Gill Perry, Gender, Performance and Play: An Introduction  Professor Gill Perry reviews some of the issues for the day, exploring the relationship between gender, performativity and play. This programme maps out the wide range of practices and theories associated with the labels 'performance', 'performance art' and 'performativity', providing a toolkit with which to explore some of the practices involved.

Marko Daniel, Introduction  This study day explores the various ways in which performance has been used in recent art, focusing on a range of media including photography, performance, installation, video art and painting.

Matthew Gale, Ian Christie, Gill Perry and Dawn Ades, Discussion 2  A video recording a discussion from the Tate Modern Surrealism and Film Study Day conference

Ian Christie, 'The marvellous is popular!' Dalí in the context of Hollywood surrealism  Surrealism started as a revolt against the idea of elite avant-gardism, and even if it eventually became a new avant-garde, its adherents maintained an enthusiasm for popular culture, including mainstream and genre cinema, becoming arbiters in this field. This presentation examines two strands in Hollywood cinema to which Dalí, like other Surrealists, was drawn – the carnivalesque and the erotic-romantic – and will also consider the Freudian morality drama, to which he eventually contributed. Further Reading

Elliott King, Dalí, Fonzie, and what 'Late Dalí and Film' can tell us about Late Dalí and Everything Else  Speaker: Elliott King, a specialist in Dalí's post-war art and cosmogony. His first book, Dalí, Surrealism and Cinema (2007), is published by Kamera Books. Critics have often identified Dalí's 1941 rejection of Surrealism in favour of 'classicism' as the 'tipping point' when his work began to decline. His activity with film offers a compelling challenge to that history.

Discussion 1 A video recording of a discussion from the Tate Modern Surrealism and Film Study Day

Dawn Ades, Why Film?  Was there, for Dalí, a special appeal in film? Was it an alternative to his paintings, adaptable to certain effects beyond the reach of the canvas? Was it an extension of the pictorial image, or rather of his writings? Dawn Ades reviews Dalí's affair with film, a story of disappointments and optimism. Further Reading Paul Hammond L'Age d'or BFI Film Classics 1997 Dawn Ades "Morphologies of Desire" in Salvador Dali: The Early Years South Bank Centre 1994 Salvador Dali "The Rotting Donkey" (1930) in Haim Finkelstein The Collected Writings of Salvador Dali CUP 1998 p.223

Matthew Gale, Dalí & Film Exhibition: An Introduction  Matthew Gale gives an introduction to the Dalí & Film exhibition at Tate Modern. He discusses the curatorial issues concerning the show that arise from the juxtaposition of Dalí's paintings, photographs and drawings with his film imagery. Further Reading Paul Hammond, The Shadow and its Shadow: Surrealist Writings on Cinema, London 1978 and San Francisco 2000 Paul Hammond, L'Age d'or, London 1997 Haim Finkelstein ed., The Collected Writings of Salvador Dalí, Cambridge 1998

Gill Perry, Introduction  On the occasion of Tate Modern's major exhibition Dalí & Film, this study day explores the work of Salvador Dalí in relation to the wider links between surrealism and film.

Carey Young, Duchamp, Man Ray, Picabia, Imagination Engineering  Using a variety of media including video, performance and photography, artist Carey Young uses found tools, language and training processes from the worlds of the multinational corporation and global law firm and diverts them into an artistic context from which she explores ideas of autonomy, duration, intimacy and dissent.