Debord memoires3/6/2023 ![]() ![]() Other pages include text in French, German, and Danish illustrations of whisky bottles beer bottles and cigarettes aeroplanes and oceangoing liners cartoons of well dressed men and pretty girls and various maps of Copenhagen. With electronics, automation and nuclear energy, we are entering on the new Industrial Revolution which will supply our every need, easily. ![]() a light aircraft of your own? Whatever you want, it's coming your way - plus greater leisure for enjoying it all. What do you want? Better and cheaper food? Lots of new clothes? A dream domestic with all the latest comforts and labour saving devices? A new car. ![]() In numerous ways very similar to the later book, the colour layers are more exuberant, the text more pointed. Also printed by Permild and Rosengreen, Copenhagen, the book was published by Jorn's Edition Bauhaus Imaginiste in May 1957, a few months before this group amalgamated with the Lettrist International to create the Situationists. The artists' book is credited to Asger Jorn, with Debord covered as "Technical Adviser in Détournement". It planes shavings off the neighbour's desert goat.įin de Copenhague Goodbye to Copenhagen is the first collaboration between the two artists. Can you imagine the solution when the book lies on a blank polished mahogany table, or when it's inserted or taken out of the bookshelf. He acquiesced by mysuggestion: sandpaper flint nr. Kiddingly, he wanted, that by looking at people, you should be professionals to tell if or not they had had the book in their hands. Preferably some sticky asphalt or perhaps glass wool. Long had requested me, whether I couldn’t find an unconventional the tangible substance that goes into the makeup of a physical thing for the book cover. commonly credited to Debord, the sleeve was actually conceived in a conversation between Jorn and the printer, V.O. The book is almost famous for its cover, a dust jacket presentation of heavy-grade sandpaper. The last page is an orange swirl, above which reads the single sentence 'I wanted to speak the beautiful Linguistic communication of my century.' Auto-destruction: the sandpaper cover Originally deriving from Dada, détournement would become a key situationist strategy. Détournement 'diversion' or 'disruption' is also employed in the book to disorient the reader by making startling collaged juxtapositions. ![]() Other pages deal with more personal themes, including a cartoon of the first showing of his film Hurlements en Faveur de Sade, with comments for and against, and references to Dérive, which would become so-called as Situationist Drift, the habit of walking aimlessly through a city in an effort to find its spirit. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such(a) as 'How do you feel approximately the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, profile created by a matchstick loaded in ink, and a Rorschach inkblob. These sometimes connect images and text, sometimes go forward them, and sometimes are seemingly unconnected. The moment layer is printed using coloured inks, splashed across the pages. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The pull in contains two separate layers. Thesection, 'December 1952', quotes Soubise. our fate will be to become the first alive people to enter the new life. Let the dead bury the dead, and mourn them. The first section is called 'June 1952', and starts with a quote from Marx: The book is a earn of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Lettrists, determining up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade Howling in Favour of Sade, a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between.Ĭredited to Guy-Ernest Debord, with structures portantes 'load-bearing structures' by Asger Jorn, the book contains 64 pages divided up into three sections. Printed in 1959, this is the theof two collaborative books by the two men whilst they were both members of the Situationist International. Mémoires Memories is an artist's book featured by a Danish artist Asger Jorn in collaboration with a French artist together with theorist Guy Debord. ![]()
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