Situationist International

The Situationist International ( SI ) was a left-wing group of European artists and intellectuals (including political theorists, architects, freelance artists, etc.) founded in 1957, which was mainly active in the 1960s. The Situationists influenced the political left , especially around the Paris May 1968 , the development of communication guerilla methods and the international art scene, especially pop culture . The number of members was between ten and 25. Over the time, a total of around 70 people were involved. In 1972 the group announced that it was going to break up.

concept

The Situationists operated at the intersection of art and politics, architecture and reality and advocated the realization of the promises of art in everyday life. Among other things, they called for the abolition of goods , wage labor , technocracy and hierarchies, and developed a concept of the “theoretical and practical creation of situations” in which life itself should become a work of art. Some situationists were involved in the outbreak of student unrest in May 1968, which spread across France and, unlike in Germany, encompassed large parts of the working class . Situationist ideas were widespread in the following years and have left traces internationally in art, politics, architecture and, above all, in popular culture , which continue to the present day. Their forms of action were taken up in , among others, Fluxus and performance art .

Some well-known slogans of the time are ascribed to the Situationist International:

• “Prohibiting is forbidden!” (Il est interdit d'interdire, but actually comes from Jean Yanne ).
• “The beach is under the pavement.” (Sous les pavés, la plage).
• "Job? Never. ”(Ne travaillez jamais).

history

To the prehistory

The situationist movement began in France in the early 1950s by Sartre and Camus and was closely linked to the person of Guy Debord . Debord was the central figure in the development of Situationist theory and something like the gray eminence of the group. At the age of 19, at the Cannes Film Festival in 1951, he first noticed the avant-garde Lettrists , a group of artists in the tradition of the Surrealists who would otherwise be found at night in shabby Parisian cafes. You took part in the festival because of the world premiere of a film by Isidore Isou . As young representatives of a radically romantic bohemian lifestyle, their appearance and their film caused a scandal because of the postulated and impressively celebrated destruction of conventional cinema in Cannes. Debord was intrigued and soon joined them.

The Lettrists published the magazine Potlach (named after the potlatch , a ritual of gifts in Northwest American indigenous communities), in which later theses and ideas of the Situationists were already emerging. Some Lettrists, u. a. Debord, after a split in the group, formed the more political "Lettrist International", the forerunner of the SI Yves Klein had known the Lettrists since the beginning of the 1950s, and René Magritte corresponded with them.

founding

The actual Situationist International was founded on July 28, 1957 in Cosio d'Arroscia (50 km north-east of Monaco). The “Movement for an Imaginary Bauhaus”, founded by the painter Asger Jorn , united . Mouvement pour un Bauhaus Imaginiste ”(which explored the role of the artist in industrial society), the“ London Psychogeographical Society ”by Ralph Rumney and the aforementioned“ Lettrist International ”with the aim of creating an organization for the practical abolition of the division between art and life.

Members of the SI were artists from 10 countries such as the Hungarians Attila Kotányi , Jacqueline de Jong , Guillaume Faye , Hans Platschek , Ivan Chtcheglov , Raoul Vaneigem , Giuseppe "Pinot" Gallizio, Piero Simondo, Elena Verrone, Edoardo Sanguineti, Alexander Trocchi , Uwe Lausen , Dieter Kunzelmann ( Kommune 1 ), who was excluded because of national situationism, as well as the members of the Munich artist group SPUR (which merged with the SI in Munich in 1959 after bitter discussions about the role of painting, but were excluded again in 1961), or Michèle Bernstein , Mustapha Khayati from Tunisia, Abdelhafid Khatib from Algeria, René Viénet and Gretel Stadler .

activities

The Situationist International dealt with painting, theory, history and urban planning.

In their more traditional artistic work, the Situationists often used collage in addition to painting ( Tachism , Art Informel ) , working a lot with found material, which they slightly modified, painted over or recombined. Pictures like the “Lure” by Asger Jorn (a “redesigned” romantic landscape picture in which Jorn painted rough, suggested, friendly figures in the colors of the landscape) fetch prices of up to 800,000 euros today. Debord created avant-garde film collages and films such as "The passage of some people through a shorter unit of time".

During the period of its existence, the focus of the work shifted from art to politics, and artistic works increasingly understood themselves as visualizations of historical and cultural processes. Again and again there were differences of opinion within the group, which led to resignations, exclusions, demarcations and splits: every concession to the prevailing norms, every step back from the maximum revolutionary demands was considered treason. The relationship between art and politics as well as the role of painting were discussed again and again.

