Awakening, 1944, oil on wood, 51 x 41 cm, Museo Nacional Thyssen-Bornemisza, Madrid, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © 2020. Museo Nacional Thyssen-Bornemisza/ Scala, Florence

2. Salvador Dalí, The Discovery of America by Christopher Columbus, 1958, oil on canvas, 410.21 x 310.1 cm, The Dali Museum, St Petersburg (Florida), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

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Dalí’s Temptation of Saint Anthony, which measures 89.5 × 119.5 cm, attests to a technical mastery that is reminiscent of the great classical masters and a fantastical world featuring Surrealist animals. St Anthony is represented naked, in a position of weakness, in a desert, brandishing a cross. The animals—a huge horse, and a line of elephants with very long and tapering legs—represent the carnal or material temptations that have to be resisted. The picture brings together Dalí’s favourite themes: desire, dreams, fear, impulses, and mysticism.

Between 1969 and 1973, Dalí executed paintings to adorn the ceilings of the Petit Palais Albéniz in Barcelona, for the castle of Púbol, and for the grand salon of the former theatre which is now the Dalí Theatre-Museum. Amongst these paintings, Le Palais du Vent (1970–1973) is composed of five panels and represents Dalí and Gala. This work is like an idyllic promenade through his life’s dream.

Salvador Dalí, The Temptation of Saint Anthony, 1946, oil on canvas, 89.5 x 119.5 cm, Royal Museums of Fine Arts of Belgium, Brussels, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © Akg-images


6 - JEWELLERY AND MAE WEST

A painter, architect, and sculptor, Dalí designed high-class jewellery with his series of jewels created in New York in Carlos Alemany’s workshops. Between 1941 and 1970, while working on his paintings, he designed this jewellery with finesse and precision and also selected the materials used to make them (gold, precious stones, and pearls), according to their colour, value, and symbolic connotations. Each example is unique and has a Surrealist name (Œil du temps, Cœur royal, etc.). The ensemble, with its plant and animal motifs, symbols, hearts, and eyes, shows that Dalí was an artist with unlimited talent who was capable of expressing himself through various techniques and supports.

‘Without an audience, without the presence of spectators, these jewels would not fulfil the function for which they came into being. The viewer, then, is the ultimate artist. His sight, heart, mind—fusing with and grasping with greater or lesser understanding the intent of the creator—gives them life.’

The drawings of this jewellery executed by Dalí appear on the walls, against a black ground and are then replaced by other sculptures, three-dimensional installations, portraits, and collages. The famous set that used the face of Mae West fills the exhibition space.

Salvador Dalí, Space Elephant, 1961, yellow gold, emeralds, rubies, diamonds, aquamarine, and clock with Omega movement, 68 x 35.5 x 21 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


Mae West (1893–1980) was a Hollywood actress and sex symbol from the 1920s to the 1940s. Based on a photograph of the actress, Dalí created a Surrealist apartment: each part of her face was a part of the decor, furniture, motifs, and decorations. The objects were adapted from their usual use to create an ideal image. The eyes became paintings, the nose a fireplace, and the lips a red couch.

The colours used are a reference to the theatre and to Mae West’s profession, and a symbol of the mise in scène and reinterpretation of reality. In 1974, Dalí recreated the picture in three dimensions, with the help of the architect Oscar Tusquets.

‘Instead of an elusive Surrealist dream, […] create a dream that can be used as a living room.’

Salvador Dalí, Face of Mae West (usable as Surrealist Apartment), circa 1974, Installation, 50.2 x 76 x 58.7 cm, Fundació Gala-Salvador Dalí, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


7 - THE WORLD OF CINEMA AND PHOTOGRAPHY

Dalí was an artist obsessed with images and a highly publicised figure. This sequence focuses on Dalí’s work with photography and the cinema and with video performances, photos, and magazine covers. He co-wrote with Luis Buñuel the scenario of the film An Andalusian Dog (1929), which was based on their dreams (a hand covered in ants and a knife cutting an eye). Both artists created the scenario by rejecting all rational images and ideas. The sequences of the film transgress any narrative and traditional approach.

