Seven Rebels – Bilder und Plastiken [1962]

[Jorn, Asger]. Seven Rebels: Bilder und Platiken. n.p. [Odense, Denmark and Goteborg, Sweden]: n.p. [Kunstbygningen Tilsofgangen & Galerie 54], n.d. [1962]. n.p. [19 p.]; ill.; 21 x 14 cm.; green ink on grey stock

Catalog of the exhibition held by the “Seven Rebels” – Jörgen Nash, Jacqueline de Jong, Gordon Fazarkeley, Ansger Elde, Hardy Strid, Jörgen Thorsten, and Peter Zimmer – who had broken from the main Situationist International in March 1962 to create a Second Situationist International (which will later become the Bauhaus Situationiste).The catalog is the work of J.J. Thorsen, and was printed in association with Permild and Rosengreen. The exhibition itself was held at the Kunstbygningen, Odense (Denmark), Sept. 19-25, 1962, and at the Galerie 54, Göteborg (Sweden), Oct. 6-21, 1962.

The introductory preface by Asger Jorn (writing under the pseudonym Patric O’Brien) is reproduced below: “These seven artists have all broken away from the “Internationale Situationniste” in Paris and formed a Second Situationist International based on Scandinavia. This is one of the few things they have in common. For the rest they are individualists with different idols and heroes: Charlie Chaplin, Dylan Thomas, Walt Withman,Blind Lemon Jefferson, Hans Christian Andersen, Henri Michaux, Strindberg, Guy Debord ,Carl Frederic Hill …… .They are young and spontaneous, experimental and fighters for the new situcratic community. All of them are exiles from their own countries. The danish Nash lives in Sweden; Fazakerley in Denmark; Thorsen has moved across the Kattegat; De Jong in Paris, Elde’s studio is in Italy; Strid is moving to Dublin; And Hans Peter Zimmer is only kept in Germany because of the process the Bayrish government is running against him. They are not cosmopolitans but cosmonauts of the new society”

We locate 5 copies on OCLC.

009008007006004003002005

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Jorn – May 68 posters [1968]

Series of 4 lithograph posters, produced by Jorn in 1968 and published by the Galerie Jeanne Bucher (Jorn had exhibited some of his works there the year before). These were meant to be placed on walls during May 68 in Paris. 1,000 copies were printed at the Clot Bramsen and Georges workshop and signed on the stone by the artist. Druckgrafik (320-323) and la Planète Jorn (181)

OCLC locates a single institution with holdings (Yale), though we suspect a few others exist in major museums.

Interesting tidbit: All four posters (all large ones) once greeted visitors to Yale’s Beinecke library. See below (from a documentary on the Voynich Manuscript, https://www.youtube.com/watch?v=awGN5NApDy4, 4’47)

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JORN, ASGER.  Aid os Etudiants Quil Puise Etudier e Aprandre en LiberteParis: Jeanne Bucher, n.d. [1968]. ca. 52 x 34 cm.; colored inks on white stock.

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JORN, ASGER.  Brisez le Cadre Qui Etoufe Limage. Paris: Jeanne Bucher, n.d. [1968]. ca. 50 x 33 cm.; colored inks on white stock.

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JORN, ASGER.  Pas de Puissance d”Imagination Sans Images Puissante. Paris: Jeanne Bucher, n.d. [1968]. ca. 52 x 32 cm.; colored inks on white stock.

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JORN, ASGER.  Vive la Revolution Pasione de l’Inteligence Creative. Paris: Jeanne Bucher, n.d. [1968]. ca. 52 x 32 cm.; colored inks on white stock.

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Signes Graves sur les Eglises de l’Eure et du Calvados [1964]

Jorn, Asger. Signes Gravés sur les Eglises de l’Eure et du Calvados. Copenhagen: Borgen, 1964. 327 [5] p.; ill.; 28 x 21 cm.; ill b&w wrappers with text in black and white. Photographs by Gerard Franceschi. 1,000 copies printed on Griffin Finish paper.

Second volume of the “Bibliotheque d’Alexandrie”, edited by the Scandinavian Institute of Comparative Vandalism. The heavily illustrated volume is a study of Viking’s “detournement” of Normandy’s Churches during the Middle Ages.

