{"id":228178,"date":"2025-05-07T05:29:46","date_gmt":"2025-05-07T05:29:46","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/is-priit-parn-a-surrealist\/"},"modified":"2025-05-07T05:29:46","modified_gmt":"2025-05-07T05:29:46","slug":"is-priit-parn-a-surrealist","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=228178","title":{"rendered":"Is Priit P\u00e4rn a Surrealist?"},"content":{"rendered":"


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This paper presents a preliminary study on the unique surrealist qualities of Estonian animation director Priit P\u00e4rn, distinguishing his approach from that of Andr\u00e9 Breton and Jan \u0160vankmajer.<\/p>\n

P\u00e4rn began work on animated films in the 1970s during the Soviet era. His works are frequently labeled as absurdist or surrealist. His unique narrative structures have won him grand prizes at many international film festivals, and he has served on many juries. He received the Lotte Reininger Lifetime Achievement Award at the 2024 Emile Awards, part of the prestigious European Animation Awards. His achievements have established him as a formidable creative force in Estonian animation. The absurdity in his work is evidently shaped by his background as a caricaturist operating within Soviet society. However, the origins of his surrealist tendencies warrant further investigation.<\/p>\n

P\u00e4rn has remarked on surrealism, \u201cCompared to drawn animation, puppet animation can more easily convey a surrealist impression because it uses tangible objects.\u201d (1) He added, \u201cEverything in the real world is according to the laws of nature. If you see a flying cow in this ordinary environment, it is surrealism.\u201d (1) A drawn animation portraying a flying cow would render the cow universalized. If a film depicts flying cows from the outset, the audience quickly accepts this reality, and the sense of wonder diminishes, as anything seems possible within the established world. In contrast, if a film begins with a realistic framework and later introduces the sudden image of flying cows, it creates a striking sense of surrealism. This observation is informed by P\u00e4rn\u2019s insights. Surrealism derives its power from its connection to reality and coexistence with objects. Consequently, in the case of drawn animation\u2014where biological forms, spaces, light, and time are constructed from scratch\u2014the intensity of surrealist expression is inherently weaker.<\/p>\n

P\u00e4rn has the opinion that, about \u0160vankmajer\u2019s works, those that consciously use existential ready-made objects are surrealism, but \u201cDimensions of Dialogue\u201d (fig. 1) is not in that the work uses objects created for the creation of animations. Whereas Breton\u2019s drawings in the 1960s and later years were an interlocking of forms (fig. 2). This is a kind of play that gives movement to the drawing and is similar to a metamorphosis, one of the expressions of drawing animation. If there is a drawing animation with the intensity of surrealism, it might be said to be there is a metamorphosis.<\/p>\n

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Fig1. Jan \u0160vankmajer, Aniamation \u201cDimensions of Dialogue,\u201d 1982<\/em><\/p>\n

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Fig2. Andr\u00e9 Breton, Drawing \u201cCematoulanpi\u00e9,\u201d 1966: pl. Andr\u00e9 Breton, je vois, j\u2019imagine, Galimard, 1991<\/em><\/p>\n

To better understand P\u00e4rn\u2019s surrealism, it is necessary to briefly examine the historical trajectory of surrealism in Estonia.<\/p>\n

In 1966, Andrei Hr\u017eanovski\u2019s \u0416\u0438\u043b-\u0431\u044b\u043b \u041a\u043e\u0437\u044f\u0432\u0438\u043d<\/em> was deemed unacceptable by the All-Union State Institute of Cinematography (VGIK) on the grounds that it was \u201ctoo surrealist.\u201d However, Soviet film director Sergei Gerasimov, seeking to integrate it within the framework of Soviet artistic culture, coined the term \u201csocialist surrealism.\u201d Two years later, Hr\u017eanovski\u2019s Klaasharmoonika<\/em> featured animation by Estonian artist \u00dclo Sooster, who later became a leading figure in the Tartu Circle, an early, unofficial avant-garde art group that introduced surrealism to Estonia. However, Sooster and P\u00e4rn never directly interacted.<\/p>\n

During the stagnant period of Soviet-era Estonian art, the term \u201csurrealism\u201d was largely taboo, prompting the invention of alternative terms such as \u201cassociative art. (2)\u201d Other vague terminologies like \u201cretro-surrealism,\u201d \u201cneo-surrealism,\u201d and \u201cpara-surrealism\u201d also emerged, reflecting the uncertain status of surrealism in Estonia. It was only after Estonia\u2019s independence that art critic Raivo Kelomees formally introduced surrealism in the Estonian language through his book S\u00fcrrealism<\/em> (1993), arguably marking its first official recognition in Estonia.<\/p>\n

In 1986, P\u00e4rn founded TALLINNFILMI>> s\u00fcrrrealstide grupp<\/em> (TFS), an avant-garde art group that explicitly identified itself as surrealist (3). Most of its members were animation artists affiliated with Tallinnfilm, and many had prior experience as caricaturists (4). During its three-year existence, TFS held two exhibitions, positioned between P\u00e4rn\u2019s films Aeg Maha<\/em> (1984) and Eine murul<\/em> (1987), though the group did not achieve a definitive breakthrough (fig. 3).<\/p>\n

