BERNSTEIN, Michèle. “TheSituationist International” (in Times Literary Supplement 3262). London: TLS, 3 September 1964. 60 p. (numbered 773-832); ill.; 29.5 x 43.5 cm.
NASH, Jorgen. “”Who are the Situationists” (in Times Literary Supplement 3262). London: TLS, 3 September 1964. 60 p. (numbered 773-832); ill.; 29.5 x 43.5 cm.
Second special issue of the Times Literary Supplement devoted to the Avant-Garde (“Any Advance? The Changing Guard 2”). It follows an earlier issue on the topic (3258), which was published on August 6, 1964. Contains two important articles by SI members: “About the Situationist International” by Michele Bernstein (p.781) and “Who are the Situationists?” by Jorgen Nash (p.782-83). A brief poem entitled “,ruler. the armies”, the work of little-know SI member Armando, is also featured (p.820). Finally, Some lettrist texts are included, such as Isidore Isou’s “The Creation of Lettrism” (p.796-97) and a poem by Francois Dufrene (p.819)
In a letter to Alexander Trocchi dated 12 October 1964, Debord complains about the translation of Michele Bernstein’s article: “As you might have guessed, our article in the September issue of the Times Literary Supplement was poorly translated. The editors missed out on two or three critical points” (see Correspondance Volume 2, pp.299-300). The last two sentences of Bernstein’s article are reproduced in Internationale Situationniste 10, p.83, in March 1966
Bernstein and Nash’s articles have been reproduced in An Endless Adventure…An Endless Passion…An Endless Banquet…A Situationist scrapbook (ICA/Verso, 1989). Bernstein’s text is available online at https://www.cddc.vt.edu/sionline/si/times.html
[WYCKAERT, Maurice; RAINE, Jean]. [Une liberté qui dure]. n.p. [Brussels]: n.p. [Taptoe], n.d. [1956]. n.p. [8 p.]; ill.; 20 x 20 cm.; ill wrappers with a lithograph from the artist.
Scarce catalogue of Maurice Wyckaert’s exhibition at Galerie Taptoe in Brussels between 3 March and 15 March 1956. Includes an article (“Une liberté qui dure”) and a poem (“douceur operatoire”) by by Jean Raine, and a poem Marie Storck (“Du fond des âges, déjà …”). 4 illustrations by Wyckaert (including the front wrapper). Our copy is augmented with an original ink drawing by Wyckaert. L’Oeuvre Peint, p. 574.
We locate a single OCLC copy at Yale University’s Beinecke Library.
MARTIN, J.V. J.V. Martin. [Randers]: Cykelbørsen Randers, 2010. n.p. [ca. 162 p.]; ill.; 21 x 30 cm.; black cover with text in white
“In 1986, J.V. Martin wrote a manuscript which was intended to be published in connection with a retrospective exhibition at the Randers Museum of Art. For various reason, it never came out. This is now being remedied” (press release, inserted loosely inside this volume — translation is ours). The facsimile version of the manuscript was published on the occasion of the exhibition “Storadmiralen går i land” (The Grand Admiral goes ashore”), held at Galleri Cykelbørsen in Randers in 2010. The original copy resides at the Randers Local Historical Archive. Excerpts had previously been published in 2007.
The mansuscript reads like a journey through Martin’s most significant artistic period, starting in the late 1950s and with a focus on the S.I. years. One reads about the Situationist International, the Little Mermaid scandal, the RSG-6 exhibition, the firebombing of Martin’s own apartment, and more.
[WYCKAERT, Maurice]. CASPARI, C[laus]. [Untitled manuscript] L’image est aussi vieille que l’homme…ca. 1960. 6 p.; 21 x 27.5 cm.; black ink on thin white stock; annotations in blue ink.
Unpublished, unreleased typed manuscript by art critic Claus Caspari about Maurice Wyckaert. Handwritten annotations by Caspari in blue ink.
Caspari also authored a short introduction to the catalog for Wyckaert’s exhibition at Galerie Van de Loo, held from March 23 to April 26, 1961 (this is the exhibition that led to Wyckaert’s exclusion from the S.I.); see here for more details. However, the text of that introduction is altogether different from the one here, which was likely written around 1960 or 61.
[DEBORD, Guy] CONSTANT (Nieuwenhuys). Copy of a typed letter to Debord dated 6 Juin 1960. 1 p.; 21 x 27 cm.; black ink on thin white stock.
