On connaît Guy Debord pour avoir été poète, cinéaste, artiste, théoricien révolutionnaire, directeur de revue et fondateur de mouvements d’avant-garde. Mais il a surtout été stratège. Qu’entend-on par là ? Qu’il a utilisé la poésie, le cinéma, la théorie et l’avant-garde dans le cadre d’un conflit avec la société de son temps. Un objet en particulier dans la production de Guy Debord répond de cet objectif : le Jeu de la guerre, qui avait pour vocation d’aiguiser le sens stratégique et la conscience d’une lutte à mener. Au milieu des années 1950, Debord conçoit un jeu constitué d’un plateau quadrillé et de pions représentant les diverses unités d’une armée. En tant que modélisation de la guerre, ce jeu participe des recherches situationnistes sur l’environnement construit, la vie aliénée et les moyens de s’en émanciper. À l’heure où le design tend à envahir les discours et à englober de plus en plus de champs de l’activité créative, technique, sociale et économique, et alors que l’art ne cesse de repenser les conditions de sa validité critique, Emmanuel Guy propose ici une réflexion sur le rôle de la stratégie dans tout projet d’émancipation.
The Situationist International (1957-1972) has had a very productive afterlife. This annotated bibliography contains over 600 references that chart its rise to fame from obscurity to celebrity. More than just a bibliography, it is the most substantial reference book yet produced on the group. It also provides a gateway to the related worlds of underground publishing, anarchism, and the contemporary avant-garde. <p>In addition to listing and describing every significant publication on the SI, it is also a rich resource of information on related groups such as Gruppe Spur, Cobra, and Lettrisme. There are two sections solely devoted to documenting the little known British and American "pro-situ" scenes. Each reference is annotated with a short description and a relevant extract. With its extensive index, the bibliography provides countless new ways of examining and comprehending one of this century's most misunderstood groups.
This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI’s profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith. Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI’s writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI’s reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle.
The long-awaited first biography of one of the 20th-century’s greatest revolutionaries Guy Debord is the first comprehensive biography of one of the finest, but most overlooked, writers in the French language. Beginning with his participation in the student riots and occupation of the Sorbonne in May 1968, Debord’s art and activism reflected the tumultuous events of contemporary French history. Whether his medium was poetry, film, or journalism, Debord forever challenged convention and custom alike. And when his philosophy of Situationism was later adopted by Malcolm McLaren and the Sex Pistols, Debord’s ideas reached his widest following ever. Drawing on extensive documentation, previously untranslated correspondence, interviews, tracts, and book excerpts, Guy Debord provides the reader with an abundance of material on a rare historical figure who refused all interviews and “wrote much less than most people who write but drank much more than most people who drink”. Discussed by Greil Marcus in the popular Lipstick Traces, Debord’s life and art have never been more fully explored in his historical and political context than in this book. Debord’s radical classic Society of the Spectacle inspired a generation of revolt and rightfully earned him notoriety as one of the most profound and forceful revolutionaries of modern times.
First edition of the scripts for Debord’s first three films: “Hurlements en faveur de Sade” (1952), “Sur le passage de quelques personnes à travers une assez courte unité de temps” (1959) and “Critique de la séparation” (1960).
Contenu du disque 1 : – Les 3 films de Contre le cinéma – Le Fac-similé du livre Contenu du disque 2 : – Les 2 films de La Société du spectacle – Le Dossier de presse d’époque Contenu du disque 3 : – Le Film : In girum imus nocte – Le Film : Consumimur igni – Le Dossier de presse de In girum imus nocte… et de Guy Debord, son art et son temps
La società dello spettacolo: la prima edizione italiana fu pubblicata già nel 1968 a Bari da De Donato, ma venne aspramente criticata da molti, Debord compreso, che la giudicò “mostruosa” per via di una pessima traduzione. A restituire in parte la freschezza dell’opera originaria ci pensò dunque nel 1974 un’edizione pirata totalmente priva di note editoriali, alla quale seguì, nell’autunno del 1976, una seconda edizione pirata stampata fittiziamente a Londra da Release Publication per Stampa Alternativa.