Constant

From 1957 onwards, various actions and exhibitions were planned and partly realized, of which, for example, “New Babylon” (1960) by Constant (with the full name Constant Nieuwenhuys) attracted a lot of attention: He designed a city for a “playful”, mobile person that automation had thrown out of his regulated professional world and that was now able to develop his creativity. With this, Constant designed a modern counter-world to the concepts of Le Corbusier . In 1959, he proposed tearing down the Amsterdam Stock Exchange in order to build a playground in its place. For a group of gypsies who were friends with his friend Pinot Gallizio in Alba, Northern Italy, he designed a mobile camp as early as 1956. Constant's work moved between painting and architecture. His very specific suggestions and his concept of only using new buildings also met with criticism in the group. Debord, for example, was more interested in the traces of time in the city, in the layers of memory. It then came to a break with the group. Constant was blamed for his artistic success and he was accused of selfish strategies.

The world as a labyrinth

A project in the Netherlands in 1960 (“The World as a Labyrinth”), a labyrinth commissioned by the Amsterdam Stedelijk Museum , also sparked controversy. The labyrinth was planned as a “combined, never-before-seen environment through the amalgamation of inner and outer features…”, homely interior and urban exterior merged into one another. Fog, rain or wind were created artificially, the sounds of tapes and doors were supposed to increase opportunities to get lost. The project ultimately failed due to the museum's security conditions - just a pretext in the opinion of the Situationists, who had already planned actions within the framework of the labyrinth that were supposed to address the exhibition conditions themselves.

Van de Loo Gallery

The Munich " Galerie van de Loo " organized exhibitions by some situationists. Accusations were raised against the gallery owner that he was trying to split the group into “real artists” and “theorists” by promoting individual artist careers and ignoring the theory behind it.

financing

For a long time, the Situationists were mainly financed by selling works by Asger Jorn and other artists; Furthermore, many of them were employed on the side. In addition, a wealthy friend and patron of Debord, the film producer Gérard Lebovici, made sure that his films could be shot and shown.

theory

The group held regular international conferences where theories were worked out, discussed and tested.

In its magazine “internationale situationniste”, the SI presented its ideas, commented on the world situation and personal affairs, and insulted and mocked the entire political and cultural elite of the time, often especially those who publicly sympathized with them or who apparently held similar views (such as the director Jean-Luc Godard ). The magazine was confiscated in Germany in 1961 and some members were arrested. Sociologists and cyberneticists such as Abraham Moles were bitter enemies of the Situationists, as were the many dogmatic, partly Stalinist communist groups of the time.

In 1957 Debord wrote the “Report on the Construction of Situations and the Organizational and Action Conditions of the International Situatonist Tendency” as well as the “Proposals for an Action Program of the SI”. His main work is "The Society of the Spectacle" (1967). The experiences and discussions with the Lettrists in Paris are the subject of Debord's “Mémoires”, an artist's book, the first edition of which should be bound in sandpaper according to Debord's instructions .

Raoul Vaneigem in his "Handbook of the Art of Living for the Young Generations" from 1967 emphasized the importance of the gift , subjectivity , poetry and play . For him, modernity offered only an undignified, rationalized form of “survival”, no real “life”.

Asger Jorn wrote a. a. the book "Open Creation and its Enemies" (based on Poppers " The Open Society and its Enemies "), in which he developed an ideal of free human creative activity and design and examined what opposes it today.

The "Strasbourg Scandal"

1966 appeared in Strasbourg the pamphlet "On the misery in the student milieu, considered under its economic, political, sexual and especially intellectual aspects and some means to remedy them", the students from the local office of the "UNEF" at the expense of the University of Strasbourg in a 10,000 he had printed. In it, the situationists criticized the student as a minor and dependent member of society, the student status, the self-importance of an alternative student subculture, religion and the entire economic system. They mocked the blindness to the economization of education in the brochure, for which an alleged "Society for the Appreciation of Anarchism" acted as the editor:

“The student doesn't even realize that history is also changing his ridiculous 'closed' world. The famous 'university crisis', detail of a more general crisis of modern capitalism, remains the subject of deaf dialogue between various specialists. It simply expresses the difficulties of belated adaptation of this particular sector of production to the transformation of the entire apparatus of production. The remnants of the old ideology of a liberal-bourgeois university become meaningless the moment their social basis disappears. In the era of free trade capitalism and its liberal state, the university could see itself as an autonomous power, since it granted it a certain marginal freedom. In reality it depended heavily on the needs of this type of society: to give the privileged minority students an adequate general education before they rejoin the ruling class which they had hardly left. "

The students responsible for printing were then from college expelled , but the brochure was widely under the 1968 revolt students and has been translated into other languages. Meanwhile, the rector of the Strasbourg University indignantly suggested psychiatric treatment to its authors.

May 1968

"A new student ideology is spreading around the world - it is the drained version of young Marx called 'situationism'."

- Daily Telegraph of April 22, 1967

Riots broke out in France in May 1968. An occupation of the Sorbonne University in Paris eventually developed into a general strike.

René Viénet, who, like two other members of the SI, was directly involved in the occupation of the Sorbonne, writes about this time:

“Capitalized time stood still. Without a train, without a metro, without a car, without a job, the strikers made up for the time they had lost in such a dreary way in the factories, on the streets, in front of the television. You strolled around, you dreamed, you learned to live. "

Apart from their involvement in the student riots and a few art scandals , the far more radical claims of the Situationist International remained largely theoretical.