Letter from Constant to Debord, where the Dutch architect expresses his disappointment with Debord’s decision to cancel the planned Situationist exhibition at the Stedelijk museum in Amsterdam (planned for May 1960, the exhibition would never take place due to a falling out with Museum Director Willem Sandberg). Constant then asks Debord whether he’s “willing to collaborate with [him] on the basis of the Amsterdam declaration, which was endorsed at the Munich conference”. He concludes by writing: “Given what remains of the S.I., the topic of my resignation of exclusion is ludicrous. Unitary urbanism will belong to those that will have done something with it. I am still counting on you. Yours truly, Constant.”
A copy of this letter was enclosed by Debord in his letter to Maurice Wycakert dated 22 June 1960. In that letter, Debord wites: “Ci-joint le dernier échange de correspondance entre Constant et moi. Le dernier, au sens fort du terme. J’avais pensé que les “erreurs” de Constant étaient toujours causées par son caractère bouillant, et son jugement lourdement unilatéral en bien des cas. Mais peut-être Asger avait-il raison, quelque peu, en parlant de provocation. Je m’étonne que l’idiotie de la proposition de collaboration qu’il m’a adressée, et l’insupportable ridicule du ton sur laquelle elle est faite – après tant de suspects déboires hollandais – aient pu échapper a un homme qui est tout de même intelligent; et que l’on pouvait croire très honnête” (Correspondance vol. 1, pp. 343-44). Translation follows: “Herewith the last exchange of correspondence between Constant and me. The last, in the strongest sense of the word. I had thought that Constant’s “mistakes” were always caused by his hot temper, and his heavily one-sided judgment in many cases. But perhaps Asger was somewhat right in speaking of provocation. I am astonished that the idiocy of the proposal for collaboration which he addressed to me, and the ridiculousness of the tone in which it is made – after so many suspicious Dutch setbacks – could have escaped a man who is after all intelligent; and one we once believed to be very honest “(Correspondance vol. 1, pp. 343-44). See here for more details.
DEBORD, Guy.Copy of a typed letter to Constant dated 21 Juin 1960. 3 p.; 21 x 27 cm.; black ink on thin white stock. Accounted for in Correspondance, Vol. I, pp. 340-42
Letter from Debord to Constant, in response to the Dutch architect’s June 6 letter. Debord tackles Constant’s points one by one. He also reaffirms his commutment to great idelogical discipline with the S.I., and rejects any “collaboration with uncontrolled elements”. He concludes with giving Constant the choice of what his relationship with the S.I. may look like moving forward.
Constant would be formally excluded from the SI soon thereafter.
JORN, Asger. [CORRESPONDENCE] [WYCKAERT, Maurice] Mon cher Wyckaert. 1958. 1 p. (two-sided); 28 x 21.5 cm.; blue ink on white stock.
Letter (in French) from Asger Jorn to Maurice Wyckaert. Pierre Alechinksy had introduced Wyckaert to Jorn in 1956, when the Belgian painter was visiting Edouard Jaguer (another COBRA member) in Paris. Jorn helped Wyckaert refine his technique: for instance, he invited him to Albissola’s “International Encounter in Ceramics” so the young artist could learn how to mode material through making pottery. Finally, it is through Jorn that Wyckaert met Debord and became a member of the Situationist International. In many ways, Wyckaert considered Jorn both a model and a mentor. For more details on the Jorn-Wyckaert relationship, see WYCAKERT, Maurice. L’Oeuvre Peint. (Paris: Allia, 2012).
In this letter, Jorn informs Wyckaert that Mazzotti – a pottery workshop located in Albisola – is unable to accomodate additional artists that year. Jorn also tells Wyckaert about “two little monographs of two Italians, Simondo and Gallizio” that Walter Korun is working on. He would like Wyckaert to get involved with Korun in this project, writing additional monographs “very much in the spirit of [those] published at Taptoe”. As a post-scriptum, Jorn tells Wycakert about a “Galerie Contemporain” (sic) in Brussels, where twenty or so gouaches by Pierre Wemaëre are being exhibited. He asks him to bring the paintings to Paris, at Galerie Facchetti (where he exhibition “Pierre Wemaëre, peintures” was to open in 1957) or at Pierre Wemaëre’s place in Versailles.
DEBORD, [Guy]; JORN, [Asger]; KHATIB, [Abdelhafid]’ KORUN, [WALTER]; Pinot-Gallizio, [Giuseppe]. Typed letter dated 26 Janvier 1958. Paris: Internationale Situationniste, 1958. 1 p.; 21 x 27 cm.; black ink on cream white stock.
