ANNOUNCEMENT: Same Players Shoot again : Jacqueline de Jong and the Situationist Times (Oct 31 – Nov 29, Paris)

SAME PLAYERS SHOOT AGAIN : JACQUELINE DE JONG & THE SITUATIONIST TIMES

Oct 31 – Nov 29 2020
Opening day, Oct 31, 2-8pm

Treize
24 rue Moret
75011 Paris

On September 18th 2016, while visiting the Massachusetts Institute of Technology (MIT) in Boston, Dutch painter Jacqueline de Jong (b. 1939) came across the Digi-Comp II, an educational toy presenting the basics of computational logic using beads, a ramp and a series of separators. This chance encounter brought back the memory of another – far more ludic – machine which De Jong had enjoyed in her youth: the pinball machine. In the early 1970s, she had even planned to dedicate the seventh issue of her magazine The Situationist Times to the game.

Co-produced with designer and gallerist Hans Brinkmann, this Pinball issue eventually went unpublished. The preparatory documents that remained – photographs, letters, press clippings and various printed matter – were stored in a box in the artist’s house in Amsterdam and eventually forgotten .

These archives have since been reactivated through the publishing and curatorial project “These Are Situationist Times”, which Norwegian researcher Ellef Prestæter and the publisher and Torpedo Press (Oslo) have developed in close collaboration with De Jong. These documents will soon join the Jacqueline de Jong Papers of the Beinecke Library, Yale University. “Same Players Shoot Again” is the Parisian instalment of an exhibition which has been presented on several occasions since 2018 and which features a book and a digital interface produced by Torpedo Press and theInstitute for Computational Vandalism.

A topological manifesto, political bulletin and visual encyclopedia, The Situationist Times (1962-1967) – which De Jong launched right after being excluded from the Situationist International – has its roots in vernacular culture, the history of games, and non-euclidean mathematics. The exhibition presents the archives of the unpublished final issue of this landmark of post-war artists’ magazines alongside art and graphic works by De Jong from the same period. Like a pinball, the exhibition traces a dérive, a knot, an underground web of relations, a hazardous curve, or a dissident trajectory across the artistic and political avant-garde movements of its time.

An exhibition developed by Jacqueline de Jong and Ellef Prestæter, in collaboration with Juliette Pollet, Gallien Déjean, Emmanuel Guy & Fanny Schulmann.

Programming:
November 28th, afternoon, Kandinsky Library, Centre Pompidou: presentation of Ellef Prestæter’s book These Are Situationist Times ! An Inventory of Reproductions, Deformations, Modifications, Derivations, and Transformations (Torpedo Press, 2019), and Gallien Déjean’s book of interviews with Jacqueline de Jong (Manuella Editions/AWARE, 2020). With Jacqueline de Jong (TBC), Gallien Déjean, Juliette Pollet, Emmanuel Guy and Fanny Schulmann.In partnership with AWARE (Archives of Women Artists Research and Exhibition).

The exhibition and programming benefited from the support of the Embassy of the Netherlands, the Embassy of Norway and AWARE (Archives of Women Artists Research and Exhibition).

We Propose a Culture Exchange – garbage for garbage [1968]

UP AGAINST THE WALL MOTHERFUCKER. We Propose a Culture Exchange (garbage for garbage). n.p. [New York]: Up Against the Wall Motherfucker, n.d. [1968]. 1 p. (two sided); ill.; 21 x 29.5 cm.; black ink on white stock. Text on rector, photomontage on verso.

Leaflet by UAW-MF promoting what is perhaps its most famous and successful intervention. On February 12, 1968, a group of radicals leby by Ben Morea collected garbage on the lower east side, trucked it, then dumped it in front of the Lincoln Center on a gala night. The event coincided with a NYC garbage strike and was meant to express both the group’s contempt for the bourgeois establishment and its support of the strikers.

The event is documented here: https://www.youtube.com/watch?v=bDic0pFoZh4&ab_channel=virgilbot

We locate no copies on OCLC or in the trade, though one is listed as part of Ben Morea’s archive at the Tamiment Library, New York University.

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Guy Debord – original portrait by Luca Del Baldo [2020]

DEL BALDO, Luca (b. 1969). Guy Debord. 2020. Oil and acrylic on wood. 30 x 20 cm

Original portrait of Guy Debord by Italian painter Luca Del Baldo.

Born in 1969, Del Baldo resides in Cantu (Como), Italy. Operating outside the institutional art world, Del Baldo spent the last ten years working on the “The Visionary Academy of Ocular Mentality (De Gruyter, 2020). As part of this project, the artist “asked famous art critics, art historians, and philosophers for headshot photographs of themselves, which he used to make paintings. He then shared the paintings with his subjects and told them to comment on the results. His goal was thus not simply to make a portrait, but to establish a relationship with his subject; how that person responds is revealing” (source). Featured art historians and scholars includes WJT Mitchell, Jacques Ranciere, Jean-Luc Nancy, Michel Onfray, Slavoj Zizek, Zigmunt Bauman, George Steiner, Stephen Greenblatt, and many others. Del Baldo is also known for his painting of a dead Gaddafi (see below)

Credits: Luca Del Baldo

Credits: AFP