Sottolineature nel testo e segni di usura.
Featuring the essay by Guy Debord, “The Situations and the New Action Forms in Politics and Art,” in Danish, English, and French, this publication also includes photographs of Debord, Michele Bernstein, Jan Stijbosch, and J.V. Martin, along with reproductions of paintings. This show marks the first and last collective art show of the Situationist International in the context of a gallery. For the show, the Situationists created “an atmosphere of an atomic shelter,” and sought a way to use modern art to both critique politics while simultaneously critiquing itself as an institution. Held by just six libraries worldwide, this publication is an exceedingly rare look into the artistic practices of the Situationist International, especially as after the 1962 schism they increasingly tended towards less explicitly artistic goals.
Broché, dans sa chemise d’origine de papier de verre danois “destiné à tenir à distance respectable tout livre voisin sur les étagères”, boîte de toile moderne. Ouvrage “entièrement composé d’éléments préfabriqués”: bribes de phrases, photos, plans de villes ou de bâtiments découpés et collés sur lesquels Jorn a superposé des “structures portantes” (taches et coulures). Les “éléments préfabriqués” dont il est fait allusion sur la page de titre se réfèrent à la pratique du détournement développée par l’Internationale Lettriste et adoptée par les Situationnistes. Publié peu de temps après Fin de Copenhague, cet ouvrage est le second livre de Debord et Jorn, un “livre d’amour relié en papier de verre qui déchire la poche et des rayons entiers de bibliothèque” (Asger Jorn).
Tirage limité à 200 exemplaires, celui-ci le n° 11 justifié et signé au crayon par Jorn et Debord. “La collaboration de Guy Debord à Fin de Copenhague, petit livre spontané fait en vingt-quatre heures, a été plutôt remarquée: les effets s’en sont répandus avec une étonnante vitesse, en quelques mois, parmi les spécialistes du livre d’art et de la typographie, en Amérique et en Europe. Ce rayonnement d’influence n’a pas cessé de s’enchaîner depuis” (Gérard Berréby Textes et documents situationnistes, 1957-1960. Paris: Allia, 2004, p. 96). Avec Mémoires, Fin de Copenhague peut être aujourd’hui considéré comme l’un des livres réellement révolutionnaires du vingtième siècle. Ils ne sont pas seulement les témoins de l’amitié entre les plus importants fondateurs de l’Internationale Situationniste mais ils annoncent déjà les futures interventions de ce groupe ultra-radical. “Debord et Jorn possèdent à un haut degré ce qui pour nous est l’essentiel, cette propension au génie qui emporte. Fin de Copenhague transperce l’instant et la durée en 1957: une onde nouvelle commence à courir” (Yves Peyré).
How artists, historians and theorists have diagrammed art’s lineages, from the Middle Ages to Fluxus
Genealogies of Art analyzes the visual representations of art history made by artists, critics, designers, theorists and poets alike, from the genealogical trees of the 12th through the 15th centuries and the Renaissance to more recent information graphics, including paintings, sketches, maps, plans, prints, drawings and diagrams.
The conceptual core of the book is the famed chart that Alfred H. Barr, first director of the Museum of Modern Art, composed for the cover of his landmark exhibition Cubism and Abstract Art in 1936, which sought to trace the origins of abstract art from 1890 to 1936. Around this paradigmatic chart is gathered a tremendous pageant of works by great polymaths and thinkers, including Guy Debord’s situationist maps; the Guerrilla Girls’ “Guerrillas in the Midst of History”; Athanasius Kircher’s baroque-era trees of knowledge; George Maciunas’ Fluxus diagrams; André Malraux’s Museum without Walls; Otto Neurath’s charts and isotypes; Ad Reinhardt’s collaged histories of art; Ward Shelley’s Who Invented the Avant-Garde?; Maurice Stein, Larry Miller and Marshall Henrichs’ Blueprint for Counter Education; Aby Warburg’s legendary Mnemosyne Atlas; and many others.
