It is difficult for anyone today to dare publish a surrealist magazine of this size, reminiscent of the liberation of Imagination project. The surrealist project, in the eyes of most of its pioneering heroes took its historical place, and became the property of all without stigmatizing surrealism, and on this basis, Jean Schuster (1969) issued his famous Statement “”The forth song ” « Le quatrième chant » that ended Surrealism as a historical movement, and started the eternal surrealist forum that helps enlighten all the dreamy characteristics and to enjoy them. It enables the dream to be in practical life, a component involved in determining human destinies.
This means that the new artist must engage in a coherent activity that restores the principles of eternal surrealism that does not change faith in love, and glorify love and trust in the revolutionary energies stored in the language, and the revolutionary energies inherent in social relations, engage in one of these energies and conflict without compromise against all forms of police, intellectual and religious oppression.
But there are those who misunderstood the statement, and surrealism subsequently dispersed into (bands / groups / teams). This can be confirmed as soon as we meet with surrealists who are united in France, England or America, until we feel the weight of publishing a surrealist magazine. The “room” group understands that this solution to the Surrealist movement is that it has crossed the historical boundaries, and fenced in ownership of surrealist heritage, and started engaging in the one true movement.
From this consideration, the artist Mohsen elBelasy worked with his accomplices (Yasser Abdel-kawy, Craig Wilson, Thomas D. Typaldos and Ghadah Kamal), for more than a year to build a skyscraper made up of a single “room” populated with writings, drawings, images, banners and collages. To reaffirm the importance of the surrealist movement today, the “room” came to be the lookout for a fire of creativity, to burn all literary ideologies committed to artistic unoriginal ideologies living in their swamps that modern Arab poetry resides to this day.
The artistic design, sometimes anarchistic, often coherent, expressed a vibrant dreamlike sense of composition, helping the reader’s eye to penetrate the walls of his home. It is enough for the reader to print the issue on slick printer’s paper, and paste it on the walls of his room, to feel the objects and sounds of freedom.
The first issue of “The Room” is rich and stimulating, craved by the imagination of the Arab reader in an adventure of free writing. A dive into the most beautiful spirit of man: imagination and poetry. I liked this combination of texts written directly in Arabic, along with translated versions of these texts, and through texts extracted from the heritage of the Egyptian group “Art and freedom”. In addition to the fact that the “Room ” is the best view of surrealist activities that are blacked out today in the cities of the world.
First of all, it is the most radical, independent, open-minded current in writing activity in the Arab world today. It is the legitimately new born, most aware of the eternal sparks of Surrealism. “The room” is a message to everyone: open your houses and let the open Surrealist air clean your rooms with oxygen, release your imagination in the face of all complicity with the existing conditions; make the bones of tradition to become an ashtray of the cigarettes of desire, make your decisions through your conscience, and not by belonging to this doctrine or that ideology…
In short: dream and trust what you dream, the dream is the “sleeping guard”, as Freud discovered. A sincere greeting from André Breton, who once said that surrealism would return from the East, to Mohsen el-Belasy and his companions.
Abdulkadir al Janabi’s Article published in 22 January 2020 in elaph
Link of the original essay in arabic