BRIGITTE NICOLE GRICE – Büro Desurrealismus – Aug 7, 9pm

Brigitte Nicole Grice‘s BÜRO DESURREALISMUS 

becomes an open and operating Büro on 
Friday, August 7th, 
9 pm at State of the Art, Mansteinstrasse 2, 
beginning with a triple film screening

I. Germaine Dulac’s “La sourinate Madame Beudet” (1923)
II. Luis Buñuel and Salvador Dali’s “Un Chien Andalou” (1929, with updated soundtrack)
III. Luis Buñuel’s “Land Without Bread” (1933) 

Büro Desurrealismus is a story, a question, a myth, a destabilized spectacle, a line drawn in the sand, a revolving ballerina in a box, a dance of eros flung across a depletion of American dreams that spread across the world, a politics in question to corrosion, a march of golden trumpets, a drowning of Disneyland happy afters, a refusal to the pornographic Young Girl, artists gathering on uneven grounds and walking down planks of gray, a flooding of tear drops, a full glass of wine, a hand holding, a note sung of joy, a sharing, an intimacy of differences, a healing, a reflection, a honest despair to the derelict in a disheveled and decaying world, a spirit, a revolt of revolving and open doors, a secret, a lineage of consciousness, a saying no, an evolution, a rewriting, a reliving, a reading, a listening, and, at its base, a living and question of what that means today for the human and rising dehumanizing conditions worldwide and the role of the artist inside such a difficult, and privileged, of situations. The Büro operates as a meeting ground for friendships and to think, experiment, play, explore, experience in presence and poetics to address what it means to be in this world with mingling intimacy and question of what does the spectacled and commodified image of surrealism, perhaps just a surrealist shell, mean in our times and what ever could subversion look like in our present state. How can the artist respond to the times and the world and to the integrity of themselves in both life and work?

The Büro Desurrealismus, in homage and question to the past lineage and centralized office of the Bureau de Recherches Surréalistes in 1924, will open its door for a window of 2 hours Monday through Saturday, although the hours will be unannounced and operate on a strict schedule of spontaneous chance with always a mailbox if openings are missed and physical remnants are wished to be collected, dropped, shared.

In addition, the Büro Desurrealimus will hold weekly film screenings and discussions that will dissect a widening history of surrealist tenets, films addressing the possibilities and failures of revolutions and works that have predicted, shaped or critically responded to our contemporary conditions in the world. The Büro stands not in the sake of a movement, but more in the sense of an open, honest and spiritual reflection to times of chaos not in the sake of nostalgia for a past but rather as a contemporary prompt to inquire where a question of revolution and the arts can situate itself and what forms of past patriarchal foundations, imposed status-quo technologies and enlarged bureaucratic structures has prohibited or enabled the existence of life in a non-hegemonic and surreal-spirited of forms.

Keeping with the question of intimacy and in an increasingly privatized world maybe the secret is the only way out, because of such not all occurrences at the Büro will be announced here, and if you find yourself drawn to the unannounced synchronicity of private rituals of healing, music note making, political rants of frustrated feelings, meditation, daisy dances with daily midnight oil burning, spiritual knife sharpening, life drawing and other poetical ruptures inside and outside the Büro, please email Brigitte directly at


“The Surrealists have attempted to stress the fact the artist has a duty to tackle the social problems for which he is particularly fitted. Rather than becoming a militant political agitator his approach should be more from the moral and psychological point of view. No revolution can be complete unless it is moral as well as economic.” – Roland Penrose from his speech “Why I am a Painter” (1938)

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