Scholar Karen Kurcynzski explains: “In 1964 Jorn edited a book on Norman church graffiti, Signs Engraved on the Churches of Eure and Calvados with photos of graffiti carved into the walls of churches in the Medieval period. The book related to Jorn’s Scandinavian Institute for Comparative Vandalism, founded 1961, which attempted to demonstrate by photographing repeated motifs in ancient and Medieval art throughout Europe, that the visual culture of the nomadic Scandinavian “vandals,” usually perceived as mere barbarians, did not derive from southern Europe but in many cases actually inspired European visual forms. Jorn’s conception of “vandalism” retains the double signification of both a historic ethnic group and the general value of destructive tendencies in culture. Jorn writes in Signs Engraved that rather than simple destruction, graffiti asserts a common human “need,” that of expression as a fundamental human activity. He further argues that, because the Medieval church held valuable objects (such as reliquaries) outside of social circulation, anonymous graffiti on the church walls expressed a popular protest against the isolation of artistic objects from everday life. He thus characterizes graffiti as an art form that defies the institutionalization of art and its removal from common society”(“Expression as Vandalism: Asger Jorn’s Modifications, https://situationistlibrary.files.wordpress.com/2012/02/kurcynski-expression-vandalism-jorn.pdf)

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La Carte d’Apres Nature [January 1954]

[Internationale Lettriste] La Carte d’Apres NatureBruxelles (Belgium): Rene Magritte, January 1954. n.p. [32 p.]; ill.; 21 x 14 cm.; light cream wrappers with text in red and black.

 

This special issue of the “Carte d’Apres Nature” review includes responses to the question: “Quel sens donnez-vous au mot poesie?” (In English: “What does the ‘poetry’ mean for you?”). Respondents include Rene Char, Louis Scutenaire, Paul Nouge, Marel Marien, Paul Magritte..and the Internationale Lettriste. The Lettriste answer is signed “Mohamed Dahou, Henry de Béarn, Guy-Ernest Debord, Gilles Ivain, Gaëtan M. Langlais, Gil J Wolman”

The full text in French reads as follows: “La poésie a épuisé ses derniers prestiges formels. Au-delà de l’esthétique, elle est toute dans le pouvoir des hommes sur leurs aventures. La poésie se lit sur les visages. Il est donc urgent de créer des visages nouveaux. La poésie est dans la forme des villes. Nous allons donc en construire de bouleversantes. La beauté nouvelle sera DE SITUATION, c’est-à-dire provisoire et vécue. Les dernières variations esthétiques ne nous intéressent que pour la puissance influentielle que l’on peut y mettre ou y découvrir. La poésie pour nous ne signifie rien d’autre que l’élaboration de conduites entièrement neuves et les moyens de s’y passionner.” (see https://debordiana.noblogs.org/tag/ivan-chtcheglov-dit-gilles-ivain/)

The full English text reads as follows: “Poetry has exhausted the last of its formal prestiges. Beyond simple aesthetics, poetry consists entirely of human potential. It is written on the faces of adventures and in the form of cities. Nothing is more urgent than the creation of new faces and construction through upheaval. The new beauty will be SITUATIONAL, that is to say fugitive and lived. The latest artistic variations interest us only for the potential influence that might be found within them. To us, poetry means the elaboration of absolutely new conducts, and the means of making them passionate.” (see http://www.cddc.vt.edu/sionline/presitu/potlatch5.html)

We locate 8 copies on OCLC

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Maurice Wyckaert – Galerie Van de Loo [1961]

[Wyckaert, Maurice]. Olbilder – Maurice WyckaertMunchen: Galerie Van de Loo, n.d. [1961]. n.p. [12 p.]; ill.; 23 x 24 cm.; yellow wrappers with text in black.

Catalog of Maurice Wyckaert’s exhibition at Galerie Van de Loo in Munich, held form March 23 to April 26, 1961. Includes a brief introduction by C. Caspari.

This is the catalog of the exhibition that led to Wyckaert’s exclusion from the Situationist International (in April 1961). The painter’s departure occured “following an attempt to meddle in the SI’s affairs by the art dealer Otto Van de Loo, who had hoped to influence its politics by making threats and promises to several situationists with whom he had personal relations” (http://www.cddc.vt.edu/sionline/chronology/1961.html).

Wyckaert is best known for having been chosen to read the Declaration in the Name of the Fourth SI Conference to the Institute of Contemporary Arts, at the Institute of Contemporary Arts on 28 September 1960. Often viewed as a relatively “minor” figure in the SI, Wyckaert’s works and contributions were brought to light in Gérard Berréby & Danielle Orhan (éds), L’Œuvre peint (1947-1996). Paris: Allia, 2012.

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La Carte d’Apres Nature [1954]

[Internationale Lettriste] La Carte d’Apres NatureBruxelles (Belgium): Rene Magritte, June 1954. n.p. [24 p.]; 21 x 14 cm.; light cream wrappers with text in red and black.

This special issue of the “Carte d’Apres Nature” review includes thirty-nine responses to the question: “La pensée nous éclaire-t-elle, et nos actes, avec la même indifférence que le soleil, ou quel est notre espoir et quelle est sa valeur?” (In English: “Does thought enlighten both us and our actions with the same indifference as the sun, or what is our hope, and what is its value?”). Respondents include Noël Arnaud, Paul Colinet, R. Guiette, M. Havrenne, Th. Koenig, J. Lacomblez, P. Magritte, C. Malva, M. Mariën, J. Noiret, J. Pfeiffer, G. et M. Piqueray, L. Scutenaire, H. Senecaut, G. Van Bruaene… and the Internationale lettriste.

