Situationistisk Revolution 2 – Elendigheden i studentens milieu [1968]

[Situationistisk Internationale]. Situationistisk Revolution 2 – Elendigheden i studentens milieu. Randers (Denmark): S.I., November 1968. 48 p.; ill.; 21 x 14.5 cm.; ill. Cream wrappers with text in black

Second (and rarest) issue of Situationistisk Revolution, the journal of the Scandinavian section of the SI. Bernstein, Debord, Khayati, Vaneigem and Vienet are listed as members of the editorial committee, with J.V. Martin as editor-in-chief. This issue largely consists in a translation of De La Misere en Milieu Etudiant into Danish as Elendigheden i studentens milieu (p.5-31). However, other items are included: an original collage by J.V. Martin (p.32), reproduction of Situationist broadsides (p.33-36), a translation of Definition Minimum des Organisations Revolutionnaires and several leaflets from the CMDO (p.37-45), a list of publications by the Scandinavian section of the SI (p.46), and a translation of Debord’s Theses sur la Revolution culturelle (p.47-48).

See below for past blog entries on other issues/items related to Situationistik Revolution.

Scarce, with no copies found on OCLC (librairies only own issue 1 & 3)

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Constant – Amsterdam (1961)

CONSTANT (Nieuwenhuys). Constant – AmsterdamBochum: Stadtische Kunstgalerie, 1961. n.p. [72 p.]; ill.; 26 x 26 cm.; ill. black wrappers with text in grey.

Catalog of Constant’s exhibition at Stadtische Galerie in Bochum, held from March 4 to April 9, 1961. includes a list of 60 exhibited works, and an introductory essay on New Babylon by Constan (New Babylon: das experimentelle Denk-und Spielmodell/New Babylon: the experimental think and play model). Text in German.

A superb large format catalog. See https://stichtingconstant.nl/exhibition/constant-amsterdam

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Ralph Rumney – The Leaning Tower of Venice [1959-60]

RUMNEY, Ralph. The Leaning Tower of Venice, Pt. 1. (in ARK 24: The Journal of the Royal College of Art). London, Autumn 1959. ca. 64 p. [48 numbered]; 21.5 x 27 cm.; ill. Oranger cover with holes (Fontana)

RUMNEY, Ralph. The Leaning Tower of Venice, Pt. 2. (in ARK 25: The Journal of the Royal College of Art). London, Spring 1960. ca. 64 p. [48 numbered]; 21.5 x 27 cm.; ill. B&W wrappers with text in black

RUMNEY, Ralph. The Leaning Tower of Venice, Pt. 3. (in ARK 26: The Journal of the Royal College of Art). London, Summer 1960. ca. 64 p. [52 numbered]; 21.5 x 27 cm.; ill. Silver wrappers with text in black

Ralph Rumney’s The Leaning Tower of Venice is the account of the author’s psychogeographic journey through La Serenissima. It consists of 128 unique photographs (shot by Rumney) overlaid with text, leveraging the technique of collage and detournement.

Initially, the innovative work was to be published in the first issue of Internationale Situationniste in 1958. However, Rumney missed the editorial deadline (see Correspondence with Debord from March 1958) which ultimately led to his exclusion from the Situationist International. The latter was announced in the inaugural issue of the SI’s journal, through a ‘fake obituary’ and account of the project’s ‘failure’ entitled “Venice has vanquished Ralph Rumney”Venice has vanquished Ralph Rumney”.

It took over 40 years for this important work to be published in book form. Silverbridge issued a limited edition of The Leaning Tower of Venice in 2002. The book is based on the photographs taken at the exhibition On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International, 1957-72, held at the ICA, London, in 1989.

The Museum del Camminare in Venice has made the full text (high-quality scans) available here.

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Perché il Movimento Internazionale per una Bauhaus Immaginista è necessario [1956]

Movimento Internazionale per una ‘Bauhaus Imaginista. Perché il Movimento Internazionale per una Bauhaus Immaginista è necessarion.p. [Alba, Italy]: M.I.B.I, n.d. [1956]. 1 p. (two sided); 22 x 30 cm; black ink on green stock.