Letter from the Situationist group to “dear mister Sandberg”, adding to an earlier (and much longer) letter dated 25 January 1958. Willem Sandberg was the director of Amsterdam’s Stedelijk museum since 1945 and an early promoter of the COBRA movement – he had sponsored the “first international exhibition of experimental art”, COBRA, in November 1949, causing a scandal. Sandberg was interested in organizing another COBRA exhibition, but the Situationists aimed for something altogether different : a two-prong exhibition, focused on both the historical COBRA (1949-51) and on the more contemporary outlook provided by the S.I. Debord, Sandberg, and “legacy” COBRA artists like Dotremont could not find a compromise, and the plan for an exhibition was soon abandoned.
The letter is found in Correspondance Vol. 1, p. 56.
[WYCKAERT, Maurice] DEBORD, G[uy] E[rnest]; BERNSTEIN, M[ichele]; ZIMMER, H.P.; STURM, H[elmut]; PREM, H[elmut]. [CORRESPONDENCE – Exclusion letter] Liebe Maurice…Munich, 17 April 1961. 1 p.; 21 x 27 cm.; black and blue inks on white stock.
Typed and signed letter from Guy Debord and members of Gruppe SPUR to Maurice Wyckaert explaining that he is no longer a member of Situationist International.
Guy Debord and the S.I. had gotten into conflict with Otto Van de Loo, and Wyckaert had yet to choose sides. On a letter to the SPUR group dated 29 March 1961, Debord had already expressed concerns with Wyckaert: “[His] attitude in Munich was very suspect (too friendly towards Van de Loo) and nothing was done. (Wyckaert must also explain himself to you, but, judging from the letter from Heimrad and Hekmut, he appears to have explained nothing to you.)” He had also given the painter a clear ultimatum: He had to choose between his gallerist and the S.I. “After Van de Loo acted in this fashion, we can not keep in the SI a single artist who works with Van de Loo. Jorn has left Van de Loo. And Wyckaert must also choose to leave Van de Loo immediately or leave the SI (I still do not know what Wyckaert will choose: if he chooses Van de Loo, which seems very possible to me, the SI will treat Wyckaert as an enemy)” (see http://www.notbored.org/debord-29March1961.html)
Wyckaert ultimately sided with the German gallerist. Debord followed through with the threat, excluding him from the S.I. The Belgian painter is also asked to give back all S.I. publications that remain in his possession .
[WYCKAERT, Maurice]. [PHOTOGRAPH] Half-body headshot of Maurice Wyckaert. Late 1950s / early 1960s. 6.5 x 9.5 cm.; B&W photograph on photo stock.
[WYCKAERT, Maurice]. [PHOTOGRAPH] Half-body shot of Maurice Wyckaert, next to an unidentified young woman. Albissola, 1958. 6.5 x 9.5 cm.; B&W photograph on photo stock.
[WYCKAERT, Maurice]. [PHOTOGRAPH] Side portrait of Maurice Wyckaert Late 1950s / early 1960s. 10 x 15 cm.; B&W photograph on photo stock.
Series of 25 letters from Guy Debord to Maurice Wyckaert, between March 1, 1958 and December 6, 1960. This comprises all but 3 of the letters included in Guy Debord’s Correspondance.
Maurice WYCKAERT was a short-lived but pivotal figure in the Situationist International.
Wyckaert met Guy Debord through Asger Jorn and became a member of the Situationist International in 1957, a few months after the movement was founded in Cosio d’Arroscia.
In the Spring of 1958, he became involved in the scandal against the International Assembly of Art Critics in Brussels. Wyckaert helped produce the leaflet Adresse de l’Internationale situationniste a l’assemblée générale de l’Association internationale des critiques d’art, a scathing attack against art critics on the occasion of their formal get-together, and threw 1,000 copies onto sidewalks from the roof of the Grand Bazaar. He also called numerous art critics (who resided in nearby hotels) on the phone, reading part of all of the text out loud. As a result of this action, SI members were threatened with prosecution.
Later that year, Wyckaert became a member of the editorial board of Internationale Situationniste, the organ of the Situationist movement.
In early 1960, Debord brought up the project of holding an exhibition at the Stedelijk museum in Amstrdam, which would consist in transforming two rooms into a labyrinth. Planned for May 1960, the exhibition would never take place due to a falling out with Willem Sandberg, the Museum’s director. However, Wyckaert created detourned palisades (to symbolize drifting) with planks rescued from the demolition site of the family house in Brussels” (see Maurice Wyckaert, l’Oeuvre Peint, p. 535).
