'The Surrealist House' at the Barbican, 2010. Photograph by Lyndon Douglas. 

The entrance to Surreal House with works by Duchamp on either side of the door. The projector is showing Buster Keaton's Steamboat Bill Jr.

超现实主义住宅展览将于6月10日至9月12日举行。这座房子本身也是墙纸最新时装拍摄的地点，我们在十月份的一期中可以看到这幅画。

'The Surrealist House' at the Barbican, 2010. Photograph by Lyndon Douglas. 

Rebecca Horn’s Concert for Anarchy precariously hangs from one of the opening rooms.

'The Surrealist House' at the Barbican, 2010. Photograph by Lyndon Douglas. Sarah Lucas's Au Natural uses slang terms to construct tangible structures based on those perceptions.

'The Surrealist House' at the Barbican, 2010. Photograph by Lyndon Douglas. The background shows an installation highlight: Louis Bourgeois's No Exit whilst in the foreground is Charlie Don't Surf by Maurizo Cattelan.

'Sleep' by Dali, 1937. Image Courtesy of Salvador Dali, Fundacio Gala-Salvador Dali, DACS, London 2010. Dali's painting, a self-portrait, is a representation of a dream-like state whilst also being true to his premise that sleep is a sort of monster sustained by the crutches of reality

'Femme Maison' by Louise Bourgeois, 1994. Image courtesy of Cheim & Read, Hauser & Wirth, and Galerie Karsten Greve Photo: Christopher Burke. Presenting an on-going narrative of the relationship between womanhood and domesticity the pieces present a figure that is half woman, half house.

'House by the Railroad' by Edward Hopper, 1925. Image courtesy of Photo SCALA, Florence/ The Museum of Modern Art, New York, 2010. One of the defining houses of the 20th century, Hopper's mansion was the inspiration for the houses in Hitchcock's Psycho and the Addams family.

'Le facteur Ferdinand Cheval a Hauterives' by Gilles Ehrmann, 1962. Image courtesy of Collection Centre Georges Pompidou, Dist. RMN/ Georges Meguerditchian. Ehrmann's image is taken of Ferdinand Cheval's Le Palais Ideal -- a house that Cheval, a postman by trade, made from scratch. The gathering of stones was taken on Cheval's mail route and the palace's construction took him 33 years.

'Villa Dall'Ava' in Paris by Office for Metropolitan Architecture, 1991. Image courtesy of Peter Aaron/Esto and OMA/DACS 2010. This house, which looks to sit precariously on top of thin stilts, seems to adhere to Dali's contemporary work.

'Untitled' by Man Ray, 1920. Image courtesy of Man Ray Trust/ADAGP, Paris and DACS, London 2010. Man Ray was influential in both Surrealism and Dadaism and contributed works to both. They are often noted for juxtaposition of contrasting elements to create meaning.

'The Lovers' by Rene Magritte, 1928. Image of courtesy of SCALA, Florence/The Museum of Modern Art, New York, 2010. ADAGP, Paris and DACS, London 2010. Margritte's mother committed suicide by drowning herself when the artist was a child, supposedly, when she was pulled out of the river her nightdress covered her face. This is said to be the reason why numerous examples of Margritte's work shows faces obscured by cloth.

'Self Portrait (in cupboard)' by Claude Cahun, 1932. Image courtesy of Jersey Heritage Collections. The wardrobe, or cupboard, is a place that is resonant of the Surrealist movement and interestingly perceived by Cahun in her self-portrait.

'Priere de Toucher' by Marcel Duchamp, 1947. Image courtesy of Succession Marcel Duchamp/ ADAGP, Paris and DACS, London 2010. Priere; de Toucher: a relief of a woman's breast mounted on a cloud of black velvet. Originally the front cover of a luxury edition of a surrealist book, here it plays the role of the doorbell to the Surreal house.

'La Bras Revelatuer' by Paul Nouge, 1929-1930. Image courtesy of DACS 2010.

Paul Nouge was a Belgian poet and surrealist photographer who, in 1968, published 19 photographs collectively called "Subversion of the Images". Surreal House hosts the entire collection.

'Zebra and Parachute' by Christopher Wood, 1930. Image courtesy of Tate, London, 2010.

Showing an interesting juxtaposition of architecture, a zebra and a parachutist, this painting is an intriguing insight into one of Wood's final paintings and a look into the beginnings of surrealist intentions.

'Fresh Window' by Marcel Duchamp, 1920. Image courtesy of Tate, London, 2010 and Succession Marcel Duchamp/ ADAGP, Paris and DACS, London 2010. The first work signed by Duchamp's female alter ego, Rose Selavy. The glass panes are obscured by black leather -- denying any view, and instead, giving rise to the idea that Duchamp is rejecting tradition and obscuring that which we expect to see. Fresh Widow acts as a window for the Surreal House.

'House 4' by Francesca Woodman, 1976. Image courtesy of George and Betty Woodman.

Francesca Woodman amassed a body of work which consisted of around 800 photographs before her suicide, aged 22. Many of her known traits can be seen in this photograph: such as using the camera to create a temporary space in which images are transformed through long shutter exposure.

'Le Corbusier and Pierre Jeanneret, 1929-31. Taken of Bestegui Apartment, Paris. Image courtesy of Foundation of Le Corbusier, Paris. FLC/ ADAGP, Paris and DACS, London 2010. This image shows a little discussed work by Le Corbusier which is, by accounts, one of his most paradoxical works. The photograph is of the roof garden which has a false mantelpiece and fireplace. The design is more reflective of the surrealist tastes of the client: Charles de Beistegui than Le Corbusier himself.