Across 450 pages, Genealogies of Art reproduces more than 500 images. In addition to these, Astrit Schmidt-Burkhardt contributes an essay titled “The Diagrammatic Shift,” following by Manuel Lima’s “Trees of Knowledge: The Diagrammatic Traditions of the Middle Ages and the Renaissance,” both of which contextualize the relevance of this form throughout history. Uwe Fleckner explores the use of diagrammatic visualization in curatorial and collecting activities, as in the cases of Carl Einstein or Aby Warburg; and the Picasso specialist Eugenio Carmona looks at Alfred H. Barr’s conception of Picasso’s work, in his text “Barr, Cubism and Picasso: Paradigm and ‘Anti-paradigm.'”
Cloud’68: Paper Voice pays homage to the European radical movements in architecture that flourished between the 1950s and 1970s producing a wide range of experimental expression. From the personal collection of the Chilean architect Smiljan Radic, a selection of 173 graphic pieces-lithographs, drawings, original etchings, and ephemera-will show the horizon of meaning of the diverse architectural approaches from those years: works by Constant, Guy Debord, Asger Jorn, HausRucker-Co, Archigram, Utopie, and Superstudio, among others, will meet in 33 panels that recall Aby Warburg’s ‘Mnemosyne Atlas.’ The publication is complemented by a ‘Wunderkammer’ of interview fragments by the critic and curator Hans Ulrich Obrist, who interviewed the protagonists of said architecture.
Manifestos by artists, authors, editors, publishers, designers, zinesters explore publishing as artistic practice.
Independent publishing, art publishing, publishing as artistic practice, publishing counterculture, and the zine, DIY, and POD scenes have proliferated over the last two decades. So too have art book fairs, an increasingly important venue―or even medium―for art. Art publishing experienced a similar boom in the 1960s and 1970s, in response to the culture’s “linguistic turn.” Today, art publishing confronts the internet and the avalanche of language and images that it enables. The printed book offers artists both visibility and tangibility. Publishing Manifestos gathers texts by artists, authors, editors, publishers, designers, zinesters, and activists to explore this rapidly expanding terrain for art practice.
The book begins in the last century, with texts by Gertrude Stein, El Lissitsky, Oswald de Andrade, and Jorge-Luis Borges. But the bulk of the contributions are from the twenty-first century, with an emphasis on diversity, including contributions from Tauba Auerbach, Mariana Castillo Deball, Ntone Edjabe, Girls Like Us, Karl Holmqvist, Temporary Services, and zubaan. Some contributors take on new forms of production and distribution; others examine the political potential of publishing and the power of collectivity inherent in bookmaking. They explore among other topics, artists’ books, appropriation, conceptual writing, non-Western communities, queer identities, and post-digital publishing. Many texts are reproduced in facsimile―including a handwritten “speculative, future-forward newspaper” from South Africa. Some are proclamatory mission statements, others are polemical self-positioning; some are playful, others explicitly push the boundaries. All help lay the conceptual foundations of a growing field of practice and theory.
AND Publishing, Oswald de Andrade, Archive Books, Art-Rite, Rasheed Araeen, Tauba Auerbach, Michael Baers, Bibi Bakare-Yusuf, Ricardo Basbaum, Derek Beaulieu, Bernadette Corporation, Riccardo Boglione, Bombay Underground, Jorge Luis Borges, bpNichol, Kate Briggs, Broken Dimanche Press, Eleanor Vonne Brown, Urvashi Butalia, Ulises Carrión, Mariana Castillo Deball, Paul Chan, Chimurenga, Arpita Das, Anita Di Bianco, Guy Debord, Constant Dullaart, Craig Dworkin, Ntone Edjabe, Zenon Fajfer, Marina Fokidis, General Idea, Annette Gilbert, Girls Like Us, Gloria Glitzer, Marianne Groulez, Alex Hamburger, Karl Holmqvist, Lisa Holzer, Mahmood Jamal, Tom Jennings, Ray Johnson, David Jourdan, Sharon Kivland, Kione Kochi, Kwani?, Bruce LaBruce, Tan Lin, El Lissitzky, Alessandro Ludovico, Sara MacKillop, Steve McCaffery, Jonathan Monk, Simon Morris, Mosireen, León Munoz Santini, Takashi Murakami, Deke Nihilson, Aurélie Noury, Johnny Noxzema, Clive Phillpot, Michalis Pichler, Seth Price, Riot Grrrl, Carlos Soto Román, Allen Ruppersberg, Joachim Schmid, Oliver Sieber, Paul Soulellis, Matthew Stadler, Gertrude Stein, Paul Stephens, Hito Steyerl, Mladen Stilinovic, Katja Stuke, Temporary Services, Nick Thurston, TIQQUN, Elisabeth Tonnard, V. Vale, Eric Watier, Erik van der Weijde, Lawrence Weiner, Eva Weinmayr, Jan Wenzel, Stephen Willats, Gil J Wolman, zubaan
Copublished with Miss Read: The Berlin Art Book Fair
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.