Wyckaert’s main contribution to the S.I. is his reading of the Declaration Made in the Name of the Fourth SI Conference to the Institute of Contemporary Arts in September 1960. Invited by the I.C.A. to give a lecture, the S.I. made Wyckaert its spokesperson — in part because he was one of the few English speakers at the time. Wyckaert read the text, but his strong Flemish accent made him particularly hard to understand. To make things worse, Wyckaert used a hearing aid, which he turned off during the Q&A after having been asked the one and only question of the evening: “What is Situationism, exactly?”. Debord stood up and said in French “we are not here to answer cuntish questions” and walked out with the other Situationists. A detailed first-hand account of that evening can be found here. The declaration would be published in issue #5 of Internationale Situationniste in December 1960.
Wyckaert was excluded from the S.I. in 1961, having sided with gallerist Otto Van de Loo in a conflict against Guy Debord. His departure coincided with that of many other artists from the S.I.
01. DEBORD, Guy. Signed handwritten letter dated Samedi 1er Mars [1958]. 2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 68-69.
Debord attempts to arrange a meeting with Walter Korun and Maurice Wyckaert for the following Saturday in Brussels. On Satuday, March 8, Debord mailed a postcard of the Manneken Pis to Pinot-Gallizio. The card is signed “Guy, Rob et Maurice Wyckaert, Wilma et Walter Korun”, proving that the meeting took place in Belgium as planned. One of the key topics discussed was the action against the International Assembly of Art Critics (more below).
02. DEBORD, Guy. Signed handwritten letter dated 13/3/[19]58. 2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 72-74.
In this letter addressed to the Belgian section (Wyckaert and Korun) Debord expresses his enthusiastic support for “Korun’s proposition concerning an action to be attempted on the occasion of the International Conference of Art Critics – on 15 April [1958] in Brussels”. He starts to sketch out some of the details of the intervention, including the decision to “print 2,000 copies of a tract to throw during this meeting – if possible at the time of the inaugural session” He concludes by asking members of the Belgian section for further information regarding the conference and its participants, while asking them to keep “the most rigorous secrecy” about this planned action. This letter has been translated into English: http://www.notbored.org/debord-13March1958.html
03. DEBORD, Guy. Signed handwritten letter dated 24/3/[19]58. 2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 77-79.
Debord confirms that the leaflet (Adresse de l’Internationale situationniste a l’assemblée générale de l’Association internationale des critiques d’art ) is ready; a first draft having been mailed to Wilma [Korun] on Friday [March 23]. He asks Wyckaert and Korun to mail copies to art critics on the day preceding the International Conference of Arts Critics (roughly 30 copies would end up being sent by post). Separately, Debord dismisses a proposed contribution by Korun and Wyckaert to the Surrealist-influenced periodical Edda.
04. DEBORD, Guy. Signed handwritten letter dated 4/4/[19]58. 1 p.; 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 82.
Debord tells Wyckaert about Jorn’s planned trip to Brussels on April 11 & 12; the Danish painter will hand him and Korun copies of the tract. Ten days later, Adresse de l’Internationale situationniste a l’assemblée générale de l’Association internationale des critiques d’art would be handed in to art critics at the International Conference of Art Critics. Other critics were reached by telephone and read all or part of the text out loud. Perhaps most spectacularly, a group forced its way into the Press Club where the critics were being received and threw the leaflets among the audience. Wyckaert tossed another 1,000 copies of the leaflets onto sidewalks from the roof of the Grand Bazaar (now demolished). As a result of this action, SI members were threatened with prosecution. Korun, in particular, faced some legal issues as a result. In spite (or perhaps because) of this, Debord viewed what he referred to as “the battle of Brussels” (Letter to Pinot-Gallizio, 19 April 1958) as a great success
05. DEBORD, Guy. Signed handwritten letter dated 10 Fevrier [19]59. 2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 190-91.
In this letter, Debord informs Wyckaert that the third conference of the S.I. is planned in Munich (it would occur in April). Following an encounter with Helmut Sturm, Debord shows great excitement about Gruppe SPUR and talks about a “project for a German language journal” (7 issues of the Spur periodical would be published between 1960 and 1961).
06. DEBORD, Guy. Signed handwritten letter dated 5 Mai [1959]. 1 p.; 21 x 27 cm.; blue ink on white stock (Internationale Situationniste letterhead). Correspondance, Vol. I, p. 228.
