These are Situationist Times! [2019]

PRESTSAETER, Ellef (Ed.). These are Situationist Times! An Inventory of Reproductions, Deformations, Modifications, Derivations, and TransformationsOslo: Torpedo Press, 2019. 352 p.; ill.; 22 x 28 cm.; heavily illustrated throughout.

Book released as part of These are Situationist Times!, a project of Torpedo Press in close collaboration with Jacqueline de Jong. The project consists of:

  • A digitization of all issues of Situationist Times by Monoskop
  • digital interface by The Scandinavian Institute for Computational Vandalism, retracing the magazine’s history through a series of video interviews with Jacqueline de Jong
  • series of exhibitions Jacqueline De Jong & The Situationist Times: Same Player Shoots Again! – curated by Ellef Prestsæter in collaboration with Torpedo and Jacqueline de Jong. These include
  • and finally a book, hereby presented, edited by Ellef Prestsæter. The table of contents can be found here.

The beautifully illustrated volume includes numerous reproductions from the original Situationist Times magazine (#1-6), but the highlight is the last section on the recently rediscovered, unfinished seventh issue: The “Pinball issue” (ca. 1973). Included are a “selection of materials assembled for the Pinball Issue of the Situationist Times, including original photographs by Hans Brinkman, previous unpublished essays by Brinkman and the psychologist Joost Mathijsen, an inventory of pinball machines in Amsterdam, books and flyers, clippings from magazines and newspapers, as well as correspondence with prospective collaborators” (p.259)

The book includes commissioned contributions by Éric Alliez, Ruth Baumeister, Christophe Bourseiller, Larry D. Busbea, Eric C. H. de Bruyn, Matthew Fuller, Rodolphe Gasché, Dennis Göttel, Institute for Computational Vandalism, Jakob Jakobsen, Karen Kurczynski, João Pedro Leão, İz Öztat, Juliette Pollet, Ellef Prestsæter, Margriet Schavemaker, Sean Snyder, McKenzie Wark. Also included are historical texts by
Roland Barthes, Hans Brinkman, Max Bucaille, Friedrich Wolfram Heubach, Jacqueline de Jong, Asger Jorn, Friedrich Kittler, Joost Mathijsen, Piero Simondo, Gianni-Emilio Simonetti, Alexander Trocchi, Paolo Virno, Bernd Jürgen Warneken

Pictures from the Torpedo website, where copies can be ordered here


The Detroit Printing Co-Op: the Politics of the Joy of Printing [2019]

AUBERT, Danielle. The Detroit Printing Co-Op: the Politics of the Joy of PrintingLos Angeles: Inventory Press, 2019. 240 p.; ill.; 24 x 16 cm.

This exciting history of Fredy Perlman’s legendary press features a chapter on the Detroit Printing Co-Op’s translation and publication of Situationist works, including the first (unauthorized) English-language edition of Guy Debord’s Society of the Spectacle (Detroit: Black & Red, 1970). A worthwhile read for all those interested in the material conditions of production of Situationist (and more generally radical) texts in the United States.

Copies available from Artbook:


From the editor:

A timely exploration of political organizing, publishing, design and distribution in 1970s Detroit

In 1969, shortly after moving to Detroit with wife and partner Lorraine Nybakken, Fredy Perlman and a group of kindred spirits purchased a printing press from a Chicago dealer, transported it, in parts, back to Detroit in their cars and the Detroit Printing Co-op was born.

Operating between 1969 and 1980 out of southwest Detroit, the Co-op was the site for the printing of the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, produced by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, “Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.”

Fredy Perlman was not a printer or a designer by training, but was deeply engaged in the ideas, issues, processes and materiality of printing. While at the Detroit Printing Co-op, he radically rethought the possibilities of print by experimenting with overprinting, collage techniques, different kinds of papers and so on. Behind the calls to action and class consciousness written in his publications, there was an innate sense of the politics of design, experimentation and pride of craft.

Building on research conducted by Danielle Aubert, a Detroit-based designer, educator and coauthor of Thanks for the view, Mr. Mies, The Politics of the Joy of Printing explores the history, output and legacy of the Perlmans and the Co-op in a highly illustrated testament to the power of printing, publishing, design and distribution.


“Danielle Aubert’s history of the Detroit Printing Co-op offers a refreshing example of graphic design as it was practiced in the most alternative of ways—not only outside of the mainstream design profession, but also against the prevailing capitalist economy premised on private ownership. For enthusiasts of graphic design, Fredy Perlman’s unexpected visually inventive designs for politically salient works offer a much needed example of how self-publishing and DIY printing, so in vogue today, can be used to not just make something, but to also say something.” —Andrew Blauvelt, Director, Cranbrook Museum of Art

King Mob Echo 1 – Original printer’s plates [1968]

King Mob. King Mob 1: King Mob Echo. n.p. [London: BCM/King Mob], n.d. [ca. April 1968]. 10 original printer’s plates, various dimensions.

