{"title":"1950S","description":"","products":[{"product_id":"fin-de-copenhague","title":"Fin de Copenhague","description":"\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eInspired by the Dadaist figure of the flâneur, the Marxist philosopher Guy Debord coined the term “psychogeography” to describe how different environments influence our emotions, perceptions, and behaviour. As Debord wrote in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIntroduction to a Critique of Urban Geography\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1955): “Psychogeography could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIt is said that Guy Debord and Asger Jorn created\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edétournement\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand combined clippings from French newspapers with pages from the Danish daily\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePolitiken\u003c\/em\u003e, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e, the purely psychogeographical pages are relatively few compared with Debord’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGuide psychogéographique de Paris\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1957). Yet this exuberant collaboration between the French philosopher and Jorn \u003cmeta charset=\"utf-8\"\u003e– which continued in 1958 with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMémoires \u003cmeta charset=\"utf-8\"\u003e– \u003c\/em\u003eis an important example of how Situationist artists reimagined the urban myth of the flâneur.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas exhibited in 2023 as part of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFOLDED CITIES\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVenezia. Il Canal Grande\u003c\/em\u003e, a curious publication produced by\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIl Gazzettino Illustrato\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1931; Edward Ruscha’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEvery Building on the Sunset Strip\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1966); Shohachi Kimura, Yoshikazu Suzuki, \u003cem\u003eGinza Kaiwai \/ Ginza Haccho \u003c\/em\u003e(1954); \u003cmeta charset=\"utf-8\"\u003eand Jan Henderikse’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBroadway\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1983).\u003c\/p\u003e\n\u003cdiv class=\"metafield-row\"\u003e\u003c\/div\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030134575443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/FindeCopenhagen_1daa7c07-534a-4b77-a5f9-c837247c0a01.png?v=1781783492"},{"product_id":"model-at-chouinard","title":"Model at Chouinard","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207204524371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/MarilynMcCorkleRETweb.png?v=1783252226"},{"product_id":"man-machine-motion","title":"Man, Machine \u0026 Motion","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis extremely rare publication accompanied Richard Hamilton’s solo exhibition, organized by the Department of Fine Art at King’s College, University of Durham, Newcastle upon Tyne, in 1955. First presented at the Hatton Gallery in Newcastle and subsequently at the ICA (Institute of Contemporary Arts) in London, the exhibition and publication explored the mythopoetic relationship between man and the moving machine. Originally titled “Human Motion in Relation to Adaptive Appliances”, the project offers an iconographic study of humanity’s fascination with movement, from Leonardo da Vinci’s drawings of mechanical inventions to photographs of racing cars. In the preface co-authored with Lawrence Gowing, the artist writes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The relation between man \u0026amp; machine is a kind of union. The two act together like a single creature. The ancient union of horse \u0026amp; rider, fused into a composite creature with an unruly character of its own, always potentially anarchic \u0026amp; fearsome, never entirely predictable, was symbolised in the myth of the centaur. The new union of man \u0026amp; machine possesses as positive a composite character and liberates a deeper, more fearsome human impulse. This new affiliation, evoking much that is heroic and much that is terrible, is with us, not only in the sky, but in every street where a boy joins magically with his motor-bicycle, his face whipped by the wind and stiffened by a passion for which we have no name.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing primarily on images sourced from the King's College Library, Hamilton assembled a thematic study in which text and image trace not only the technological evolution of motion but also the fetishistic fascination it has inspired. