My life is a collage, with time cutting and ar- ranging the materials and laying them down, overlapping and contrasting, sometimes with the fresh shock of a surrealist painting
, wrote Eileen Agar, photographer and painter, associated with the Surrealist movement who, like Colette Omogbai, attended the Slade School of Fine Art—almost exactly 40 years earlier, be- tween 1925 and 1926. The repetition of a certain phrasing in connection with Colette Omogbai, a pioneering Nigerian painter, “who identified as a Surrealist,” sent us looking into histories of surrealisms. The plural here is important, be- cause there are indeed many invocations and occupations of the surrealist movement, into various geographies, subject to (mis-)interpretation. Here, trying to arrange encounters between people, dates, poems, moods, ambi- tions, images—that never met, but maybe did— became a sort of spiral of conversations amid cracks, breaches, and intervals, interstices and discontinuities, allowing the in-between to vibrate in negotiations.

Women on Aeroplanes begins to multiply. In the fall of 2018 alone, there is the eponymous exhibition at The Showroom in London, curated in association with The Otolith Collective (2 October 2018 to 26 January 2019); Niepodległe: Women, Independence and National Discourse at The Museum of Modern Art, Warsaw, curated by Magda Lipska (26 October 2018 to 3 February 2019); and the resonance chamber of these and other activities at Iwalewahaus at the University of Bayreuth. The project generates a variety of forms and accompanying discourses. The Inflight Magazine keeps company as a kind of flying gallery of its own…

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