{"id":123772,"date":"2018-04-04T11:00:25","date_gmt":"2018-04-04T15:00:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=123772"},"modified":"2018-04-03T15:49:13","modified_gmt":"2018-04-03T19:49:13","slug":"the-chimerical-creatures-of-unica-zurn","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/04\/04\/the-chimerical-creatures-of-unica-zurn\/","title":{"rendered":"The Chimerical Creatures of Unica Z\u00fcrn"},"content":{"rendered":"
\"\"<\/a>

Left: Unica Z\u00fcrn, Untitled<\/em>, 1965. Right: Unica Z\u00fcrn. \u00a9 Verlag Brinkmann & Bose, Berlin.<\/p><\/div>\n

 <\/p>\n

In 1970, after over a decade of intermittent hospitalization for mental illness, Unica Z\u00fcrn committed suicide by jumping out the window of the apartment of her longtime companion, the Surrealist artist Hans Bellmer. Z\u00fcrn is best known as the author of anagrammatic poetry and the semi-biographical novellas Dark Spring<\/em> and The Man of Jasmine<\/em>, but she was also a visual artist. She had a preternatural skill for creating phantasmagorical worlds. Her pen-and-ink drawings were exhibited at galleries throughout Paris and Berlin, and she participated in the 1959 International Surrealist Exhibition. Her artistic practice, often eclipsed by that of her husband, confounds her literary legacy.<\/p>\n

\"\"<\/a>

Untitled<\/em>, 1959.<\/p><\/div>\n

 <\/p>\n

Z\u00fcrn was born in 1916 and raised in the Gr\u00fcnewald suburb of Berlin. Her father\u2014a writer, editor, and cavalry officer whom she adored\u2014was frequently absent, and she detested her mother and older brother. In Dark Spring<\/em>,\u00a0<\/em>she alludes to suffering verbal and emotional abuse from her mother and being raped by her brother. When she finished school, she began working for Germany\u2019s national film company, Universum Film AG. She claimed to know nothing about the violence being committed by the Nazi\u2019s until 1942, when she heard an underground radio broadcast describing the conditions of the concentration camps. That same year, at the age of twenty-six, she married Erich Laupenm\u00fchlen, a much older wealthy man who worked for Leitz Cameras, manufacturer of the Leica camera. Seven years later, they divorced, and because she had no money to pay for a lawyer or to provide for her children, she lost custody. In 1953, while working as a freelance writer for West Berlin newspapers, she attended an exhibition of Bellmer\u2019s work at Galerie Springer. Shortly after, she abandoned her freelance writing in Berlin (her final radio play aired in 1954) and moved with Bellmer to Paris. There they lived a largely reclusive life in various hotels. She became pregnant multiple times, but never again gave birth. Z\u00fcrn endured many back-alley abortions during her second marriage.<\/p>\n

 <\/p>\n

\"\"<\/a>

Z\u00fcrn with Hans Bellmer in their apartment.<\/p><\/div>\n

 <\/p>\n

With Bellmer as her entr\u00e9e, Z\u00fcrn met Paris\u2019s leading Surrealists. She began experimenting with anagrammatic poetry and \u201cautomatic drawing,\u201d in which the artist\u2019s hand moves freely across the page in an attempt to express the unconscious. In 1954, she produced Hextentexte<\/em> (Witches\u2019 Writings<\/em>), an illustrated manuscript consisting of five drawings and corresponding anagrams. Z\u00fcrn had a sophisticated conception of the relationship between words and images. One drawing, accompanying a text titled \u201cWir leben den Tod\u201d (\u201cWe Love Death\u201d), portrays a sprightly creature with an alligator-like beak, marching in profile, its body covered in highly detailed patterns. Another drawing depicts a flying creature with multiple wings and thin, scaly arms\u2014it looks like the animal kingdom\u2019s equivalent to an antiquated airplane. The anagrams\u2014filled with motifs of death, love, and sorrow\u2014invest the images with a sense of melancholy. At the same time, the chimerical creatures\u2014rendered in black India ink\u2014invest the writing with an ineffable joy.<\/p>\n

In Oracles and Spectacles<\/em>, an unpublished book of drawings and anagrams from the 1960s, Z\u00fcrn\u2019s filigree lines form interconnected faces, dizzying swirls of human and cephalopod-like bodies that billow through the picture plane like clouds of smoke. She employs the Surrealist practice of automatic drawing, but her gossamer line work and fantastical flourishes evoke decorative motifs of Art Nouveau and grotesqueries.<\/p>\n