Complete set of original printer’s plates for King Mob Echo 1. Of note, the first plate is the picture from the front page of an early issue of Ben Morea’s Black Mask, showcasing the connection between the two groups

This first issue of King Mob includes a front cover image of a menacing masked man (from Louis Feuillade’s film “Fantomas”) above a Karl Marx quotation (from “The Eighteenth Brumaire of Louis Napoleon”). Contents include: “The Return of the Repressed” by radical psychoanalysis scholar Norman O. Brown; “Desolation Row”, an excerpt “free translated from Raoul Vaneigem’s Traite de Savoir Vitre a l’Usages des Jeunes Generations” (1967); “Urban Gorilla Comes East”, the magazine’s only original King Mob statement, co-written by Phil Cohen (also known for his involvement with the London Street Commune and the 144 Piccadilly squat) and Donald Nicholson Smith. Reprinted in King Mob Echo: English Section of the Situationist International (London: Dark Star, 2000), pp. 71-81


PSA: Cinema Situationniste – Integrale Guy Debord


Following “Against Cinema: Situationist Cinema and its Legacy” at the ProArts Gallery in Oakland (California, USA) we are happy to announce a Situationist cinema retrospective (“Cinema Situationniste – Integrale Guy Debord“) to be held at the Cinematheque de Toulouse (France) from 3 to 20 December 2019.

The following Lettrist / Situationist films will be featured

  • Traité de bave et d’éternité (Isidore Isou. 1950)
  • Le film est déjà commencé ? (Maurice Lemaitre. 1951)
  • Hurlements en faveur de sade (Guy Debord. 1952)
  • Sur le passage de quelques personnes à travers une assez courte unité de temps (Guy Debord. 1959)
  • Critique de la séparation (Guy Debord. 1961)
  • La Société du spectacle (Guy Debord. 1973)
  • La dialectique peut-elle casser des briques ? (Rene Vienet. 1973)
  • Réfutation de tous les jugements, tant élogieux qu’hostiles, qui ont été jusqu’ici portés sur le film « La Société du spectacle » (Guy Debord. 1975)
  • In girum imus nocte et consumimur igni (Guy Debord. 1978)

The following Situationist-inspired films will be featured:

  • Les Souffrances d’un œuf meurtri (Roland Lethem. 1967)
  • Les Idoles (Marc’O. 1968)
  • La Fée sanguinaire (Roland Lethem. 1968)
  • Le Sexe enragé (Roland Lethem. 1969)
  • Week-end (David McNeil. 1968)
  • What Happened to Eva Braun ? (David McNeil. 1969)
  • Les Aventures de Bernadette Soubirou (David McNeil. 1973)

Talks by Gerard Berreby, Guy-Claude Marie and Jean-Pierre Kalfon

Full details available here here

Fordern wir das unmoegliche: eine austellung uber die Situationistische Internationale [2019]

Fordern wir das unmoegliche eine austellung uber die Situationistische Internationale. Hamburg: 8. Salon, n.d. [2019]. 10 x 15 cm two-sided postcard.

Postcard announcing the exhibition “Fordern wir das unmoegliche: eine austellung uber die Situationistische Internationale” held at 8. Salon in Hamburg, Germany from 13 October to 2 November 2019.

More at


Google translation of the press release below


The history of the Situationist International (1957-1972) has been the subject of several exhibitions since 1989, more or less respectful of the fact that such an endeavor collides with the self-understanding of the Situationists. In the meantime, however, the art market and ownership have deprived the necessary exhibits – whether “works of art”, publications or documents – of their free association. It has become almost impossible to realize such a project unbureaucratically and without great financial commitment. The exhibition in the 8th Salon will nevertheless try to present the subject, on the narrow line between memory and actualization; it will be both documentary, and thus deal with the “closed treasures”, as well as practically playful and open, that is, to show inventions or to formulate “values” that were first created for the exhibition. We show, among other things, the “war game” by Guy Debord in a version designed by Youssef Tabti and a sound collage by Hanna Mittelstaedt and HF Coltello. 

Internationale Situationniste 1958-69 (Advertising Leaflet) [1969]

[Internationale Situationniste]. Internationale Situationniste 1958-69. Amsterdam: Van Gennep, 1969. Tri-folded leaflet.; ill.; 32.6 x 19.7 cm.; black ink on white stock.

Promotional leaflet for the reprinting of all 12 issues of Internationale Situationniste by Van Gennep. The thick volume would ultimately be released in 1970 by the Dutch publisher.