Dalí also worked with Alfred Hitchcock on The House of Dr Edwards in 1945. He created a dreamlike scene in which pianos, eyes, and scissors floated in the air. The following year, he worked on a project for a cartoon with Walt Disney, called Destino (1946), which was never completed.

The inventor of all kinds of images, Dalí met photographers such as Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman. In 1950, he become friends with Robert Descharnes, who worked with him for forty years. The photographer created the preparatory photos for his works and compiled the photographic and sound archives of the life of Dalí.

Dalí’s numerous films and photographs forged the unique identity of the artist and his fame.

Salvador Dalí, Project for The House of Dr Edwards, circa 1945, oil on panel, 88.8 x 113.1 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


8 - THE FIRST SURREALIST WORKS

This sequence presents the artist’s famous Surrealist works comprising fantastical figures and objects.

The Great Masturbator (1929) was one of Dalí’s first contributions to Surrealism. In this work he expressed his love for Gala and his obsession with psychanalysis nourished by Freud and his work The Interpretation of Dreams (1900). He represented his fears, desires, and memories. Surrealism enabled him to express his inner conflicts: he experimented with various Surrealist techniques involving images emerging from the unconscious, such as automatism.

In 1931, during a period of poverty and instability in Spain, Dalí painted his most famous work: The Persistence of Memory, which is now better known as ‘Soft Watches’. In his autobiography The Secret Life of Salvador Dalí, he explained that he was inspired by a runny Camembert cheese, which made him think about passing time. The picture features the rocks of Portlligat and deformed pocket watches indicating different times. One of them is covered with ants, a symbol linked with death. The work invites the viewers to liberate themselves from material constraints.

The landscape of Portlligat also features in the work The Spectre of Sex Appeal (circa 1934): in a creek at Cap Creus, Dalí depicted himself as a child in a sailor’s costume. He is standing opposite a huge figure that gives the painting its title. The crutches were also a symbol for the painter, and a metaphor of death and resurrection.

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1. Salvador Dalí, The Persistence of Memory, 1931, oil on canvas, 21.4 x 33 cm, The Museum of Modern Art, New York (anonymous donation, 1934), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 – Photo: © 2020. Digital image, The Museum of Modern Art, New York/ Scala, Florence

2. Salvador Dalí, The Spectre of Sex Appeal, circa 1934, oil on wood, 17.9 x 13.9 cm the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

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9 - DOUBLE IMAGES

The rocky landscape of Cap Creus introduces works that played on double images and simulacrum, the visible and the invisible, optical effects, and metamorphosis. A master in the art of deforming reality, Dalí was obsessed with the double image. With Swans Reflecting Elephants (1937) and Slave Market with the Apparition of the Invisible Bust of Voltaire (1940), he experimented with the reflection of objects and visual perception. Using video effects, the digital exhibition enables viewers to see the various levels of interpretation of these works.

Endless Enigma, created in 1938, is often considered to be a picture-manifesto. Several elements are visible: a mandolin, a salad bowl with pears, two figs on a table, a mythological beast, the face of the great cyclops, a greyhound, a reclining philosopher, the beach at Cap Creus, and a boat. The canvas, with its many images, conveys a series of endless meanings.

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Salvador Dalí, Slave Market with the Apparition of the Invisible Bust of Voltaire 1940oil on canvas, 46.2 x 65.2 cm, The Dali Museum, St. Petersburg (Florida) © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


10 - ATOMISATION

War became a part of Dalí’s oeuvre when the bombs were dropped on Hiroshima and Nagasaki in 1945, triggering fresh sources of inspiration. From the outset, Dalí was fascinated by sciences and the theory of relativity and astronomy. The atomic bomb made him interested in the atomic structure of matter. As the heir to the great masters of the Renaissance, Dalí reinterpreted sacred figures.

‘Everything is suspended in space without any contact.’

The exhibition space is then filled with blocks and elements floating in space like atoms floating in the universe. The pictures The Disintegration of the Persistence of Memory (1952–1954), Creation of Man (1954), and Raphaelesque Head Exploding (1951), appear and disappear in a continuous movement of decomposition and recomposition.

Galatea of the Spheres (1952) is one of the most representative works from the mystical-nuclear period. Gala’s face, composed of spheres, is fragmented, highlighting Dalí’s fascination with the theories of atomic disintegration.

