One hundred years after the French poet André Breton published his “Surrealist Manifesto” in 1924, a new group show titled “Hallowed Ground: Tanguy, Lam, Penalba and Cárdenas” at Di Donna Galleries in New York brings together four artists whose work reflects the art movement’s core principle — how dreams and the imagination open up everyday reality. “Surrealism taps into the unconscious and the irrational,” says Emmanuel Di Donna, who founded the Upper East Side gallery in 2010 with a focus on European and American art from 1900 to 1970. “Viewers relate to the imagery’s unexpected juxtaposition of inner worlds.” In the exhibition, which premieres this Friday at Art Basel Paris, each artist reveals their affinity for Surrealism — and each other — through a distinct visual vocabulary and materiality. The Neolithic menhirs of Brittany, where Yves Tanguy grew up, come to mind in his 1939 oil painting “Aux Aguets le jour,” with its stony totems rising from the earth in a Brittany-blue landscape. Likewise, Alicia Penalba’s sharp-edged bronze sculpture “Grand Totem d’Amour” (1954), has a shard-like verticality reminiscent of the mountainous Cuyo region in western Argentina, where the Buenos Aires-born artist spent time as a child. Wifredo Lam and Agustín Cárdenas both traveled from their native island of Cuba to Paris and drew inspiration from the Surrealist group. Mythic symbolism, birds and jungle leaves populate Lam’s oil paintings, while Cárdenas’s exploration of nature and the body comes to life in his sensuous sculptures in mahogany, African padauk and Iroko wood. “Hallowed Ground: Tanguy, Lam, Penalba and Cárdenas” will be on view Oct. 29 through Dec. 6 at Di Donna Galleries, New York.