Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]
Situationistisk Internationale
1963
Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]
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Destruktion af RSG-6 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 ...
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Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]
Situationistisk Internationale
1963
Odense: Galerie EXI
28 pages + 1 brochure Danger! Official Secret RSG-6 by Spies for Peace
24.7 × 21.3 cm, brochure 29.6 × 21 cm

Destruktion af RSG-6 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.


 


The 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:


 


“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.”


 


The 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.”


 


The 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.

Odense: Galerie EXI
28 pages + 1 brochure Danger! Official Secret RSG-6 by Spies for Peace
24.7 × 21.3 cm, brochure 29.6 × 21 cm

Destruktion af RSG-6 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.

 

The 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:

 

“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.”

 

The 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.”

 

The 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.

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Destruktion af RSG-6 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.

 

The 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:

 

“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.”

 

The 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.”

 

The 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.

Odense: Galerie EXI
28 pages + 1 brochure Danger! Official Secret RSG-6 by Spies for Peace
24.7 × 21.3 cm, brochure 29.6 × 21 cm

Destruktion af RSG-6 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.

 

The 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:

 

“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.”

 

The 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.”

 

The 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.

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Destruktion af RSG-6 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.

 

The 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:

 

“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.”

 

The 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.”

 

The 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.

MORE BOOKS