‘The atomic explosion of 6 August 1945 shook me seismically. Thenceforth, the atom was my favourite food for thought.’

Salvador Dalí, Galatea of the Spheres, 1952, oil on canvas, 65 x 54 cm, the Gala-Salvador Dalí Foundation,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


11 - CHRIST ET GALA

As of the 1940s, Dalí turned to the Renaissance, classicism, and religious painting. Galarina (1945) attested to this return to the old masters: ‘I entitled it “Galarina” because Gala is for me what Fornarina was for Raphael.’

In Atomic Leda (1947–1949), he depicted Gala in a mythical episode: that of Leda seduced by Zeus transformed into a swan. In this work, with its levitating elements, the focus is on the laws of physics and gravity.

A great admirer of Leonardo da Vinci, Dalí painted The Sacrament of the Last Supper in 1955, which was inspired by the original work and measures 168.3 by 270 cm.

12 - THE NEOCLASSICAL INFLUENCE

Raphael and Michelangelo also greatly influenced Dalí’s pictures. Dalí used a highly classical and detailed technique, comprising carefully executed preparatory drawings.

In this sequence, visitors discover the stereoscopic works created by Dalí after Raphael ‘s works The School of Athens and The Fire in the Borgo.

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1. Salvador Dalí, Galarina, 1944/1945, oil on canvas, 66.2 × 51.1cmThe Gala-Dali Collection, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

2. Salvador Dalí, Atomic Leda, 1947–1949, oil on canvas, 61 x 46 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020


DALÍ: KEY DATES

11 May 1904: Dalí is born at Figueres. 1920: He studies at the Fine Arts Academy in Madrid. 1921: His mother dies in February. The following year, his father marries the sister of his

dead wife. 1922: In Madrid, he continues his studies at the San Fernando Royal Academy of Fine

Arts Special School of Painting, Sculpture and Engraving. Here, he makes friends with

important future intellectual and artistic figures, such as Luis Buñuel, Federico García

Lorca, Pedro Garfias, Eugenio Montes, and Pepín Bello, amongst others.

1926: He is expelled from the San Fernando Royal Academy of Fine Arts. He travels to Paris

for the first time. Here, he meets Picasso. Miró visits him at Cadaqués. Federico García

Lorca publishes his Ode to Salvador Dalí. 1929: In Paris, he co-directs An Andalusian Dog with Luis Bunuel. He meets André Breton.

He joins the Surrealist group and meets Gala Éluard. This period is marked by Freudian

psychoanalysis and the creation of his first double images.

1930: He develops the ‘Paranoiac-Critical Method’ via the publication of ‘L’Âne pourri’

(‘The Stinking Ass’) in the magazine Le Surréalisme au Service de la Révolution. Dalí and

Gala move to Port Lligat. 1936: On14 December, the magazine Time features a photo of Dalí by Man Ray on its

cover. 1939: He creates the costumes and sets for the ballet Bacchanale, which is performed in

New York. This is followed by the ballet Labyrinthe. Breton announces Dalí’s expulsion form

the Surrealist group. 1940: Upon the incursion of the German troops, Dalí and Gala go to the United States. He

begins to take an interest in jewellery making. 1942: He publishes his autobiography The Secret Life of Salvador Dalí. 1945: He works with Alfred Hitchcock on the film The House of Dr Edwards. 1951: Beginning of the period of ‘Nuclear Mysticism’.

1970: He announces the establishment of the Dalí Theatre-Museum in Figueres, which is

inaugurated in 1974. 1979: He paints his last works, inspired by Michelangelo and Raphaël. 1969: Dalí buys the castle of Púbol for Gala. 10 June 1982: Gala passes away. 23 January 1989: Dalí dies in Figueres, at the age of eighty-four.

‘At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been growing steadily ever since, along with my folly of grandeur.’


PRODUCTION TEAM

GIANFRANCO IANNUZZIGianfranco Iannuzzi creates immersive spaces and exhibitions. He redesigns and artistically restores the exteriors and interiors of many venues. His work is based on images, sound, and light, which are used as vehicles for sensorial expression.

LUCA LONGOBARDILuca Longobardi is a pianist and composer. He has opened up classical music to electronic experimentation. He mainly composes music for contemporary dance, artistic performances, and multimedia installations.