The Lettriste answer is signed “Henry de BEARN, Andre CONORD, Mohamed DAHOU, Guy-Ernest DEBORD, Jacques FILLON, Patrick STRARAM, Gil J. WOLMAN” and dated May 5, 1954. It concludes boldly with “very little is to be expected of the strength and power of the mind.” The full text in French can be found here, while an English language translation is located here.

We locate 8 copies on OCLC

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Der Deutsche Gedanke [1963]

Internationale Situationniste (Ed. Raoul Vaneigem). Der Deutsche Gedanke: Organ der Situationistischen Internationale fur Mitteleuropa. Bruxelles (Belgium): n.p., April 1963. 40 p.; ill.; 16 x 24 cm.; gold metallic wrappers with text in black.

First and only issue of this German-language periodical published by the Internationale Situationniste and geared at expanding Situationist ideas in Central Europe. Raoul Vaneigem is listed as the editor.

Opens with a lengthy quote from Theodor Adorno’s “Minima Moralia”, and includes the following texts – a mix of original content and translation of existing articles from the French review of the movement: “The Next Step” (Kotanyi), “Formulary for a New Urbanism” (Chtcheglov); “Basic Program of the Bureau of Unitary Urbanism” (Kotányi & Vaneigem); “The Bad Days Will End”; “The Role of the SI”; “Priority Communication”; “Basic Banalities (part 1)” (Vaneigem); “Ideologies, Classes, and the Domination of Nature”; “All the King’s Men” (Debord).

In total, 1000 copies were printed. A full translation can be found here: http://www.cddc.vt.edu/sionline/si/dg.html

We locate 5 OCLC, copies at Yale, Columbia, the Getty, Pompidou (Paul Destribats collection) and the National German Library.

 

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None Shall Escape: Caribbean Situationist vs. Trevor Monroe – LP [1973]

Caribbean Situationist / Fundi. None Shall Escape: Caribbean Situationist vs. Trevor MonroeLondon: Caribbean Situationist, June 1973. 30 x 30 cm.; White case with text in black

“Fundi, a Jamaican Situationist, describes the resistance against old-line Caribbean radicals such as Trevor Monroe” (Yale)
Contents: Side A. 1. Russia leading the revolution? — 2. What Padmore passed through — 3. Do you support the Cuban revolution? and some name calling
Side B.  4. It has flew to his head that he is the leader –5. Confrontation with liberal governments that just took over the other day –6. Sellout in Vietnam and Chase Manhattan in Russia — 7. What is necessary now; the councilist organizations towards the workers councils

We locate a single OCLC copy at Yale

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[J.V. Martin] J.V. Martin for Fuld Udblaesning [2007]

[J.V. Martin] Jeppesen, Lisa (Ed.).  J.V. Martin for Fuld UdblaesningRanders: Randers Kunstmuseum, 2007. 168 p.; ill.; 21 x 29 cm.; ill. Cover with reproduction of J.V. Martin painting, text in white. One of 1,000 copies printed.

Catalog of the exhibition J.V. Martin For Fuld Udblaesning, held at the Randers Museum of Art from August 11 to October 7, 2007. Includes a preface by Finn Terman Frederiksen, a text by Mikkel Bolt (which would later be translated as Playmates and Playboys at a higher level: J.V. Martin and the Situationist International, 1957-1972 and published as a book by Sternberg press in 2014) and a text by Bendiks Skov-Petersen. The manifest Uddfrag fra Kunstens Irrealisme, written by J.V. Martin in 1986, is reproduced in facsimile. Includes nearly 100 beautiful, full-page, color reproductions of Martin’s works. A lengthy biography of the artist, the work of Lisa Jeppesen, is provided as a post-face. A thorough and important retrospective.

We located 3 OCLC copies of this surprisingly scarce catalogue.

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[Vaneigem, Raoul] Histoire Desinvolte du Surrealisme [1977 / 1988]

[Vaneigem, Raoul] Dupuis, Jules-Francois (pseud.). Histoire Desinvolte du SurrealismeParis: L’Instant, May 1988. Second edition (first published 1977). 164 p.; 13 x 19 cm.; ill. Black cover with text in white and red, photograph of members of the Surrealist movement (Breton, Eluard, Peret, Tzara)

A “cavalier history of surrealism”, originally written by Vaneigem in 1970 when he was still a member of the Situationist international. The text was initially published by Paul Vermont in 1977, and then reprinted by Pierre Drachline at L’Instant in 1988.

The pseudonym chosen by Vaneigem is an obscure reference to Lautreamont (Isidore-Lucien Ducasse), whose concierge (and the signatory of the French poet’s death certificate) was named Jules-Francois Dupuis.

Our copy signed by Vaneigem: “A [illegible, blanked out], autre HISTOIRE DESINVOLTE mais radicale et imaginee(?) DU SURREALISME. Cordialement, R(aoul) V(aneigem)”

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