La Gibigianna. L’uomo di Alba [1960]

PINOT GALLIZIO, Giuseppe. La Gibigianna. L’uomo di Alba. Torino: Edizioni d’Arte Fratelli Pozzo, 1960. [56 p.]; ill.; 27 x 30 cm.; brown library binding.

Second monograph of the Italian artist, following the much more modest publication of the Institut Scandinave de Vandalisme Compare in July of the same year (see PDF in high resolution at
Contents include:

  • A brief introduction by Whilem Sandberg (1897-1984), then Director of the Stedelijk Museum, dated June 1960. An early promoter of the post-war European avant-garde movements, Sandberg had sponsored the “first international exhibition of experimental art”, COBRA, in November 1949, causing a scandal. He attempted to organize a Situationist exhibition at the Stedelijk, but a falling out with Debord meant the project never materialized (see
  • A color reproduction of La Gibigianna, an eight-part pictorial project inspired by an eponymous nineteenth-century Italian comedy.
  • The bilingual (English/Italian) text “PINOT GALLIZIO, l’uomo di Alba”, by Maurizio Corgnati, an homage to the painter and his city
  • A biographical sketch of the artist, with over 35 pictures (portraits, reproduction of paintings, etc.)

We locate 9 copies on OCLC of this early, beautiful homage to an artist who didn’t achieve broad recognition until the mid-1970s.

Don’t Network: The Avant Garde after Networks [2018]

LEGER, Marc James. Don’t Network: The Avant Garde after Networks. New York: Minor Compositions, 2018. 360 p.; ill.; 15 x 24 cm.; ill. Black cover with text in white.

“There is something rotten about network society. Although the information economy promises to create new forms of wealth and social cooperation, the real subsumption of labour under post-Fordism has instead produced a social factory of precarious labour and cybernetic surveillance. In this context people have turned to networks as an ersatz solution to social problems. Networks become the agent of history, a technological determinism that in the best-case scenario leads to post-capitalism but at worst leads to new forms of exploitation and inequality. Don’t Network proposes a third option to technocratic biocapitalism and social movement horizontalism, an analysis of the ways in which vanguard politics and avant-garde aesthetics can today challenge the ideologies of the network society” (Publisher)

Includes a notable chapter that offers a critique of Richard Barbrook’s “Class Wargames”. Barbrook used Debord’s used Debord’s Le Jeu de la Guerre (The Game of War) to re-enact and re-think questions of historical and actual class strategy. He went on to publish a book on the subject, and maintains a website at A few copies of Debord’s The Game of War can still be obtained from Atlas Press (

Leger’s book can be accessed in PDF here:

Times Literary Supplement 3262 [1964]

BERNSTEIN, Michèle. “The Situationist 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

Gonzalvez 232. Raspaud & Voyer 117. Trespeuch 31

Maurice Wyckaert @ Taptoe + Original Ink Drawing [1956]

[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.

J.V. Martin [2010]

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.

We locate 2 copies on OCLC, both in Demark.

Caspari – unpublished manuscript on Maurice Wyckaert [ca. 1960].

[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.

Guy Debord – letter to Constant [1960]

[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.

Asger Jorn – letter to Maurice Wyckaert [1957]

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.

Guy Debord et al’s letter to Willem Sandberg [1958]

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.

Maurice Wyckaert’s exclusion letter [1961]

[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

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 .