MASSIMILIANO SICCARDIMassimiliano Siccardi is a video maker and multimedia artist. He has developed research and production activities that integrate new technologies into installations and immersive exhibitions. His work focuses on moving images and their integration into artistic and theatre performances.

RENATO GATTORenato Gatto is a drama teacher and assistant director. He runs the Accademia Teatrale Veneta, a professional acting school in Venice. He is a teacher of vocal technique and participates in the Educational Project at the Gran Teatro La Fenice in Venice.


THE SOUNDTRACK OF ‘DALÍ: THE ENDLESS ENIGMA’

The soundtrack is based on the most famous Pink Floyd albums and original compositions by Luca Longobardi.

Shine On You Crazy Diamond, Parts 1–5 (Edited) - A Foot In the Door: The Best of Pink Floyd

Time (2011 Remastered Version) - The Dark Side of the Moon (2011 Remastered)

Atom Heart Mother - Atom Heart Mother

Sorrow (Live) - Pulse (Live)

If - Atom Heart Mother

One of these Days - Echoes: The Best of Pink Floyd

Another Brick In the Wall, Part 2 - A Foot In the Door: The Best of Pink Floyd

Hey You - A Foot In the Door: The Best of Pink Floyd

The Great Gig In the Sky (2011 Remastered Version) - The Dark Side of the Moon (2011 Remastered)

Atom Heart Mother - Atom Heart Mother

San Tropez - Meddle

Other compositions:

Parallelo and Conclusione - Anna Caragnano/Donato Dozzy

Figueres and Automa - Luca Longobardi


LES PINK FLOYD

The British band has left its mark on music history, with its technological experiments. The band formed in 1965, extending the boundaries of music, inventing new sounds, and experimenting with visual and musical techniques: they succeeded in perfecting the art of total performances. Their concerts were veritable shows—they used pyrotechnic effects, psychedelic lighting, and lasers. Their compositions contained references to art, cinema, literature and, in the 1970s, they embodied the spirit of a flourishing counter-culture.

With the albums Atom Heart Mother (1970) and Meddle (1971), Pink Floyd focused on experimental and progressive rock music. In 1973, Dark Side of the Moon, with its famous cover and the track Money, became one of the band’s greatest classics. The record was the third bestselling album in musical history. In 1979, the album The Wall became equally famous.

Their legendary album covers, designed by Storm Thorgerson (from the Hipgnosis agency), with their powerful and enigmatic images, were a blend of surrealism and humour.

With their instrumental passages, sound effects and long compositions, the band broke away from the usual codes. Pink Floyd created a musical world that still has great impact today both in terms of their sounds and their images.

‘Our artistic decision to create a link between Dalí and Pink Floyd was based on their shared surrealistic approach. With Luca Longobardi, we brought these two twentieth-century icons of painting and music together to create a surrealist meeting point using the “Paranoiac-Critical Method” as defined by Dalí to describe his own creative process.’

Gianfranco Iannuzzi


GAUDÍ: THE ARCHITECT OF THE IMAGINARY

The Cutback studio will also present a work that has been specifically produced by CULTURESPACES DIGITAL® for the Carrières de Lumières. ‘Gaudí, architecte de l’imaginaire’ (‘Gaudi: the Architect of the Imaginary’) will focus on Antonio Gaudí, who was a great source of inspiration for Dalí. His works from the beginning of the twentieth century, which were initially described as whimsical and provocative, were defended by Dalí. The painter published an article entitled ‘De la beauté terrifiante et comestible de l’architecture modern style’ (‘Of the Terrifying and Comestible Beauty of Modern Style Architecture’) in 1933, which marked a renewed interest in Art Nouveau.

The immersive exhibition will pay tribute to the ingenious architect via his modernist buildings that have now been listed as UNESCO World Heritage sites. It takes visitors on a journey that embraces dreams and reality, ranging from the Parc Güell, the Casa Batlló, and the Casa Milà to the Sagrada Família.

