Hurry! Hurry! Hurry! Tell us in not more than 250 words why your girl is the sweetest girl in town.
#Debord memoires free
One page declares, 'There's No Whiteness.Viva Free Algeria!' Each page is then covered with a second layer of coloured ink drops and drips, most of which go right to left, emphasising the direction of the book from beginning to end.
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.
#Debord memoires plus
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 home with all the latest comforts and labour saving devices? A new car. In many 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 listed as "Technical Adviser in Détournement". 'A splendid landscape that Bernard Buffet often painted': a page spread in Fin de Copenhagueįin de Copenhague ( Goodbye to Copenhagen) is the first collaboration between the two artists. It planes shavings off the neighbour's desert goat. Can you imagine the result when the book lies on a blank polished mahogany table, or when it's inserted or taken out of the bookshelf.
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He acquiesced by my final suggestion: sandpaper (flint) nr. Kiddingly, he wanted, that by looking at people, you should be able to tell whether or not they had had the book in their hands. Preferably some sticky asphalt or perhaps glass wool. Long had asked me, if I couldn’t find an unconventional material for the book cover. Usually credited to Debord, the sleeve was actually conceived in a conversation between Jorn and the printer, V.O. The book is most famous for its cover, a dust jacket made of heavy-grade sandpaper. The last page is an orange swirl, above which reads the single sentence 'I wanted to speak the beautiful language 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 creating 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 known as Situationist Drift, the habit of walking aimlessly through a city in an attempt 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 as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.
These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The second 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 second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. our fate will be to become the first living 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 work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Lettrists, setting 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 into three sections.
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