The leaflet features two non-attributed comics. The first one features Debord, Hegel and Vaneigem in a dive bar. The other takes place at the Interpol headquarters, where senior police officers (including Paris’ own Grimaud) worry about the spread of Situationist ideas across Europe and the world.

Debord was quite pleased with this production. In a letter to Tony Verlaan, dated 22 July 1969, he writes: “Les dessins du comic sont très beaux. D’un côté, un rassemblement de situs dessinés dans un style qui évoque la gravure populaire du XIXe siècle. En face, un rassemblement de policiers, dans une forme très moderne et dépouillée (un peu le genre de certains comics publicitaires)” (Corr. Vol IV, p.100). In English: “The drawings of the comics are very beautiful. One on side, a gathering of situationists drawn in a style that evokes nineteenth century popular engraving. Opposite, a gathering of police officers, in a very modern, bare-born style (a bit like some advertising comics)”.

Not on OCLC. Scheppe & Ohrt 565.





Moere here:

Curator: Louise Déry

Artist: Françoise Sullivan

La Macina di San Cresci, Greve in Chianti (Italy)

September 22, 2019 – September 30, 2019

Opening: September 22, 2019, 6:00 pm

Produced by Galerie de l’UQAM in parternship with La Macina di San Cresci

Galerie de l’UQAM is proud to present Françoise Sullivan. Works from Italy, bringing together works inspired by this great Montréal-based artist’s numerous trips to Italy, where she met several important figures in the art world.

Since the 1940s, Françoise Sullivan has created a vibrant and voluminous oeuvre of remarkable versatility and constantly renewed inventiveness. Inspired by the great European and Native North American mythological traditions, passionate about art and poetry, and influenced by the time she spent in New York, Italy, Ireland and Greece, Sullivan has, in her boundless curiosity, never stopped experimenting with form and colour, gesture and movement, figuration and abstraction, not only in sculpture, performance, dance and photography, but also most decisively in painting.


During the 1970s, Françoise Sullivan visited Italy on multiple occasions to immerse herself in the artistic movements being developed around Arte Povera. In Rome, she met several leading figures in the art world such as Jannis Kounellis, Mario Diacono, Emilio Prini, Germano Celant and Graziella Lonardi. Particularly in the summer of 1972, she stayed in Tuscany with her sons, where she regularly met with Gianfranco Sanguinetti, a revolutionary theorist and member of the italian Situationist International branch. Alongside him and on several occasions, she met Guy Debord, founder of the Situationist movement and author of The Society of the Spectacle. In Françoise Sullivan. Works from Italy, Sullivan once more visits the sites where these encounters took place, a lesser-known period of the artist’s extensive career. Here, she showcases works either created in Tuscany and Rome, or inspired by these moments that embody a true turning point and gave impetus to her artistic vision. September 22 and 23 will furthermore mark the public reunion between Sullivan and famous author Gianfranco Sanguinetti.

An abundant production of performances, choreographies, writings, photographs and paintings marks the artist’s career and has earned Françoise Sullivan a place in the pantheon of Canada’s greatest artists. Sullivan’s trajectories, so radiant, enlighten both our recent history and the present moment. She who still goes to work in her studio every day and continues to think (and think of herself) in and through art, invites us to engage in the vital relationship between the work of art, memory and the world around us.


Françoise Sullivan, dancer, choreographer and visual artist, was one of the founding members of the Automatiste group and a signatory of the manifesto Refus global (Total Refusal) in 1948. From the 1960s on, her work grew more diversified as she turned to photography, sculpture, installation and performance art. However, it is painting that has occupied her interest most intensly over the years, and she continues to devote impressive energy to it today. There are many reasons why Françoise Sullivan is a significant figure in the history of art in Québec and Canada, as is apparent from the range of distinctions she has received, which include the Prix Paul-Émile Borduas, the Ordre de Montréal, the Ordre national du Québec, the Order of Canada, a Governor General’s Award, etc. Her work has been presented in solo exhibitions at the Musée d’art contemporain de Montréal (1981-82; 2018-19), the Musée national des beaux-arts du Québec (1993), the Montreal Museum of Fine Arts (2003) and Galerie de l’UQAM (1998; 2018), as well as in a great number of group exhibitions in Canada, Europe and the United States. For thirty years, beginning in 1977, Sullivan taught visual arts at Concordia University in Montréal. She was born and still lives in Montréal where she is represented by Galerie Simon Blais.


PSA – Vincent Meessen’s “Blues Klair” at the Powerplant (Toronto, ON)

Contemporary artist Vincent Meessen is holding an exhibition (“Blues Klair”) at the Powerplant in Toronto from 21 September 2019 to 5 January 2020. More about the exhibition and artist below.

