{"title":"SITUATIONIST INTERNATIONAL AND LETTRISM","description":null,"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":"de-gaulle-et-le-sexe","title":"De Gaulle et le sexe","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSubtitled\u003cem\u003e Roman hypergraphique, polyauthomatique, cryptographique, infinitésimal, supertemporel\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e this artist’s book by Maurice Lemaître is conceived as a fragmentary graphic novel made of magazines and newspaper cuts. Each copy is uniquely assembled, with variations in its textual and visual composition allowing the reader to encounter a different narrative with every copy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his memorable introductory essay, Lemaître reveals the logic underlying the work’s intricate interplay of text and image, as well as the enigmatic narrative encoded in its constellation of symbols:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Their alignment would then become a novelistic cryptogram concerning the sentimental and sensual life of one of the most celebrated figures of our time, a particularly unprecedented theme in contemporary narrative, which this unique form of transcription alone made it possible to explore.” [loosely translated from French]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLemaître’s erotico-political work of fiction culminates in a long open-ended sequence that consists of empty pinkish pages, extending its cryptographic narrative into the realm of absence and readerly projection.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54305227309395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DeGaulle_cover.png?v=1784039566"},{"product_id":"de-la-misere-en-milieu-etudiant","title":"De la misère en milieu étudiant","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Nous pouvons affirmer, sans grand risque de nous tromper, que l’étudiant en France est, après le policier et le prêtre, l’être le plus universellement méprisé.” [We can say, without much risk of being mistaken, that the student in France is, after the policeman and the priest, the most universally despised being]. Thus begins the militant Situationist pamphlet distributed on 22 November 1966 at the official inauguration of the University Palace in Strasbourg. Written by social critic Mustapha Khayati, titled by philosopher Guy Debord, and published under the auspices of the Situationist International, “De la misère en milieu étudiant” [On the Poverty of Student Life] delivered a radical critique of the university and of student organizations, trade unions, political institutions, and consumer society at large. In their place, it advocated revolutionary action, the abolition of hierarchical relations, and democracy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first edition was published in Strasbourg in 1966 after five pro-Situationist students used university funds to finance its production and distribution. The ensuing scandal led to their suspension and expulsion. Widely reprinted in 1967, the pamphlet circulated far beyond Strasbourg and became an important precursor to the ideas and practices that shaped the events of May 1968. Halfway through the book, this edition features a double-page comic spread that distills the pamphlet in eleven graphic vignettes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425680380243,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/delamisere.png?v=1785247986"},{"product_id":"destruktion-af-rsg-6-danger-official-secret-destruction-of-the-rsg-6","title":"Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eDestruktion af RSG-6\u003c\/em\u003e was a collective avant-garde exhibition organized by the Situationist International (SI) at Galerie EXI in Odense, Denmark, from June 22 to July 7, 1963. Curated by J.V. Martin in collaboration with Guy Debord and Michèle Bernstein, the project took its title from a British anti-nuclear pamphlet and was conceived through three metaphorical environments: shelter, revolt, and exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe principal manifesto, “The Situationists and the New Forms of Action in Politics and Art”, was translated into several languages and articulated the SI’s insistence on an inseparable relationship between social transformation and cultural practice, while affirming the capacity of art to confront and contest political structures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The situationist movement comprises three things: it is an artistic avant-garde, it seeks through experimentation to find the way to the human being's free arrangement of his daily life, and finally, it cooperates with the practical and theoretical erection of a new revolutionary contest.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe manifesto further argues that cultural creativity and social transformation must advance together, while explicitly rejecting the subordination of art to political doctrine. As the Situationists stated, their call for a unified conception of art and politics “absolutely does not mean that we recommend conformity of art to politics.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe importance of this publication lies in its exceptional status within the history of the Situationist International: it is associated with what is generally regarded as the SI’s only collective exhibition staged in a conventional gallery context. The present copy, bearing a Copenhagen postmark, was sent to the Dutch collector Tjeerd Deelstra in 1963.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639149318483,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4481.png?v=1787231056"},{"product_id":"images-a-lire-roman-photos-hypergraphique-1968","title":"Images a lire: roman - photos hypergraphique (1968)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePainter, writer, architect, photographer, poet, and critic Alain Satié joined the Lettrist movement in 1964. This publication embodies the principles of hypergraphy that the movement crystallized in the early 1960s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived at the intersection with the Duchampian tradition of appropriation and détournement, \u003cem\u003eImage à Lire \u003c\/em\u003epushes the boundaries of conventional literature by replacing textual language with images. A profusion of printed-media fragments drawn from disparate sources is arranged across 14 carefully orchestrated plates, following the logic of photographic montage and collage. The resulting narrative is at once livresque and cinematic, unfolding through a mock cast of personalities introduced at the outset and recurring intermittently throughout the book, among them Jean-Luc Godard, Louis Armstrong, Brigitte Bardot, Jean-Paul Belmondo, Marlon Brando, Catherine Deneuve, James Dean, Isidore Isou, Mick Jagger, Roland Sabatier, and Satié himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication opens with a preface by Roland Sabatier, who articulates the logic behind Satié’s hypergraphic photo-novel:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The plates that follow were conceived on the basis of the theories of hypergraphic writing, which have allowed their author, since 1963, to give the world of the plastic arts a remarkable facet of this expression, immediately identifiable with him.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e[…] His hermetic rhythms, his varied and elaborate mechanics, his anecdotal – often erotic – themes, all work together to situate the signs that he diverts from their utilitarian purpose, laying them onto his support in a dense and brutal manner, giving thereby a systematic quality that only attachment to, and understanding of, a creative structure can justify.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA remarkable example of Lettrism’s fragmentary and discrepant narrative aesthetic. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54759355351379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4530.png?v=1787907348"}],"url":"https:\/\/metabooks.art\/collections\/situationist-international-and-lettrism.oembed","provider":"Metabooks","version":"1.0","type":"link"}