Via an interplay of light and materials, the Carrières de Lumières will take on the appearance of hyperbolic vaults, oblique pillars, and undulating facades, and will be adorned with organic motifs and glass and ceramic mosaics. An imaginary city will be created to the sound of Gershwin’s musical curves. Visitors will be able to observe the Catalan light over a day, reflecting the spiritual illumination of the artist, who succeeded in giving the abstract artistic form.

The sun rises on the Güell Park, illuminating the visitors amidst the mouldings, columns, and The visitors then ‘walk’ through the Casa Batlló. Great revolving and spiral movements, and Art Deco forms float in space. At the end of the afternoon, the visitors ‘leave’ the Casa Batlló to contemplate its marvellous and colourful façade. But, little by little the other side

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of this house, also known as ‘la casa del ossos’ (‘The house of bones’), takes shape: bones, enormous tibias, giant eye sockets, and threatening forms materialise in the Carrières.

This terrible imagery leads to a vesperal contemplation of the portal of the Passion de la Sagrada Família, about which Gaudi remarked: ‘Some might find this façade overly extravagant, but I wanted it to go so far as to instil a sense of fear in people (…) in order to give an idea of the cruel pain of the sacrifice’. Visitors are then taken into the basilica where they discover the four grandiose bell towers. They are then plunged into a dreamlike vision of the basilica in the evening, via an interplay of lights, reflections, and the diffuse light of the stained-glass windows: the Catalan architect’s major work is bathed in a fiery light. The sequence concludes with the sun—in the form of a rose window with a thousand rays—setting in the Carrières de Lumières.

Comprising spirals, bright colours, and colossal and towering buildings, ‘Gaudí, architecte de l’imaginaire’ (‘Gaudi: the Architect of the Imaginary’) will highlight the Catalan architect’s limitless creativity and bold projects.de l’imaginaire » met en relief la création sans limite et l’audace de l’architecte catalan.

Projected after ‘Dalí: the Endless Enigma’.Duration: 10 minutes

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CULTURESPACES, THE EXHIBITION’S PRODUCER

Founded in 1990, Culturespaces is the leading French private actor in the global management and promotion of museums and cultural and heritage sites; Culturespaces is the leading creator of digital art centres and immersive exhibitions in France and abroad; it also produces cultural events and exhibitions.

With CULTURESPACES DIGITAL®, Culturespaces is the leading international cultural operator with specialised teams and comprehensive expertise, combining the design and creation of digital art centres, the technological competence for the diffusion and production of immersive digital exhibitions, the presentation of classical, modern, and contemporary artists, and the organisation of festivals.

CULTURESPACES DIGITAL® IS EMPLOYED:

> in monumental sites of interest (historical monuments, quarries, mines, abandoned factories, halls, etc.); > with monumental dimensions, with a surface area exceeding 2, 500m², and a minimum height of 8 m; > in venues in which there is complete darkness during the projection of the exhibitions.

‘As President of Culturespaces, it has been my ambition to transmit a passion for art to as many people as possible. In 2012, Culturespaces went digital with monumental immersive digital exhibitions, in the Carrières de Lumières in Les Baux de Provence, which were an entirely new and refreshing approach to presenting the works of the great masters. Since 2018, Culturespaces has used new technologies to create digital art centres that are entirely devoted to immersive exhibitions. With CULTURESPACES DIGITAL®, our vocation—cultural transmission—is taking on a completely new dimension in major cities around the world.’

Bruno Monnier, President of Culturespaces


THE CULTURESPACES FOUNDATION

Established in 2009, the Culturespaces Foundation has enabled children who are made vulnerable by illness, or suffer from a handicap or social exclusion to have unique artistic and cultural experiences that stimulate them and help them develop and fulfil themselves creatively.

Art en Immersion (‘Immersion in Art’): a unique artistic experience for 1,500 vulnerable children in Région Sud and the Occitanie region

KEY FIGURES FOR THE 2020 ‘ART EN IMMERSION’ PROGRAMME:5000 children

4 regions & 10 départements 300 visits 300 creative workshops

350 educational kits 160 educational establishments

www.fondation-culturespaces.com

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The educational and cultural programme Immersion in Art is an innovative way of understanding art in which digital technology is the vector for the transmission of knowledge. Composed of four parts, the programme develops children’s general cultural awareness and creativity through educational activities before and after their visit to the Carrières de Lumières.