It’s been our pleasure to lend a number of items related to Fundi (aka Caribbean Situationist) for this show,  including the famed LP “None Shall Escape: Caribbean Situationist vs. Trevor Monroe”:

  • Caribbean Situationist / Fundi (i.e., Edwards, Joseph). Correspondence 1 –
    June 1975. Kingston, Jamaica / St. Johns, Antigua / New York NY, USA, June 1975.
  • Caribbean Situationist / Fundi (i.e., Edwards, Joseph). None Shall Escape: Radical Perspectives in the Carribean. News from everywhere, London, July 1988.
  • Caribbean Situationist / Fundi (i.e., Edwards, Joseph). Unions versus Menegement (sic). Kingston, Jamaica: Abeng Group, October 1971.
  • Caribbean Situationist / Fundi (i.e., Edwards, Joseph). None Shall Escape: Caribbean Situationist vs. Trevor MonroeLondon: Caribbean Situationist, June 1973
  • Caribbean Situationist / Fundi, i.e., Edwards, Joseph] Contributions Serving to Rectify the Opinion of the Public Concerning the Revolution in Undeveloped Countries. London: Caribbean Situationist, July 1973.

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Belgian artist Vincent Meessen often works collaboratively, drawing on the combined knowledge of collectives to conceive exhibitions and projects that investigate the construction of colonial modernity and its impact on contemporary experience.

Blues Klair is developed around the newly commissioned immersive film installation Ultramarine, which focuses on a mesmerizing spoken word performance of the self-exiled African-American poet Gylan Kain, whose performances in the late 1960s were a primary influence on the development of rap. Accompanying music is improvised by Belgian jazz drummer and percussionist Lander Gyselinck. In relation to notions of errantry, the blues of exile, belonging and the poetic power of the word, Meessen’s exhibition also excavates the archive of Patrick Straram, an exiled French Lettrist, jazz and film critic, who immigrated to Montreal in the mid 1950s. There, he maintained vigorous exchanges with figures of the French avant-garde and worked on his unfinished literary project “Blues Clair”. The exhibition links the emancipatory nature of these histories to the 1969 occupation of Sir George Williams University in Montreal (now Concordia University) by West Indian students, which marked the struggle for equality of Black and Caribbean people in Canada.

In the blue layered textile structure that frames Ultramarine and multiple references throughout, the colour blue is the chromatic, historical and discursive filter through which Blues Klair is experienced. It is an alternative way to read history through color, ultramarine referring all at once to a pigment, overseas territories, trade, colonial and slave routes.

Vincent Meessen (born 1971 in Baltimore, USA) lives and works in Brussels, Belgium. He represented Belgium at the 56th Venice Biennale (2015). Solo exhibitions include Printemps de Septembre, Toulouse (2018); Centre Georges Pompidou, Musée national d’art moderne, Paris (2018); BOZAR, Brussels (2017); Kunsthalle Basel (2015); KIOSK, Ghent (2013) and MUAC, Mexico City (2013–14). Meessen has also recently participated in group exhibitions at Württembergischer Kunstverein Stuttgart (2018) and Taipei Biennale (2016). His films have been shown in museums including Kiasma (Helsinki); MUMOK (Vienna); Museo Reina Sofia (Madrid) and Lincoln Center (New York), and in film festivals including IFFR (Rotterdam); IDFA (Amsterdam); Image Forum Festival (Tokyo) and FESPACO (Ouagadougou). Vincent Meessen is founding member of Jubilee, platform for artistic research and production.

Ne Travaillez Jamais! [ca. 1965-66]

[DEBORD, GUY]. Ne Travaillez Jamais! . Paris: Lyna, n.d. [ca. 1965-66]. 15 x10.5 cm.; ill. color postcard. Second printing (following the 1952-53 black & white version by Alaph)

Postcard designed by French postcard maker Louis Buffier featuring a colorized photograph of the famous “Ne travaillez jamais” (Never Work) graffito, for which Debord claims ownership. The slogan was scrawled on a wall on the Rue de Seine in Paris, likely in 1952. The young Debord was possibly influenced by Rimbaud, who wrote in his poem Vierge Folle: “Jamais, jamais je ne travaillerai” (Never, I shall never work). On the bottom-left corner,  Buffier added the text “Les Conseils Superflus” (which can translate as “commonsense advice”).

Debord would reprint a photograph of the graffito in issue no.8 of Internationale Situationniste in January 1963. A few months later, he received a letter from the Cercle de la Librairie demanding a payment because of copyright infringement. In his response (found here in translation), Debord clarified that he was the author of the graffito, and sought to understand why the publisher had stolen his work. He received no response to his letter.

We locate a copy at Johns Hopkins University