![]() 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. Spine ends lightly worn.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. White card wrappers housed in original Viks Grade 2 sandpaper jacket. "The book speaks secret languages made out of the words and pictures everyone already knows," wrote Greil Marcus "turning a page is like waking from a dream or falling into one." An uncommonly well-kept example of perhaps the quintessential Situationist publication. The violent cutting-out and cutting-up of the textual appropriator mirrors the famous sandpaper cover of the first edition - the printer's own idea - designed to leave its mark on every other book it touches, and on the fingertips of every reader. ![]() Jorn's colored ink splotches overlay the borrowed elements, drawing connecting lines between some words and images, nearly obliterating others. A fragmentary collage of snippets and hints and half-lines, photographs and comic strip panels, vigorously detourned and spirited out of their old context into a new one of Debord's own designing. Rare first edition of the confrontational and abrasive collaboration between two founding members of the Situationist International. ![]()
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