Leaflet that presents the 27 key theses of the Imaginist Bauhaus. Aalso features “Perchè la Bauhaus e’ cosi importante?” reprinted from Bauhaus 1919-1928.

For more on the MIBI, see our earliest posts this week as well the Notes on the Formation of an Imaginist Bauhaus

We locate a single OCLC copy at Yale’s Beinecke Library.

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New Babylon Bulletin [1967]

CONSTANT (Nieuwenhuys). New Babylon Bulletin – nummer 1Amsterdam, January 1967. 13 p.; ill.; 21 x 30 cm.; black ink on white stock. Stapled, with pages printed on one side only.

First (and only) issue of this scarce publication, comprised of the single article “Traffic in towns”. The issue ends with a reference to the autosaurus, and a copy of Jacobs’s technical drawing is included.

In his Situationist City, Simon Sadler explains: “And so, in his New Babylon Bulletin, Debord’s one-time situationist colle Continue reading

PSA – We Make Revolution in Our Spare Time: The history and legacy of the Situationist International [2019]

LOI, Tanya. We Make Revolution in Our Spare Time: The history and legacy of the Situationist Internationaln.p. [United Kingdom]: Public Reading Rooms, 2019. 80 p.; ill.; 19 x 25 cm.; ill. Cover with Return of the Durutti Column comic.

This newest opus on the SI and its aftermath is most notable for contributions by Ron & Anna Hunt, as well as an interview by former King Mob member Dick Pountain. Also included are interviews with two Situationist collectors: Andrew Burgin and yours truly, Mehdi E.H. (the latter included here: Interview 2019 (in book)) Of particular interest to those who want to learn more about the SI in Britain and its influence on British arts, culture and politics more broadly.

Copies are available for £15 + shipping (£2-6 depending on destination). Please reach out to me or directly to Tanya (tanyaloi AT hotmail DOT com) for oders.

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From back cover:

We make revolution in our spare time explores the ideas, impact and ephemera of the Situationists. This beautifully illustrated work provides an overdue reassessment of this influential yet little-known counter-cultural movement – fifty years since the publication of two seminal Situationist texts, Guy Debord’s The Society of the Spectacle and Raoul Vaneigem’s The Revolution of Everyday Life.

This fascinating compilation opens a window onto the movement through documenting one of the largest private collections of material relating to the Situationist International, its UK offshoot King Mob, and their successors. Gathered over a ten year period by collector Andrew Burgin, this archive spans six decades of rare material; it provides a remarkable insight into the avant-garde SI and its influence on subsequent counter-cultural movements, including the student revolutions of May’68 in Paris and London, and the Punk movement of the late ’70s.

Artist and author Tanya Loi, who catalogued the collection, delineates the long shadow cast by the Situationist International over so many of the cultural and artistic developments of the late 20th century and right up to the present day.

The compilation is enhanced by Loi’s inclusion of interviews with Dick Pountain on King Mob, Situationist collector Mehdi E.H., texts by writer Ron Hunt, artwork by embroidery artist Anna Hunt and Punk contributions by Nick Cash, Mark Helfond and Paul Tinman

I.S. – Laboratorio Sperimentale [1957]

Laboratorio Sperimentale dell’Internazionale Situazionista. I.S. – Laboratorio Sperimentale – Alba [WRITING PAPER]Alba: Laboratorio Sperimentale, n.d. [1957]. 21 x 30 cm.; black ink on white stock

Laboratorio Sperimentale dell’Internazionale Situazionista. I.S. – Laboratorio Sperimentale – Alba [ENVELOPE]Alba: Laboratorio Sperimentale, n.d. [1957]. 14 x 17 cm.; black ink on white stock

Original writing paper and envelope for the “Laboratorio Sperimentale dell’Internazionale Situazionista” in Alba, which was active from 1957-60.

