Abstract

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space