Pere Ubu 1936

Editor: This is Dora Maar's photograph, "Pere Ubu," created in 1936. It seems to depict a small, grotesque creature, but I believe it is actually an assemblage made of an armadillo fetus. The image feels unsettling, almost like a nightmare. How do you interpret this work? Curator: Indeed, its disturbing quality is quite potent, isn't it? What do you think that stems from? For me, the choice of the armadillo fetus, of course, immediately conjures ideas of vulnerability and the monstrous. But Maar was deeply engaged with Surrealism, and I see her invoking the monstrous as a subversive act. "Pere Ubu" becomes an unsettling, even repulsive, representation of power and corruption. Editor: That's a fascinating point. So, "Pere Ubu" could be read as a symbol of societal ills? Curator: Precisely! It acts as a sort of caricature of authority figures. Look closely at the almost human-like features twisted into something alien. The power of visual symbols lies in their ability to bypass logic and tap directly into our emotions and fears. Given that Maar's work developed during a volatile pre-war period, it is highly suggestive that she found inspiration in Jarry's absurdist anti-hero "Ubu Roi" as a sign of the times. Editor: I never thought about it that way! Curator: I wonder, also, how we might perceive this differently if it was rendered through another medium like painting, for example? The photograph provides it a certain immediacy through realism. This immediacy gives "Pere Ubu" much of its impact, imbuing it with a kind of truth. Editor: This discussion has really reshaped how I view this image, moving it beyond just something grotesque and towards social commentary. I see so much more now. Curator: And it illustrates how, across decades, even centuries, visual language maintains its cultural and emotional resonance. I find that incredibly powerful, don’t you?