Theses on the Commune (Typescript) [1971?]

[DEBORD, Guy; KOTANYI, Attila; VANEIGEM, Raoul] GRAY, Christopher (trans.). [Sur la Commune] Theses on the Commune. n.p. [United Kingdom?]: n.p., n.d. [ca. 1971?]. n.p. [14 p. single-sided stapled sheets]; blue ink on thin white stock and black ink on thicker white stock.

Much of the bibliographical description below is directly borrowed from Andrew Sclanders’ excellent cataloguing work, as found here. We extend him our sincere thanks.

The original typescript (6 pages) of Christopher Gray’s English translation of Debord, Kotanyi and Vaneigem’s “Sur la Commune” (written March 1962,  reproduced in the tract “Aux poubelles de l’histoire” in February 1963, and reprinted in Internationale Situationniste 12 in September 1969) with his pencilled note and ink correction to the first page and humorous byline to the last page: “The Occult International of Hermetic Terrorists” (a reference to a critic’s description of Raoul Vaneigem’s “Banalités de base” as “a rather irritating form of hermetic terrorism”, later quoted approvingly by Vaneigem). The translation predates and differs significantly from the version published in Gray’s book, ‘Leaving the 20th Century’ (Free Fall, 1974).

This is accompanied by a second translation (4 pages), also by Gray, of the same text (‘Comments on the Paris Commune, 1871’) which differs from both the first typescript translation and from that found in “Leaving the 20th Century”

A third typescript (4 pages) is also included. Titled “Le Temps des Cerises: The Paris Commune (March 18 – May 28, 1871)”, it was made by Gray in preparation for the publication (though it possibly never was published) and features extracts from Louise Michel’s contemporary account of the Paris Commune. Michel, also known as “the red virgin of Montmartre”, was a revolutionary hero of the Commune who mobilised women in support of it and participated as an ambulance nurse and soldier.



Contre le Cinema – Typescript [1964?]

[DEBORD, Guy] JORN, Asger. [Contre le Cinéma] L’Institut Scandinave de Vandalisme Comparé présente… n.p. [Denmark?]: n.p., n.d. [ca. 1964?]. 48 p.; 21 x 29.5 cm.; black ink on single-sided stapled yellow and white sheets.

Typescript of Debord’s Contre le Cinéma, published by Asger Jorn in Denmark under the auspices of the Institut Scandinave de Vandalisme Comparé (Scandinavian Institute for Comparative Vandalism) in 1964. It reproduces the scripts of Debord’s first three films (Hurlements en faveur de Sade, Sur le passage de quelques personnes a travers une assez courte unité de temps, and Critique de la séparation)  as well as a preface by Asger Jorn (“Guy Debord et le problème du maudit”).

The text’s layout and typography are not the same as in Contre le Cinéma, no photographs are included, and the order in which the film scripts are presented also differs from the final version.

We are led to believe that this typescript originally belonged to Asger Jorn. It then made its way to Raphael Sorin at Editions Champ Libre, and was used to assist with the preparation of Guy Debord’s Oeuvres cinématographiques complètes (1978)


In Our Spectacular Society Where All You Can See…[1968]

[INTERNATIONALE SITUATIONNISTE]. [Dans le décor spectaculaire où le regard ne rencontre que les choses et leur prix…] In Our Spectacular Society Where All You Can See… n.p. [London, United Kingdom]: n.p. [King Mob], n.d. [1968]. Poster. Ill.; 49.5 x 34 cm. Offset, printed in black on white semi-gloss stock.

English language translation by King Mob of the original poster by Andre Bertrand, announcing the upcoming publication of Internationale Situationniste no.11. The unsigned text is by Raoul Vaneigem.

According to Andrew Sclanders from BeatBooks, “the poster was reproduced on the front cover of International Times #26 (February 16th, 1968) after numerous copies were found flyposted outside their office building on Betterton Street by “some Lone Anarchist Nite Marauder?” (Dick Pountain later claimed responsibility), and sections of it were published over three pages in Oz #10 (March 1968).”

We would like to add that the other version of the poster (as Raspaud notes, there were two version with the same text but different detourned comics) was reproduced in Berkeley Barb issue 140, vol.6, no.16, April 19-25, 1968.

We do not locate any copy in the trade or on OCLC. Not in Raspaud.


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If You Believe You Have Genius [1955]

[Debord, Guy]. If you believe you have genius…Paris: Internationale Lettriste, n.d. [December 1955]. 8.7 x 13.5 cm.; black ink on yellow stock.

This small, bilingual (a French version also exists) leaflet was used by the Internationale Lettriste to recruit prospective new members. “If you believe you have GENIUS or if you think you have a BRILLANT INTELLIGENCE write the letterist Internationale”

Gonzalvez 98, Correspondance 0.56, Quarto 217. We do not locate another copy on OCLC


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.


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,, 4’47)


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.


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


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.


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.



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,

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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

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

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” (

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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