The programme has been implemented in the Région Sud and in Occitanie since March 2019 as part of a partnership with the Académie d’Aix-Marcheille.

A programme that promotes awareness of art, composed of four parts :

ÉTAPE 1 : AN EDUCATIONAL WORKSHOPThe aim is to familiarise the pupils with the artists’ world.ÉTAPE 2 : A VISIT OF THE CARRIÈRES DES LUMIÈRESThe children visit the immersive exhibition.ÉTAPE 3 : A CREATIVE WORKSHOPThe visit is followed by a new workshop in which the children are able to express their immersive experiences in an artistic form. ÉTAPE 4 : A ‘MINI’ EXHIBITIONThe children will be able to share this immersive experience with their families with an exhibition of their own works.

Programme sponsors:

https://www.fondation-culturespaces.com/fr/home

https://www.fondation-culturespaces.com/fr/home


Now a highly popular site in Provence, the Carrières de Lumières are located at the foot of the town of Les Baux-de-Provence, in the heart of the Alpilles, in a truly mysterious area: the Val d’Enfer.

The Carrières were exploited over the years to extract the white limestone that was used for many buildings in the Saint-Rémy region. In 1935, the economic competition of modern materials led to the closure of the Carrières. Henceforth, they had a different purpose thanks to Jean Cocteau’s vision. Fascinated by the beauty of the exceptional mineral concretions, he decided to use the site for his film Le Testament d’Orphée (The Testament of Orpheus) in 1959. Today, the Carrières de Lumières is screening a sixteen-minute film that retraces the artist’s life in the Salle Cocteau. This short film was directed by Nicolas Patrzynski and produced by Hugues Charbonneau, with the support of the Comité Cocteau.

The transformation of the Carrières materialised in 1976 with the development of a new project intended to make the most of the site by using the huge rocky walls as supports for sound and light performances. For more than thirty years, the Carrières du Val d’Enfer have hosted these audio-visual shows which were inspired by the work of Joseph Svoboda, one of the greatest scenographers of the second half of the twentieth century.

Since 2012, Culturespaces has been presenting digital exhibitions that immerse visitors in the pictorial universe of the major masters in the history of art over a projection surface of 7,000m² that extends from the floor to the ceiling.

The Carrières de Lumières is now a venue for transversal experimentation and cultural dissemination. In 2017, the Carrières de Lumières won the ‘Thea Awards’, a prize for the best immersive artistic production.

THE CARRIÈRES DE LUMIÈRES

THE CARRIÈRES IN KEY FIGURES:100 video projectors

30 speakers

7000 m² of projection surface (walls + floors)

16 m high


PRESS IMAGES

Salvador Dalí: Atomic Leda (detail), 1947–1949, oil on canvas, 61 x 46 cm, Fundació Gala-Salvador Dalí; Inaugural Goose Flesh (detail), 1928, oil on cardboard, 76 x 63.2 cm, Fundació Gala-Salvador Dalí; Dream Caused by the Flight of a Bee Around a Pomegranate One Second Before Awakening (detail), 1944, oil on wood, 51 x 41 cm, Museo Nacional Thyssen-Bornemisza, Madrid, © 2020. Museo Nacional Thyssen-Bornemisza/Scala, Florence; Moment of Transition, 1934, oil on canvas, 54 x 65 cm, Private collection, © akg-images; The Disintegration of the Persistence of Memory (detail), 1952–1954, oil on canvas, 25,4 X 33 cm, The Dali Museum, St Petersburg (Florida); Le Palais du Vent (detail), 1970–1973, oil on canvas, 579 x 1150 cm, Fundació Gala-Salvador DalíFor all of Salvador Dalí’s works: © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020Culturespaces/Nuit de Chine

Salvador Dalí: Pieta (detail), 1958, oil on canvas, 115 x 123 cm, private collection, Photo © Christie’s Images/Bridgeman Images; Atomic Leda (detail), 1947–1949, oil on canvas, 61 x 46 cm, the Gala-Salvador Dalí Foundation; Dream Caused by the Flight of a Bee Around a Pomegranate One Second Before Awakening (detail), 1944, oil on wood, 51 x 41 cm, Museo Nacional Thyssen-Bornemisza, Madrid © 2020. Museo Nacional Thyssen-Bornemisza/Scala, Florence; My Wife, Nude, Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky, and Architecture (detail), 1945, oil on wood, 61 x 52 cm, private collection © Bridgeman Images; The Persistence of Memory (detail), 1931, oil on canvas, 21,4 x 33 cm, The Museum of Modern Art, New York (anonymous donation, 1934) © 2020. Digital image, The Museum of Modern Art, New York/Scala, Florence