La rencontre d’André Breton et de Guy Debord n’a jamais eu lieu. Selon Debord, il allait de soi que l’un excluait l’autre : Breton et le surréalisme appartenaient au passé, celui-là même que la Seconde Guerre mondiale venait d’engloutir, en sorte que tout était à recommencer. Ce jugement expéditif à l’égard du surréalisme méritait d’être reconsidéré dans un esprit étranger à tout règlement de compte. Car tout en rejetant avec mépris le surréalisme vivant, les lettristes radicaux qui ont pris en 1957 le nom de situationnistes n’ont pu échapper à toute forme de ressemblance ; c’est avec le sentiment d’être en terrain connu que de jeunes surréalistes de la dernière vague (1946-1969) sont entrés en relation avec Debord et quelques-uns de ses amis au milieu des années 1950. Ça commence bien, disait le tract qu’ils rédigèrent de concert… mais ça finit mal. Divergence fondamentale ou intime parenté occultée par des rivalités de façade ? Une histoire détaillée des relations mouvementées entre surréalistes de Paris et de Bruxelles avec Guy Debord et ses amis restait à écrire pour comprendre, notamment, un des ressorts de la construction de l’identité situationniste. Surréalistes et situationnistes, vies parallèles contient des tracts, une dizaine d’illustrations et des textes de Jean-Louis Bédouin, André Breton, Claude Courtot, Adrien Dax, Tom Gutt, Simon Hantaï, Gérard Legrand, Marcel Mariën, Benjamin Péret, José Pierre, Jean Schuster, Jan Strijbosch, Raoul Vaneigem et Joseph Wolman, et des lettres inédites de Guy Debord. Il permet de remonter le cours tumultueux de ces vies parallèles.
The Danish artist Asger Jorn (1914-1973) is internationally reknown for his activities within the CoBrA and the International Situationist groups. Quite apart from his paintings, prints, ceramics and sculptures, Jorn produced a remarkable amount of theoretical work. His ideas are still extremely relevant to contemporary discourse. However, in contrast to his artistic oeuvre, Jorn’s theoretical arguments have received much less attention from scholars of architecture, art history, or philosophy. This book for the first time reveals this largely ignored aspect of Jorn’s work. Among the topics presented is Jorn’s intellectual relationship with Le Corbusier, which triggered his interest in the ‘synthesis of the arts’ as expressed in the 1930s and 1940s in Paris. His initial passionate admiration for the master architect gradually evolved into a strong critique of Le Corbusier’s concept of the ‘house as a machine for living’ which he confronted with the idea of a ‘house as a machine for expression’. This change in thought was prompted, on the one hand, by his Marxist convictions and, on the other, by his exposure to the arguments of the Swedish architectural historian Erik Lundberg. It led to Jorn’s investigation of non-classical artistic forms, the object ‘as found’ and the social aesthetic found in every-day life. Jorn was to eventually introduce these topics into the debates being held within groups like Cobra, Imaginist Bauhaus and the Situationist International. Jorn’s opinions and motivations are subsequently contextualized within the theoretical debate of his time and are linked in the book to examples of built architecture, which influenced and informed his conception of architecture and urbanism. His position regarding the relationship between architecture and art encompasses a harsh critique of modern architecture. By developing the concept of an ‘Architecture Sauvage’, a notion that has been coined by Guy Debord many years later, Asger Jorn tries to map out a series of perspectives for the way modern architecture can help to create a pleasing and dynamic everyday environment for human beings. These perspectives are still remarkably important for contemporary architects today.