Debord complains about issues with French customs. More importantly, he asks Wyckaert to meet him in Amsterdam to work together on a new series of the periodical Potlatch (the first and only issue of that new series — Potlatch #30 — would be issued in Amsterdam on 15 July 1959. It would include an important article by Constant, “Le grand jeu a venir”)
07. DEBORD, Guy. Signed handwritten letter dated Mardi 9 juin [1959]. 1 p.; 21 x 27 cm.; blue ink on white lined paper. Correspondance, Vol. I, p. 240.
Debord confirms to Wyckaert that the revised drafts for Potlatch 1 (new series) have been mailed to Constant. He tackles a few other topics, before asking Wyckaert whether they would be able to meet in Antwerp and Amsterdam, as planned, and perhaps in Italy.
08. DEBORD, Guy. Signed handwritten letter dated Mercredi 18 novembre [1959]. 1 p.; 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 279-80.
Debord tells Wyckaert that a monograph about him should be released “very soon”, but that he would need a few photographs for that purpose (this monograph does not seem to have ever been published).
09. DEBORD, Guy. Signed handwritten letter dated Lundi 14 decembre [1959]. 1 p.; 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 283-84.
In a short letter, Debord asks Wyckaert to visit him early in the week. He also tells him that “the periodical [Internationale Situationniste] should come out at the end of the week or early the following week” Indeed, issue #3 would be published in December 1959, with Maurice Wyckaert a member of the editorial board.
10. DEBORD, Guy. Signed handwritten letter dated 8 janvier [19] 60. 2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 297-98.
Debord brings up the project of holding an exhibition at the Stedelijk museum in Amstrdam, which would consist in transforming two rooms into a labyrinth. Planned for May 1960, the exhibition would never take place due to a falling out with Willem Sandberg, the Museum’s director. However, detourned palisades – to symbolize drifting – were created “with planks rescued from the demolition site of the family house in Brussels” (see Maurice Wyckaert, l’Oeuvre Peint, p. 535).
11. DEBORD, Guy. Signed handwritten letter dated Lundi [18/01/1960]. 2 p. (one sheet); 21 x 27 cm.; black and blue inks on white stock. Correspondance, Vol. I, p. 299-300.
Debord alludes to the Stedeljik exhibition project once more. He also brings up the possibility of a conference at the I.C.A., which would happen in September. Finally, Debord tells Wyckaert he would like to show him “the film” (i.e., On the Passage of a Few People Through a Rather Brief Unity of Time). This letter has been translated into English: http://www.notbored.org/debord-18January1960.html
12. DEBORD, Guy. Signed handwritten letter dated Dimanche, 14 fevrier [1960]. 2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. I, p. 312-13.
In this long letter, Debord discusses some of the details and logistics relative to the planned Stedeljik exhibition. He explains his rationale behind some of the aesthetic choices, which put him at odds with the Dutch section. He then asks Wyckaert to reach out to Constant to express his point of view on the matter. The topic of Wyckaert’s monograph is brought up once more, with Debord asking that some elements from the planned Amsterdam exhibition (Wyckaert’s detourned palisades) be included so as to “clearly showcase ways in which painting can be incorporated into into a constructed environment.”
13. DEBORD, Guy. Signed handwritten letter dated Lundi 15 mars [1960]. 2 p. (one sheet); 21 x 27 cm.; black and blue inks on white stock. Correspondance, Vol. I, p. 321-23.
After plans for the Stedelijk exhibition fell apart, Debord reflects on this failure. In terms of next steps, he recommends “full transparency” (in reference to the disagreements with the Dutch section) and, more practically, the dissolution of the Bureau for Unitary Urbanism as well as the need to coalesce around a strongly-defined shared program. An authoritarian bent comes through: “There’s a group that wants to get formalized in Israel. But when you think about the limited oversight we have over the Dutch group, we are crazy to consider what could happen in the Middle East! The only (minimum) solution is a perfect clarity of the S.I.’s public positions”. Debord closes the letter by advocating for the need to find another venue for the “labyrinth-derive” project.
14. DEBORD, Guy. Signed handwritten letter dated 29 mars [19]60. 2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. I, p. 324-25.
This letter is primarily a discussion around the logistics for issue #4 of Internationale Situationniste (including the price and choice of the metallic wrappers).
15. DEBORD, Guy. Signed handwritten letter mardi [05/04/1960].1 p.; 21 x 27 cm.; black ink on white stock. 3 p.; 21 x 13.5 cm.; black ink on white stock. Correspondance, Vol. I, p. 327-29.
