June, Manios, perhaps Aqua Marina is an adventurous biography in the form of an album, featuring unpublished illustrative material, about Matsi Hatzilazaru (1914-1987), the first woman surrealist, the first wife of Andreas Embeirikos, and later the partner of the poet Andreas Kamba, the painter, nephew of Picasso, Javier Vilato, and the philosopher Cornelius Castoriadis.
A sensitive voice that wrote poetry with the resilient materials of love and moved as an equal interlocutor in the circles of Elytis, Papatzonis, Krana, Axelos, Yourcenar, Picasso, etc., a poet, the most romantic in Greece (according to G.P. Savvidis), the legendary Matsi of Dreams according to Mano Hadjidakis.
The author of the volume, Christos Daniel, notes (in the preface of the book): "Undoubtedly, Matsi Hatzilazaru was the first Greek female poet who composed poems following the modern poetic climate introduced to our country by the Generation of the Thirties. Having a family history that impresses, a very intense personal life (from her early teenage years), she resorts to psychoanalysis and meets Andreas Embeirikos."
The first wife of Embeirikos, she apprenticed in surrealism and became a dynamic part of the group of pioneering artists who gathered around him during the occupation. Practicing the freedom of expression that surrealism preaches and adopting associative writing, she deposits her own intensely personal, peculiar poetic language; meta-surrealistic, as she characterizes it.
Her first poetic contribution is also the first poetry written by a woman in Modern Greek that discusses love and life with such freedom, immediacy, and experiential quality, without guilt, without inhibitions, without circumlocutions, but also without vulgarities and unnecessary provocations. Ultimately, a lyrical poetry that, addressing in a complete and absolute way the second person, to that with which love is realized, speaks universally to each of us.
A universal poetry of the senses that requires the active participation of its readers, mobilizing their own senses and recalling similar memories. This rich poetic album, with images drawn from the Historical Archive of the Benaki Museum, as well as from private archives, is also illustrated with engravings from magazines and newspapers, like those used by the French surrealists for collages, images from the famous first graphic novel, Une semaine de bonte, by Max Ernst, as well as with unique characteristics of Javier Vilato that were created exclusively for the work of Matsi.
It is an attempt to express in a visual way, suitable to her style, the unique poetry of Matsi Hatzilazaru.
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