This volume is the first English-language presentation of the Scandinavian Situationists and their role in the Situationist movement. The Situationist movement was an international movement of artists, writers and thinkers that in the 1950s and 1960s tried to revolutionize the world through rejecting bourgeois art and critiquing the post-World War Two capitalist consumer society. The book contains articles, conversations and statements by former members of the Situationists’ organisations as well as contemporary artists, activists, scholars and writers. While previous publications about the Situationist movement almost exclusively have focused on the contribution of the French section and in particular on the role of the Guy Debord this book aims to shed light on the activities of the Situationists active in places like Denmark, Sweden and Holland. The themes and stories chronicled include: The anarchist undertakings of the Drakabygget movement led by the rebel artists Jørgen Nash, Hardy Strid and Jens Jørgen Thorsen, the exhibition by the Situationist International “Destruction of RSG-6” in 1963 in Odense organised by the painter J.V. Martin in collaboration with Guy Debord, the journal The Situationist Times edited by Jacqueline de Jong, Asger Jorn’s political critique of natural science and the films of the Drakabygget movement. Contributors: Peter Laugesen, Carl Nørrested, Fabian Tompsett, Mikkel Bolt Rasmussen, Jacqueline de Jong, Gordon Fazakerley, Hardy Strid, Karen Kurczynski, Stewart Home, Jakob Jakobsen.
A precursor to Arte Povera, Fluxus and Punk, the Situationist International has bequeathed a uniquely complex and conflicted legacy to contemporary art-making. Led by Guy Debord and Raoul Vaneigem, it initially favored the production of art objects; by 1962, collective debate on the role of art had caused the expulsion of its fine-artist members, including Asger Jorn, other members of Cobra and the entire Munich-based Gruppe SPUR. The revolution envisaged by the Situationist International demanded creativity in everyday life, the constructing of situations or the “fashioning of a temporary micro-environment and series of events for a single moment in the life of several individuals.” “The Situationist International (1957-1972)” (the catalogue for the eponymous exhibition at Centraal Museum, Utrecht, and Museum Tinguely, Basel) is the first publication to evaluate the creative contributions of the SI. It addresses three areas of Situationist practice: firstly, anonymous and communal artistic production (e.g Cobra, Asger Jorn’s folk art research and the “Bauhaus Imaginiste”); secondly, “detournement,” variously translated as “diversion” or “subversion,” a key SI strategy in which extant works such as advertisements, comics, paintings or films are politically reconstituted by collage or other means; and thirdly, the practice of “derive”–“drift” or purposeless wandering in an urban milieu–which generated the now widely known phenomenon of “psychogeography” and led to radical reassessments of architectural practice. “The Situationist International” includes new unpublished SI documents and essays by Giorgio Agamben, Hans Ulrich Obrist, Peter Sloterdijk and Philippe Sollers.
This book is the first single volume to present a complete guide to the most notorious and radical art movement of the twentieth century, the Situationist International (SI). Simon Ford offers a unique history and analysis of the SI and its main protagonists, including Guy Debord, Asger Jorn, Constant and Michele Bernstein. Tracing its development back to the European avant-garde, Ford provides a comprehensive historical background to the SI’s foundation.
Catalogo della VI Rassegna Internazionale del Video d’Autore di Taormina (1991). A cua di Valentina Valentini, documenta lavori di: Vito Acconci, Peter Callas, Maurizio Camerani, Guy Debord, Jean-Luc Godard, Gusztav Hamos, Anna Lajolo, Guido Lombardi, Antoni Muntadas. Contiene numerosi contributi di carattere storico critico tra i quali segnaliamo: «Lo schermo come lavagna e diario: Acconci, Muntadas, Godard» di Valentina Valentini, «Televisione, mobile e scultura: camera con vista sull’America» di Vito Acconci, «Doppio senso: spettatore osservato o speculazione voyeristica» di Antoni Muntadas.
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