[Hunt, Ron]. Poesin måste göras av all!/ Poetry must be made by all! / Förändra världen! / Transform the world! Stockholm: Moderna Museet, 1969. 112 p,.; ill.; 26 x 19.5 cm.; ill. Green and white cover with text in black.
“This publication sees the avant-gardes of the 20s and 30s finding a partial realization in the events of May 68” (Loi 71). Includes early photomontages by Stuart and David Wise from King Mob, as well as photographs from the May 68 slogans.
In an interview published in Bricks from the Kiln #1, Ron Hunt explains:
A few years later, having written a long piece for Artforum on Constructivism, which ran across two issues, Pontus Hulten contacted me asking would I like to do a show on Constructivist theatre and film at the Moderna Museet in Stockholm. To which I said ‘Yes, fine’. I had started working on it when May’68 happened and I thought ‘I don’t want to do this anymore, there’s something more interesting I could do’. So I told Hulten I wanted to redirect the whole thing to show the way the twenties avant-garde was resurfacing in Paris: in the politics, in the street theatre and particularly in the slogans that were being sprayed up everywhere […] So I whittled down all the Constructivist theatre stuff and added material on Dada and surrealism and the May’68 evenements – mainly graffiti […] The show, entitled, Poetry must be made by all! Transform the world!, went down well in Stockholm […] The gallery itself was a also a space for people to gather and discuss revolutionary ideas. The Black Panthers were there, they were in exile in Stockholm. There was also a left-wing bookshop in Stockholm, it was another of Hulten’s ideas to ask them in and to let them set up in the middle of the show. There were lectures on May’68 and theatre groups etc. I designed the poster for the exhibition with a detourned Brigitte Bardot and Hulten designed the catalogue (I’d also done a free broadside called Interview with B.B., which I was fond of). […] After Stockholm, the exhibition went to Kunstverein in Munich, where they took Hulten’s idea that they should ask people to respond to the show. So they asked the local art college to come in and apparently they made a hell of a mess […] From there it went to Vancouver, where I was teaching, although it had nothing to do with me […] It’s become of a but of a cult now, which is odd. The first time I knew it was resurfacing again was the event in Zurich (Poetry will be made by all! at LUMA Foundation, Zurich, 2014] […]” (pp.10-17)