Fin de Copenhague
Guy-Ernest Debord, Asger Jorn
1957
Fin de Copenhague
Fin de Copenhague
Fullscreen
PAUSE
00:00
Inspired 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 Introduction to a Critique ...
Read more
Fin de Copenhague
Guy-Ernest Debord, Asger Jorn
1957
Copenhagen: Le Bauh[a]us Imaginiste
Unpaginated [36 pages]
25,5 × 17.5 cm
Edition of 200, each cover unique; signed by both artists and numbered 99/200

Inspired 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 Introduction to a Critique of Urban Geography (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.”


 


It is said that Guy Debord and Asger Jorn created Fin de Copenhague in less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of détournement and combined clippings from French newspapers with pages from the Danish daily Politiken, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.


 


In Fin de Copenhague, the purely psychogeographical pages are relatively few compared with Debord’s Guide psychogéographique de Paris (1957). Yet this exuberant collaboration between the French philosopher and Jorn – which continued in 1958 with Mémoires – is an important example of how Situationist artists reimagined the urban myth of the flâneur.


 


Fin de Copenhague was exhibited in 2023 as part of FOLDED CITIES at Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, 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); Shohachi Kimura, Yoshikazu Suzuki, Ginza Kaiwai / Ginza Haccho (1954); and Jan Henderikse’s Broadway (1983).


Copenhagen: Le Bauh[a]us Imaginiste
Unpaginated [36 pages]
25,5 × 17.5 cm
Edition of 200, each cover unique; signed by both artists and numbered 99/200

Inspired 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 Introduction to a Critique of Urban Geography (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.”

 

It is said that Guy Debord and Asger Jorn created Fin de Copenhague in less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of détournement and combined clippings from French newspapers with pages from the Danish daily Politiken, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.

 

In Fin de Copenhague, the purely psychogeographical pages are relatively few compared with Debord’s Guide psychogéographique de Paris (1957). Yet this exuberant collaboration between the French philosopher and Jorn – which continued in 1958 with Mémoires – is an important example of how Situationist artists reimagined the urban myth of the flâneur.

 

Fin de Copenhague was exhibited in 2023 as part of FOLDED CITIES at Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, 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); Shohachi Kimura, Yoshikazu Suzuki, Ginza Kaiwai / Ginza Haccho (1954); and Jan Henderikse’s Broadway (1983).

DESCRIPTION

Inspired 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 Introduction to a Critique of Urban Geography (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.”

 

It is said that Guy Debord and Asger Jorn created Fin de Copenhague in less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of détournement and combined clippings from French newspapers with pages from the Danish daily Politiken, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.

 

In Fin de Copenhague, the purely psychogeographical pages are relatively few compared with Debord’s Guide psychogéographique de Paris (1957). Yet this exuberant collaboration between the French philosopher and Jorn – which continued in 1958 with Mémoires – is an important example of how Situationist artists reimagined the urban myth of the flâneur.

 

Fin de Copenhague was exhibited in 2023 as part of FOLDED CITIES at Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, 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); Shohachi Kimura, Yoshikazu Suzuki, Ginza Kaiwai / Ginza Haccho (1954); and Jan Henderikse’s Broadway (1983).

Copenhagen: Le Bauh[a]us Imaginiste
Unpaginated [36 pages]
25,5 × 17.5 cm
Edition of 200, each cover unique; signed by both artists and numbered 99/200

Inspired 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 Introduction to a Critique of Urban Geography (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.”

 

It is said that Guy Debord and Asger Jorn created Fin de Copenhague in less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of détournement and combined clippings from French newspapers with pages from the Danish daily Politiken, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.

 

In Fin de Copenhague, the purely psychogeographical pages are relatively few compared with Debord’s Guide psychogéographique de Paris (1957). Yet this exuberant collaboration between the French philosopher and Jorn – which continued in 1958 with Mémoires – is an important example of how Situationist artists reimagined the urban myth of the flâneur.

 

Fin de Copenhague was exhibited in 2023 as part of FOLDED CITIES at Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, 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); Shohachi Kimura, Yoshikazu Suzuki, Ginza Kaiwai / Ginza Haccho (1954); and Jan Henderikse’s Broadway (1983).

MORE BOOKS

Inspired 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 Introduction to a Critique of Urban Geography (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.”

 

It is said that Guy Debord and Asger Jorn created Fin de Copenhague in less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of détournement and combined clippings from French newspapers with pages from the Danish daily Politiken, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.

 

In Fin de Copenhague, the purely psychogeographical pages are relatively few compared with Debord’s Guide psychogéographique de Paris (1957). Yet this exuberant collaboration between the French philosopher and Jorn – which continued in 1958 with Mémoires – is an important example of how Situationist artists reimagined the urban myth of the flâneur.

 

Fin de Copenhague was exhibited in 2023 as part of FOLDED CITIES at Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, 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); Shohachi Kimura, Yoshikazu Suzuki, Ginza Kaiwai / Ginza Haccho (1954); and Jan Henderikse’s Broadway (1983).

MORE BOOKS