One of P\u00e4rn\u2019s TFS works, Maailma esimese lendava monumendi kavand<\/em>, became the group\u2019s emblem (fig. 4). The artwork bears striking resemblance to Andr\u00e9 Masson\u2019s Signe<\/em> (1939) and Salvador Dal\u00ed\u2019s The Eye<\/em> (1945). P\u00e4rn himself commented, \u201cI had the imagery of Un Chien Andalou<\/em> in mind. For the eye, I drew a warped clock reminiscent of Dal\u00ed\u2019s painting. (5)\u201d However, P\u00e4rn and his contemporaries did not draw direct conceptual, thematic, or methodological influence from Dal\u00ed; in Estonia, surrealism arrived decades late and was perceived as an outdated movement. Nonetheless, surrealism and Dal\u00ed symbolized artistic freedom and innovation.<\/p>\n

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\"\"<\/a><\/figure>\n<\/div>\n

Fig3. Priit Pa\u0308rn, Animation \u201cEine murul,\u201d 1987<\/em><\/p>\n

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\"\"<\/a><\/figure>\n<\/div>\n

Fig4. The emblem of > s\u00fcrrealstide grupp<\/em><\/p>\n

As surrealism scholar Masao Suzuki argues, surrealism is a shared language of spirit and action rather than a limited set of images or techniques (6). While multiple interpretations and analytical frameworks for surrealism exist, defining surrealism in animation might involve criteria based on Breton\u2019s notions of \u201cconceptual ambiguity\u201d and \u201canxiety.\u201d For instance, d\u00e9paysement<\/em>\u2014the visual incongruity that unsettles the viewer\u2014can manifest through unexpected developments in animation\u2019s visuals, movement, narrative, and sound, producing a distinct sense of strangeness. However, P\u00e4rn\u2019s creative process is highly deliberate and logical. Unlike Breton\u2019s surrealism, it lacks elements of chance, improvisation, or unconscious encounters.<\/p>\n

This study has sought to explore P\u00e4rn\u2019s surrealism through historical and comparative analysis, though definitive theoretical discourse on the subject remains undeveloped. Nevertheless, it is crucial to recognize that P\u00e4rn\u2019s surrealism differs fundamentally from that of Breton and \u0160vankmajer.<\/p>\n

Many avant-garde artists have borrowed surrealist imagery, materials, and techniques as forms of political and social protest. In contrast, P\u00e4rn depicted absurd events and phenomena directly from his surroundings, observing reality with an unfiltered gaze. At the time, daily life in Estonia was already so surreal that it rendered dreams and the unconscious unnecessary. While surrealism often carries undertones of foreign imitation, P\u00e4rn\u2019s ethnographic creativity emerges as a uniquely Estonian form of surrealism. The essence of animation\u2014its ability to render impossible realities tangible\u2014merged with the absurdity of Soviet society, generating a surrealist narrative distinct from traditional surrealist paradigms.<\/p>\n

References:<\/strong><\/p>\n

1. Interview with Priit P\u00e4rn, 14 November 2016<\/p>\n

2. Ilmar Malin, \u201cRehabiliteerime s\u00fcrrealismi!,\u201d Sirp ja Vasar<\/em>, 20. Jan, 1989<\/p>\n

3. The exact spelling of the group name: It includes three \u201cr\u201ds. While there should be an \u201ci\u201d after the \u201cl\u201d in \u201cs\u00fcrrrealstid,\u201d its omission reflects the group\u2019s official spelling.<\/p>\n

4. My doctoral degree thesis, \u201cEthnographical interpretation on animation in Soviet Estonia: it places the perspective in \u2018absurdity\u2019 of Priit P\u00e4rn,\u201d Tokyo University of the Arts, Graduate school of Film and New media, 2019<\/p>\n

5. Interview with Priit P\u00e4rn, 19 September 2017<\/p>\n

6. Masao Suzuki, Michio Hayashi, To Talk About Surrealist Art<\/em>, Suiseisha, 2011<\/p>\n

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Akira Arimochi<\/strong> is a professor of New Media & Image at Aichi University of the Arts. He had been a visiting researcher at the Estonian Academy of Arts for two years from 2012, and in 2019 he obtained a Ph.D. from the Tokyo University of the Arts. His research focuses on the history of animation and comparative art studies while specializing in Estonia. He has presented his research at Animafest Scanner \u216a (Zagreb, 2024), an international symposium on contemporary animation studies, and is doing joint research with several university professors on a history of animation and surrealism.<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

This paper presents a preliminary study on the unique surrealist qualities of Estonian animation director Priit P\u00e4rn, distinguishing his approach from that of Andr\u00e9 Breton and Jan \u0160vankmajer. P\u00e4rn began work on animated films in the 1970s during the Soviet era. His works are frequently labeled as absurdist or surrealist. His unique narrative structures have […]<\/p>\n","protected":false},"author":1,"featured_media":228179,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[68422,68421,70885],"dealstore":[],"offerexpiration":[],"class_list":["post-228178","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-parn","tag-priit","tag-surrealist"],"yoast_head":"\nIs Priit P\u00e4rn a Surrealist? - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=228178\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Is Priit P\u00e4rn a Surrealist? - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"This paper presents a preliminary study on the unique surrealist qualities of Estonian animation director Priit P\u00e4rn, distinguishing his approach from that of Andr\u00e9 Breton and Jan \u0160vankmajer. 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