For all of Salvador Dalí’s works: © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

Culturespaces/Nuit de Chine


1. Salvador Dalí, Landscape of Cadaqués. Port Alguer, circa 1919, oil on canvas, 36 x 38.5 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 2. Salvador Dalí, The Persistence of Memory, 1931, oil on canvas, 21.4 x 33 cm, The Museum of Modern Art, New York (anonymous donation, 1934),© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 – Photo: © 2020. Digital image, The Museum of Modern Art, New York/ Scala, Florence

3. Salvador Dalí, Project for Labyrinthe, 1941, oil on canvas, 15 x 25.2 cm, private collection, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

4. Salvador Dalí, Slave Market with the Apparition of the Invisible Bust of Voltaire, 1940oil on canvas, 46.2 x 65.2 cm, The Dali Museum, St. Petersburg (Florida), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

5. Salvador Dalí, Archaeological Reminiscence of Millet’s Angelus, circa 1934, oil on wood, 31.75 x 39.4 cm, the Dali Museum, St. Petersburg (Florida), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

6. Salvador Dalí, The Temptation of Saint Anthony, 1946, oil on canvas, 89.5 x 119.5 cm, Royal Museums of Fine Arts of Belgium, Brussels,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © Akg-images

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7. Salvador Dalí, Figure at a Window, 1925, oil on canvas, 105 x 74.5 cm, Museo Nacional Centro de Arte Reina Sofia, Madrid, © Salvador Dalí, Fundació Gala-SalvadorDalí, ADAGP 2020 - Photo: M. C. Esteban/Iberfoto/Bridgeman Images

8. Salvador Dalí, Dream Caused by the Flight of a Bee Around a Pomegranate One Second Before Awakening, 1944, oil on wood, 51 x 41 cm, Museo Nacional Thyssen- Bornemisza, Madrid, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © 2020. Museo Nacional Thyssen-Bornemisza/ Scala, Florence

9. Salvador Dalí, My Wife, Nude, Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky, and Architecture, 1945, oil on wood, 61 x 52 cm, private collection, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 – Photo: © Bridgeman Images

10. Salvador Dalí, Atomic Leda, 1947–1949, oil on canvas, 61 x 46 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

11. Salvador Dalí, Galarina, 1945, oil on canvas, 66.2 × 51.1cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

12. Salvador Dalí, The Discovery of America by Christopher Columbus, 1958, oil on canvas, 410.21 x 310.1 cm, the Dali Museum, St. Petersburg (Florida),© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

13. Salvador Dalí, Pieta, 1958, oil on canvas, 115 x 123 cm, private collection, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 – Photo © Christie’s Images/Bridge-man Images

14. Salvador Dalí, Project for The House of Dr Edwards, circa 1945, oil on panel, 88.8 x 113.1 cm, the Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

15. Salvador Dalí, Phantom Cart, 1933, oil on canvas, 19 x 24.1 cm, the Gala-Salvador Dalí Foundation,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

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16. Salvador Dalí, Memory of the Child-Woman, 1929, oil and collage on canvas, 140 x 81 cmMuseo Nacional Centro de Arte Reina Sofia, Madrid, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

17. Salvador Dalí, Face of Mae West (Usable as Surrealist Apartment), circa 1974, Installation, 50.2 x 76 x 58.7 cm, the Gala-Salvador Dalí Foundation,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

18. Salvador Dalí, Soft Self-Portrait with Fried Bacon, 1941, oil on canvas, 61 x 51 cmGala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

19. Salvador Dalí, Galatea of the Spheres, 1952, oil on canvas, 65 x 54 cm, Gala-Salvador Dalí Foundation © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

