Mattias Forshage from the Stockholm Surrealist group has written an interesting critique of Patricide 4 (amongst other publications) – the full post can be read here.
“The general editorial principle appears to be to make an unprejudiced mixture of active surrealists with random artists (more or less careerist, more or less relevant all together) on a mail-art accept-all-submissions liberal basis. Some of these external artists are indeed such whose work I enjoy and am happy to have got an opportunity to discover (especially Leslie Guy), and editor Neil Coombs’ own photographs are often great. Some of the material in Patricide is great, funny, unexpected, thoughtful. But a lot of the contributions are typically irrelevant, more or less conventional, lazily self-sufficient, and symptomatically ignorant about surrealism. And here, the “unprejudiced” editing turns into a statement: that surrealism is in fact more or less anything, that any pedestrian or careerist artist and their view of surrealism is just as valid in terms of surrealism as the most frenzied psychonauts, the hardest-working organisers, the longest-standing activists and the most well-read or clear-thought specialists – that the surrealists’ view of surrealism is no more relevant than that of anyone.”