SALVADOR DALÍ / RAYMOND ROUSSEL — Ma révolution culturelle suivi de Dalí à Paris: hallucination partielle, six apparitions en vitrines, c. 1990–93

Staple-bound illustrated booklet, 20 pages, 14.5 × 10.5 cm. Black-and-white printing on pale cream stock. Edition 81/100, numbered in the publisher’s purple ink stamp. Les Livres de Nulle Part, c. 1990–93.

The object begins with the eyes. One enormous Dalí eye fills the front cover; the other sits on the reverse. Open the booklet flat and the two fragments reconnect across the staples into a single grainy stare — Dalí literally reconstructed through the handling of the book.

Inside, the chronology moves backwards before moving forward. A facsimile reproduces a 1932 letter from Raymond Roussel to Dalí, sent after receiving Dalí’s screenplay Babaouo. Roussel is not an incidental literary name: his systems, repetitions and deliberately manufactured forms of hallucination were fundamental to the wider Surrealist imagination. Dalí’s fascination endured for decades, eventually surfacing again in his film Impressions de la Haute Mongolie, Hommage à Raymond Roussel.

Then comes another Dalí: Paris, 18 May 1968. At the height of the student revolt, Dalí issued Ma révolution culturelle. While Paris was collectively inventing a new revolutionary visual language, Dalí characteristically inserted his own name into it. Politics, publicity and self-mythology collapse into the same printed gesture.

The final section brings the story back onto the street. Dalí à Paris: hallucination partielle, six apparitions en vitrines documents six appearances of Dalí exhibition posters in Parisian shop windows — caught among signage, merchandise, reflections and pedestrians. The title riffs on his 1931 work Hallucination partielle. Six images de Lénine sur un piano. Lenin has disappeared. In his place: Dalí himself, repeatedly reappearing behind glass.

Painting becomes poster. Poster becomes shop-window apparition. Shop window becomes photograph. Photograph becomes book. The subject is no longer simply Dalí — it is what happens to Dalí once Dalí becomes an image in circulation.

Condition: Good vintage condition, with light age toning, handling and minor edge wear consistent with age and format; complete and staple-bound.