20. Salvador Dalí, Atavistic Ruins after the Rain, 1934, oil on canvas, 65 x 54 cm, Private collection,© Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020 - Photo: © Bridgeman Images

21. Salvador Dalí, The Spectre of Sex Appeal, circa 1934, oil on wood, 17.9 x 13.9 cm Gala-Salvador Dalí Foundation, © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

22. Salvador Dalí, Soft Construction with Boiled Beans (Premonitions of the Civil War), 1936, oil on canvas, 99.9 x 100 cm, the Dali Museum, St. Petersburg (Florida), © Salvador Dalí, Fundació Gala-Salvador Dalí, ADAGP 2020

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Simulation of ‘Gaudi: the Architect of the Imaginary’, © Cutback


EXHIBITION AT THE CASTLE OF LES BAUX-DE-PROVENCE

Come and discover the exhibition of photographs that illustrate the personal and artistic life of Gala—Salvador Dalí’s muse and companion for more than fifty years.

For the first time in France, the exhibition retraces the exciting life of Gala —a major figure in modern art—through around thirty large-format photographs. The exhibition complements ‘Dalí: the endless enigma’, an immersive digital exhibition in the Carrières de Lumières.

Gala, who was photographed by major photographers such as Man Ray and Cecil Beaton, surrounded herself with intellectuals and artists throughout her life. She played a role in the major artistic developments in the first half of the twentieth century.

Via photographs of Gala and her entourage (Salvador Dalí, René Char, René Crevel, Paul Eluard, Max Ernst, etc.) and reproductions of paintings by Salvador Dalí and Max Ernst, the exhibition itinerary takes visitors on a journey into Gala’s life.

Some of the photos were taken during her childhood while others shed light on her relationship with Paul Eluard and the Surrealist circles. Lastly, the exhibition shows the Gala Dalí couple, their life in Port Lligat, and their artistic collaboration.

Exhibition curator: Marc-Ernest Fourneau, editor, lecturer, bookseller, and translator.


ADDRESS Route de Maillane 13520 Les Baux-de-Provence

OPENING TIMES Open every day: January, November, and December: 10 a.m.–6 p.m. March: 9:30 a.m.–6 p.m. April, May, June, September, and October: 9:30 a.m.–7 p.m. July and August: 9 a.m.–7:30 p.m. Last admission 1 hour before closing time. The cultural gift shop is open during the Carrières opening times.

ACCESS The Carrières are located 800 metres from the Castle of Les Baux, 15 km to the north-east of Arles and 30 km to the south of Avignon.

The Carrières de Lumières are entirely accessible for people with reduced mobility.

RATES Regular admission: €13 Senior rate (over 65): €12 Discounted admission: €1 (students, jobseekers, disability card holders, ‘Pass Education’ card holders—on presentation of valid proof of entitlement) Young person’s rate (aged 7–25): €11 Family rate (2 adults + 2 children): €37 Free admission for children under 7 (on presentation of valid proof of entitlement).

PRESS CONTACTS CLAUDINE COLIN COMMUNICATION T. +33 (0)1 42 72 60 01 Christelle Maureau : [email protected] I +33 (0)6 45 71 58 92

FUNDACIÓ GALA-SALVADOR DALÍImma Parada : [email protected] I +34 972 677 518www.salvador-dali.org

WEBwww.carrieres-lumieres.com

#CarrieresDeLumieres

PRACTICAL INFORMATION

PARTNERS

UNE CRÉATION GIANFRANCO IANNUZZI - RENATO GATTO - MASSIMILIANO SICCARDI

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DALÍSANS FINL’ÉNIGME

AVEC LA COLLABORATION MUSICALE DE LUCA LONGOBARDI

mailto:christelle%40claudinecolin.com?subject=

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http://www.carrieres-lumieres.com


Route de Maillane 13520 Les Baux-de-Provencewww.carrieres-lumieres.com

#CarrieresDeLumieres

PRESS CONTACTAgence Claudine Colin CommunicationChristelle Maureau [email protected] T. +33 (0)1 42 72 60 01

http://www.carrieres-lumieres.com

Documents

THE ENDLESS ENIGMA · The new immersive exhibition entitled ‘Dalí, l’énigme sans fin’ (‘Dali: the endless enigma’) will encompass more than sixty years in the career of