Visiting Leornora’s House

Cecilia Alemani, Angela Vettese, Marina Warner, and Joanna Moorhead talk about encountering Leonora Carrington

Catching up on my viewing as it seems to be one of the few things my exhausted brains can comprehend. Art — especially art by my trimulierate Carrington, Varo & Fini — is sustaining me when I am running on fumes and finally admitting to that fact. I am doing better about not taking on things for the most part, and with considerable regret cancelled a couple of things I was quite looking forward to doing. But I cannot. I don’t know why it took me so long to come to this realisation that was probably apparent to anyone around me — except of course the only person around me for many months has advanced Alzheimer’s so he’s not really in a position to notice anything.

Alemani put the Milk of Dreams theme together and talks about the inspiration from Carrington. Warner you’ve doubtless read or at least heard of because she writes so much on myth and fairytale and related topics. She got to know Carrington in New York and they spent a lot of time discussing topics of mutual interest. Moorhead is Carrington’s cousin (about whom I’ve written before) and brought wonderful images of the places her cousin has lived including the house at Saint Martin d’Ardeche, which still has art by Carrington and Ernst. And of course the magical kitchen in Mexico:

So many conversations around the kitchen table that must still echo in the walls; love the peacock table cloth!

I hope that eventually the house is opened to visitors like La Casa Azul (oops that reminds I have written up the Broad visit for the Frida Kahlo exhibit). There’s supposed to be a place for scholars to work on the archive. How I would love to arrange that. Both Warner and Moorhead lamented how (relatively) little has been written on her writings [I’m trying to address that myself!] and how there is MORE to be uncovered. Making things difficult of course was her own indifference to her legacy (at least in practical terms). Fortunately there is more information coming out all the time, thanks to social media accounts (like this one) dedicated to her memory and art.

A surreal collection of hybrid creatures in a room? space? the geography of which is seemingly impossible.
Sanctuary for Furies. 1974.