Pinot Gallizio et il Laboratorio Sperimentale d’Alba del Movimento Internazionale per una Bauhaus Imaginista (1955-57) e dell’Internazionale Situazionista (1957-60) – the excellent catalog of the exhibition held at Galleria Civica d’Arte Moderna in Torino from 28 May to 15 July 1974 – provides plenty of detail on Pinot Gallizio’s years with the laboratory. An excellent article by Mirella Bandini (in Italian) goes into more detail here

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Primo Congresso Mondiale Degli Artisti Liberi [1956]

Mouvement International pour un Bauhaus Imaginiste / Movimento Internazionale per una ‘Bauhaus Immaginista’ (MIBI). Primo Congresso Mondiale Degli Artisti Liberi / Settembre ’56 / Alba (Italia). Alba: MIBI, September 1956. 1 p.; 22.5 x 14.5 cm.; black and cream ink on white stock.

Writing paper of the Movimento Internazionale per una ‘Bauhaus Immaginista’ (Mouvement International pour un Bauhaus Imaginiste) on the occasion of the First World Congress of Free Artists, which was held in Alba on September 2-9, 1956. Asger Jorn, Piero Simondo and Enrico Baj are listed as the founders of the movement, which had been launched a year earlire in September 1955, with Giuseppe (Pinot) Gallizio as the technical director. Gallizio’s address in Alba is provided, and the young mouvement’s journal Eristica Bolletino d’informaziona dei Movimento is mentioned as well, with Elena Verrone (Gallizio’s wife) listed as its editor.

The First World Congress is critical in that it cements relationships between key artists and emerging artistic movements. In many ways, it lays the ground for the Founding Conference of the Situationist International (SI), which takes places in Cosio d’Arroscia, Italy, the following July. Many of the participants were the same as in Alba, and the “complete unification of the groups represented and…the constitution of a Situationist International” (Potlatch #29) is then something that was long in the making.

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Manifest (Gruppe SPUR) [1958]

Gruppe SPUR. Manifest. n.p. [Munich]: Gruppe SPUR, n.d. [November 1958]. 1 p.; 21 x 30 cm.; black ink on off-white stock

First manifest of Gruppe SPUR, signed by all of its members (L. Fischer, H. Sturm, H. Prem, H.P. Zimmer, E. Eisch, A. Jorn, D. Rempf, G. Britt and G. Stadler) and likely published in November 1958. In 21 theses, the group sets itself on the margins of the art world by declaring that “whoever wants to create culture must destroy culture” (Thesis 5 — all translations are mine). It members take a stance against technicism (“Artistic research is free and has nothing to do with science and technology”, thesis 7), abstract art (“Abstract painting has become empty aestheticism”, thesis 14), among others. Gruppe SPUR concludes by stating: “WE ARE THE THIRD TACHIST WAVE .WE ARE THE THIRD DADAISTIC WAVE. WE ARE THE THIRD FUTURIST WAVE. WE ARE THE THIRD SURREALISTI WAVE. WE ARE THE THIRD WAVE . We are a sea of ​​waves ( SITUATIONISM ). The world can only be shattered by us. WE ARE THE PAINTERS OF THE FUTURE !”, theses 19-21). The full text in the original German is available here: http://protest-muenchen.sub-bavaria.de/artikel/1565

Gruppe SPUR would benefit from Asger Jorn’s support and begin exhibiting at Galerie Van de Loo in 1959. Between 1960 and 1961, the group would release seven issue of its eponymous journal (“SPUR”). Fischer, Prem, Zimmer, Sturm and Kunzelmann were also members of the Internationale Situationniste from 1959 until their formal exclusion on February 10, 1962. During those years, SPUR basically functioned as the German section of the SI. While the split was the result of a complex series of events, it was driven by a fundamental disagreement on the role art should play in a revolutionary avant-garde organization like the SI.

We locate 2 OCLC copies, as well as a copy at the MACBA.

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