A Review of Meret Oppenheim
The tension between drinking as the current has sexual potential and cup fur forms another part of the sexual structure of the effect. Freudian references to this work, given the strong roots of surrealism in psychoanalysis. The subconscious mind made this work an extract and an example of surrealist objects. Oppenheim’s feminist views are more obvious in her other works. Such as My Nurse (1937) or The Cannibal Banquet (1959). In contrast to these two works, we can find less obvious and deeper clues in Breakfast in Fur. The fact that the female artist grows hair on the cup as a feminine element, which on the other hand is a symbol of “masculinity,” becomes a challenge to the power of patriarchy. Moving from the field of women to the field of traditionally reserved for men and paradoxically honoring the hairy areas of the female limbs.
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This work is a practical example of Burton’s idea of ”limiting the crazy demon of function,” which, by deactivating an innocent cup of tea, realizes the surrealism’s desire to eject objects’ normal function replace them with a marvelous object. In The Object Crisis, Burton envisions the dream of getting rid of the covenants of escape and a kind of primitiveness. Surrealism seeks to re-enchant the world and overcome the “crisis of the object.” It did so mainly by not selecting but hunting and moving the object by removing an object from the expected context and placing it far from expectation, thereby creating unfamiliarity.
When an object is out of its natural place, it can be seen without covering cultural conventions. Oppenheim was born in Berlin and raised in Switzerland. She moved to Paris in 1932 at 18. She joined the Surrealists after attending the Independent Hall. In addition to her broad range of artistic activities, her surrealist objects are well known.
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