Battle of Fishes 1926

Curator: It’s chaotic, almost violently so. My eye doesn't quite know where to land first. Editor: Here we have André Masson’s "Battle of Fishes" from 1926. It’s an ink and watercolor drawing, currently residing here at MoMA. Masson was a key figure in the Surrealist movement, and this piece really exemplifies some of their core concerns, like automatism and the exploration of the subconscious. Curator: Automatism definitely seems at play; the frantic lines and semi-recognisable forms give off a sense of unleashed energy, pushing beyond conscious control. I feel like it’s trying to capture some sort of primordial struggle, maybe even on a psychic level. The Surrealists were greatly affected by the horrors of the First World War so it makes sense. Is there a reading around trauma to be done here? Editor: Absolutely, considering its historical backdrop. This work can be examined through the lens of trauma and the collective anxieties simmering post-World War One. Think of how this piece rejects conventional narrative structures. It presents not a specific event but an ongoing process of struggle and transformation. Curator: Tell me more about those symbolic fish forms. To me, the animalistic representation speaks to ideas of primal instinct. It highlights the underlying forces shaping human and political behavior too. Editor: I see the fish motif linking back to larger narratives of the sea as a site of conflict, a stage for power struggles whether real or symbolic. Think of it as representative of a collective experience and shared human anxiety reflected through symbolic battles enacted through animal figures. Curator: Ultimately, Masson’s ‘Battle of Fishes’ doesn’t give us neat answers. Editor: Instead, it uses fragmented, visceral imagery to show the complexities of internal conflict. Masson urges us to contemplate our position in a world frequently formed around clashes of differing forces.