My life is a collage, with time cutting and arranging the materials and laying them down, overlapping and contrasting, sometimes with the fresh shock of a surrealist painting, wrote Eileen Agar, photographer and painter, associated with the Surrealist movement who, like Colette Omogbai, attended the Slade School of Fine Art—almost exactly 40 years earlier, between 1925 and 1926. The repetition of a certain phrasing in connection with Colette Omogbai, a pioneering Nigerian painter, “who identified as a Surrealist,” sent us looking into histories of surrealisms. The plural here is important, because there are indeed many invocations and occupations of the surrealist movement, into various geographies, subject to (mis-)interpretation. Here, trying to arrange encounters between people, dates, poems, moods, ambitions, images—that never met, but maybe did— became a sort of spiral of conversations amid cracks, breaches, and intervals, interstices and discontinuities, allowing the in-between to vibrate in negotiations.

# 3 In Conversation 

Contributions by Colette Omogbai, Nadine Siegert, Iheanyi Onwuegbucha, Michael C. Vazquez, Odun Orimolade, Thenjiwe Niki Nkosi, Gladys Melina Kalichini, Rahima Gambo, Lungiswa Gqunta, Thenjiwe Niki Nkosi, Emily Pethick, Bisi Silva.

Edited by Annett Busch & Marie-Hélène Gutberlet

Copy editing Michael C.Vazquez

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