Debord discusses in great detail the layout for the forthcoming brochure by Jorn (Critique de la politique economique, suivie de la lutte finale., which would be published shortly thereafter).
16. DEBORD, Guy. Signed handwritten letter dated jeudi [07/04/1960].2 p (one sheet).; 21 x 13.5 cm.; black ink on white stock. Correspondance, Vol. I, p. 329-30.
Debord follows up regarding the color of the cover for Critique de la politique economique, and asks Wyckaert to mail copies to Paris once the brochure is printed. The choice of illustration for the rear cover – a photograph of a group of paratroopers along with the text “Not everyone can read Internationale Situationniste” -. would cause the pamphlet to be seized by customs agents at the French-Belgian border. Most copies have not been recovered, and a new printing (with a different cover) was made in 1970.
17. DEBORD, Guy. Signed handwritten letter dated mercredi 22 juin [1960].2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. I, p. 343-44.
Debord acknowledges receipt of copies of Critique de la politique economique, and asks Wyckaert whether he’s received Internationale Situationniste #4. He writes that his new film project (Critique de la separation) is keeping him incredibly busy. He forwards a copy of some letters exchanged with Constant. One more time, he asks Wyckaert “At what stage is your monograph?” This letter has been translated into English: http://www.notbored.org/debord-22June1960.html
18. DEBORD, Guy. Signed handwritten letter dated Samedi [13/08/1960].2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. I, p. 369-70.
Debord informs Wyckaert that he may be going through Brussels and could get together with him then. He comments on the exclusion of Pinot-Gallizio, and mentions the publication in Canada of Cahier pour un paysage a inventer, the work of Patrick Straram (“only 3/4th Situationist”). He closes with “CONGO TO THE CONGOLESE! U.N.E.S.C.O. TO THE SITUATIONISTS!”
19. DEBORD, Guy. Signed handwritten letter dated mercredi 24 aout [1960].2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. I, p. 372-74.
Debord discusses a number of topics. He says that he’s “very interested in the project of a large palisade for the orchard (it must be completed ahead of the next issue of Internationale Situationniste)”. Unfortunately, we find no trace of this work of art, which was likely never created.
20. DEBORD, Guy. Signed handwritten letter dated samedi soir [01/10/1960].5 p. (three sheets); 21 x 13.5 cm.; black ink on white lined paper. Correspondance, Vol. II, p. 15-18.
Debord comments on Trocchi’s recent arrest in New York (due to drug possession) and the publication of a leaflet to protest it (Hands Off Alexander Trocchi! would be published on October 7), the boycott of Arguments, the famed Manifeste des 121 (against the war in Algeria, it was signed by numerous French intellectual, including Debord), an upcoming encounter with Henri Lefebvre This letter has been translated into English: http://www.notbored.org/debord-1October1960.html
21. DEBORD, Guy. Signed handwritten letter dated Lundi soir [03/10/1960].2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. II, p. 18-19.
Debord tells Wyckaert about a potential encounter with Henry Miller. He hopes Miller can help spread the news about Trocchi’s arrest and advocate for his liberation. This letter has been translated into English: http://www.notbored.org/debord-3October1960.html
22. DEBORD, Guy. Signed handwritten letter dated dimanche 13 nov. [13/11/1960].1 p.; 21 x 27 cm.; black ink on white stock. Correspondance, Vol. II, p. 47.
Debord writes to Wyckaert about everything he needs to finalize an English language situationist journal (beyond the Situationist Times). However, it would never see the day.
23. DEBORD, Guy. Signed handwritten letter dated lundi 21 [21/11/1960].2 p. (one sheet); 21 x 27 cm.; black ink on white stock. Correspondance, Vol. II, p. 48-49.
With a sense of urgency, Debord asks Wyckaert once more to complete a number of translations for the (never-to-be-published) English language Situationist journal. He also brings up the police interrogation he was subject to in relation to his involvement with the Manifeste des 121.
24. DEBORD, Guy. Signed handwritten letter dated mardi, midi [06/12/1960].1 p.; 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. II, p. 53.
Debord informs Wyckaert that they can have dinner together (along with Attila Kotányi) on Friday [9 December].
25. DEBORD, Guy. Signed handwritten letter dated mardi soir [06/12/1960].2 p. (one sheet); 21 x 27 cm.; blue ink on white stock. Correspondance, Vol. II, p. 54-55.
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