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207808176467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Hamilton.png?v=1783258507"},{"product_id":"ginza-kaiwai-ginza-haccho","title":"Ginza Kaiwai \/ Ginza Haccho","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1954, this early leporello anticipated Edward Ruscha’s “Every Building on the Sunset Strip” by twelve years. A simple coincidence, the collective unconscious, or perhaps Ruscha being inspired by a copy encountered in Los Angeles’s historic Little Tokyo neighbourhood? Whatever the connection, or absence thereof, “Ginza Haccho” has been the subject of much discussion among photography-book aficionados in recent years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis accordion-folded publication conceals within its folds photographs of every building along Tokyo’s Ginza Street. Precious in its original cardboard slipcase, the edition was co-authored by Shohachi Kimura and Yoshikazu Suzuki and comprises a map of the district, a leporello presenting a panoramic view of Ginza Street, and a separate volume reconstructing, visually and textually, the history of the neighbourhood. The publication offers a vivid record of a city in perpetual reconstruction and remodelling, preserving buildings and streetscapes that have long since disappeared from Tokyo’s urban fabric.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare publication was exhibited in 2023 during the \"Folded Cities\" \u003c\/span\u003e\u003cspan\u003eexhibition at Studio 454 in Venice, alongside other urban “radiographies” of the twentieth century, including “Venezia. Il Canal Grande,” a curious publication produced by Il Gazzettino Illustrato in 1931; Edward Ruscha’s “Every Building on the Sunset Strip” (1966); and Jan Henderikse’s “Broadway” (1983), among others.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54284651823443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ginza.png?v=1783865157"},{"product_id":"daily-bul-6","title":"Daily Bül 6","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSituated within the trajectory of Belgian Surrealism and the CoBrA movement, Daily-Bul was an influential avant-garde magazine and publishing house founded by André Balthazar and Pol Bury in La Louvière. Across its 14 issues, published between 1957 and 1983, artists and writers including Pierre Alechinsky, Christian Dotremont, Achille Chavée, and Jean-Michel Folon playfully mixed poetry, comic strips, visual experiments, and other forms of Surrealist writing. Often printed on found materials, such as the collaged newspaper used for this cover, Daily-Bul cultivated a witty and irreverent countercultural voice in Belgian art and literature.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54347006443859,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DailyBul6.png?v=1784466313"},{"product_id":"daily-bul-moniteur-de-la-pensee-bul-et-de-lacademie-de-montbliart","title":"Daily Bûl [1]: Moniteur de la Pensée Bûl et de l'Académie de Montbliart","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSituated within the trajectory of Belgian Surrealism and the CoBrA movement, Daily-Bul was an influential avant-garde magazine and publishing house founded by André Balthazar and Pol Bury in La Louvière. Across its 14 issues, published between 1957 and 1983, artists and writers including Pierre Alechinsky, Christian Dotremont, Achille Chavée, and Jean-Michel Folon playfully mixed poetry, comic strips, visual experiments, and other forms of Surrealist writing. Often printed on found materials, Daily-Bul cultivated a witty and irreverent countercultural voice in Belgian art and literature.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54347128799571,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DailyBul.png?v=1784466973"},{"product_id":"vision-in-motion-motion-in-vision","title":"Vision in Motion - Motion in Vision","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54570819256659,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4349.png?v=1786543864"},{"product_id":"material-2-diter-rot-ideograme","title":"Material 2: Diter Rot \/ Ideograme","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54579736084819,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4370.png?v=1786627705"},{"product_id":"orb-volume-1-5","title":"Orb Volume 1 #5","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBetween 1959 and 1960, Ed Ruscha, then still a student at the Chouinard Art Institute in Los Angeles, edited and designed \u003c\/span\u003e\u003cspan\u003eORB\u003c\/span\u003e\u003cspan\u003e, a single-sheet periodical that ranged across the eclectic subjects announced on its cover: art, poetry, history, psychology, money-making ideas, action, advertising, and nonsense. Inspired by Dada, this short-lived student newsletter anticipated the aesthetics of later zines and the early practices of mail art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived as a visual and textual montage, this is the fifth issue of Volume 1 (1959), featuring written and drawn contributions by Ruscha and his Chouinard peers, including Charles Frazier, Jacquie Bellon, Bill Kinser, Bud Luckey, and others. This particular copy has a notable provenance, having belonged to Ruscha’s childhood friend and collaborator, the composer and poet Mason Williams.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639530869075,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ORB_1Cover.png?v=1787493118"}],"url":"https:\/\/metabooks.art\/collections\/1950-s.oembed","provider":"Metabooks","version":"1.0","type":"link"}