As part of the 1936 International Surrealist Exhibition held at the New Burlington Galleries in London, ethnographic photographs of non-Western objects were taken at the British Museum and interspersed amongst Surrealist artwork. Ten photographs in total were used, spanning Solomon Island Fish Coffins to Congolese Nail Fetishes. The article analyses these photographs as sculptures and in terms of their significance to the 1936 exhibition display and their wider impact upon the Surrealist movement. It reveals that Paul Nash and Hugh Sykes Davies were responsible for the selection of the non-Western objects to be photographed. At the exhibition opening André Breton gave a transformative lecture, ‘Limites Non-Frontières du Surréalisme [Borderless limits of Surrealism]’ which conjoined notions of cosmopolitanism and the spirit. The inclusion of the British Museum photographs was clearly intended to aesthetically mirror the content of Breton’s speech. This article thus postulates that the Surrealists intended to propagate a cosmopolitan method of curation through a transcendence of taxonomic display mechanisms common to ethnographic museum environments, such as the very one the photographs were taken in. Moreover, the British Museum photographs chosen by the Surrealists all have religious and spiritual connotations. Such embodied manifestations are a particular brand of border crossing that should also be considered an element of a burgeoning discourse surrounding international Surrealism. Consequently, the oft-cited impact of Freud’s Totem and Taboo (1913) upon Surrealist ethnography, which denounces the totem as a precursor to religious belief and madness, is marginalised.

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1936 年国际超现实主义展览上的大英博物馆民族志摄影

作为 1936 年在伦敦新伯灵顿画廊举办的国际超现实主义展览的一部分，大英博物馆拍摄了非西方物品的民族志照片，并穿插在超现实主义艺术品中。总共使用了十张照片，从所罗门岛鱼棺到刚果美甲迷。文章分析了这些作为雕塑的照片，以及它们对 1936 年展览的重要性及其对超现实主义运动的更广泛影响。它揭示了保罗纳什和休赛克斯戴维斯负责选择要拍摄的非西方物体。在展览开幕式上，安德烈·布雷顿 (André Breton) 发表了一场变革性的演讲，“Limites Non-Frontières du Surréalisme [超现实主义的无边界]”，将世界主义和精神的概念结合在一起。包含大英博物馆的照片显然是为了在美学上反映布列塔尼演讲的内容。因此，本文假设超现实主义者打算通过超越民族志博物馆环境常见的分类显示机制来传播一种世界性的策展方法，例如拍摄照片的环境。此外，超现实主义者选择的大英博物馆照片全部具有宗教和精神内涵。这种具身性的表现是一种特殊的过境品牌，也应该被视为围绕国际超现实主义的新兴话语的一个元素。因此，经常被引用的弗洛伊德的图腾与禁忌（1913）对超现实主义民族志的影响，谴责图腾是宗教信仰和疯狂的先驱，