 <\/p>\n

\"\"<\/a>

Untitled<\/em>, 1961.<\/p><\/div>\n

 <\/p>\n

In her personal life, Z\u00fcrn located her sense of identity in her relationships with others, particularly men. She embraced Bellmer\u2019s dominance: the original manuscript of her novel The Man of Jasmine<\/em> attributes authorship to \u201cthe wife of Hans Bellmer.\u201d She fell passionately enamored of the Surrealist writer Henri Michaux, whom she saw as the embodiment of the original \u201cman of Jasmine,\u201d a recurring figure from her childhood dreams whom she describes as her \u201cimage of love.\u201d According to the art historian and literary critic Mary Ann Caws, Z\u00fcrn once said, \u201cI always need a companion to tell me what to do \u2026 They just have to say, Now you do this, now you do that.\u201d<\/p>\n

In The Man of Jasmine<\/em>, she describes an anonymous \u201csomeone\u201d traveling through the body of the narrator, modeled in her image, and turning it into his home. This sense of housing an other echoes her feeling of being divided between two roles\u2014that of the artist and that of the passive muse. The\u00a0Trumpets of Jericho<\/em>, her most sophisticated and novelistic anagrammatic work, begins with an unwanted pregnancy and a rejected baby. Here, repulsion simmers beneath the surface of creation. The child, the product of one of seven possible lovers, is deformed and monstrous, a \u201chideous creature.\u201d Yet his birth gives rise to a dreamlike fantasy recounted through fluid prose poetry.<\/p>\n

 <\/p>\n

\"\"<\/a>

The Trumpets of Jericho.<\/em><\/p><\/div>\n

 <\/p>\n

Z\u00fcrn\u2019s artistic practice was inextricable from her bouts of mental illness. She produced the majority of her art during the years she spent in mental institutions. Her work reflects the sense of being observed by both staff and fellow patients in the institution. Z\u00fcrn\u2019s drawings are populated with eyes and faces that overlap and emerge from one another, sometimes in claustrophobic masses and other times as what appear to be different facets of the same person.<\/p>\n

 <\/p>\n

\"\"<\/a>

Untitled<\/em>, 1961.<\/p><\/div>\n

 <\/p>\n

Although Z\u00fcrn is being looked at, she is also watching attentively, and her creations\u2014multiheaded hydras, apparitions with wandering eyes, all-seeing phoenixes\u2014suggest preternatural perception. \u201cAs a child,\u201d she writes in The\u00a0Trumpets of Jericho<\/em>, \u201cI was given to reconnoitering, recognizing. Now I have been led for years by gloom into the blackness. Do you know it? Pairs of eyes dead full of time look earnestly across the border between being and nothingness.\u201d While Unica Z\u00fcrn\u2019s literature portrays a life of illness and loss, her drawings attest to\u2014and, with their multiple eyes, see\u2014a realm in which wonderment triumphs.\u00a0<\/em><\/p>\n

 <\/p>\n

Natalie Haddad received her Ph.D. in art history from the University of California, San Diego, in 2016. She is currently a freelance art writer and coeditor of <\/em>Hyperallergic Weekend.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  In 1970, after over a decade of intermittent hospitalization for mental illness, Unica Z\u00fcrn committed suicide by jumping out the window of the apartment of her longtime companion, the Surrealist artist Hans Bellmer. Z\u00fcrn is best known as the author of anagrammatic poetry and the semi-biographical novellas Dark Spring and The Man of Jasmine, […]<\/p>\n","protected":false},"author":1454,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32024],"tags":[33574,33573,33576,33577,7318,33575,33578,33572],"class_list":["post-123772","post","type-post","status-publish","format-standard","hentry","category-on-art","tag-dark-spring","tag-hans-bellmer","tag-hextentexte","tag-oracles-and-spectacles","tag-surrealism","tag-the-man-of-jasmine","tag-trumpets-of-jericho","tag-unica-zurn"],"acf":[],"yoast_head":"\nThe Chimerical Creatures of Unica Z\u00fcrn<\/title>\n<meta name=\"description\" content=\"While Unica Z\u00fcrn\u2019s literature portrays a life of illness and loss, her drawings attest to a realm in which wonderment triumphs.\u00a0\" \/>\n<meta name=\"robots\" content=\"index, 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