The End

In 1972 the group broke up, according to their own statements, in order not to freeze and to become a cliché itself, but not least out of disappointment with the international student movement and what it had achieved. At that time the group only consisted of a small circle around Debord.

In the English-speaking world for some time existed situationist groups such as King Mob or the Bureau of Public Secrets of Ken Knabb . Campaigns such as King Mob's fake Santa Claus are known, who went to department stores at Christmas time and gave away the toys from the shelves directly to children. The police had to take the goods away from the children, who then watched in disbelief as Santa Claus was arrested.

aims

Art and life

The situationists tried to transfer aesthetic concepts to society, similar to Joseph Beuys , Fluxus , conceptual art and other movements in art: "Aesthetic", based on their concept of art, were situations in which people meet directly, freely and with equal rights, exchange, manage yourself , be creative, indulge in your passions and no longer be subject to unnecessary constraints.

“We think first of all that the world must be changed. We want the most emancipating change in the society and life in which we are included. We know that it is possible to implement this change through appropriate action. It is precisely our business to use certain means of action and to invent new ones which are easier to recognize in the field of culture and way of life, but which are applied with the perspective of a mutual influence of all revolutionary changes. "

- Rapport on the construction of situations

The Situationists thus acted in the tradition of Dada and Surrealism : “The new artist protests”, wrote Tristan Tzara in 1919, “he no longer paints symbolist and illusionist reproduction, but acts directly creatively”. The situationist slogan “Take your wishes for reality” refers directly to the Surrealists' preoccupation with psychology and was later further developed by Gilles Deleuze and Félix Guattari in the concept of the dream machine . Another slogan was: "Life without dead time!"

In their beginnings, the Situationists were influenced by the philosophy of existentialism of the 1950s. Even if they did not explicitly refer to him, Friedrich Schiller had already made moral-philosophical considerations in his work On the Aesthetic Education of Man , according to which, for example, the state of freedom, combined with aesthetic upbringing, induces people to " noble “way of acting morally (23rd letter). Such humanistic ideas can be traced back to ancient philosophy.

Art itself should now be "canceled" through its realization in life, which meant that poetry or artistic thinking and acting should no longer take place only on canvases, but in the design of everyone's everyday life. This meant the “end of art” as a special category, because “everything” would (also) be art.

The situationists intended to proceed in a similar way with the boundary between work and leisure. Work as hardship, hard work, “ alienated ” wage labor was felt to be unnecessary and not in keeping with the human being, while wandering around or getting lost, getting drunk, on the other hand, was artistically researched and documented by scientists with seriousness.

The society of the spectacle

The best-known literary work from the SI environment is Debord's book “The Society of the Spectacle”, a radical reckoning with both capitalism and Eastern Bloc socialism. Debord u. a. Reference to the history of anarchism, but also to motifs by Hegel and to texts by Karl Marx and Georg Lukács. But it also shows the situationists' view of the world: since the 1920s, the economy in East and West has become an autonomous power that rules people's lives with its laws. The spectacle transports different ideologies, but all of them share the alienation of humans (see main article The Society of the Spectacle ).

"Be realistic, demand the impossible"

The situationist criticism of the capitalist mode of production rejected a return to supposedly better old conditions or myths such as religion, ideology or “naturalness” as regressive. You trusted u. a. on the liberating effects of technology and had in mind the misappropriation and transformation of modern industrial society through love, subjectivity, art and fantasy into a place where enjoyment, chance and humanity would regain their rightful place. They saw their revolt against technocracy and the hoped-for revolution as a celebration. One of their strategies was to take capitalism at its word for its promises of happiness, to demand this promised happiness very real and immediately, which would then create a discrepancy between promises and reality that would promote an overcoming of capitalism. Their political ideas for a afterwards vaguely envisaged a council democracy .

They viewed the political groups of their time as narrow-minded, dogmatic and uneducated and kept telling them this. Ideal allies were the Zengakuren movement in Japan or the rockers , to whom they, however, attested to a lack of awareness, which in the end would only make them mere consumers in rebellious outfits.

The title of a later film by Debord is the Latin palindrome “In girum imus nocte et consumimur igni” (“We walk in circles at night and are consumed by fire”). Here the group is perhaps also appropriately described in their basic mood, they always suspected the hopelessness of their endeavor and (also) viewed it as a game.

In their theory, the Situationists referred to different thoughts and writings by Baltasar Gracián , classical anarchists , Charles Fourier , Marx , the young Georg Lukács and the Paris Commune . But they rejected the Eastern Bloc - real socialism as well as Western capitalism . According to them, it did not matter whether one did monotonous work in the capitalist or communist factory or was bored with television in the standardized modern apartment, whether Marxist leaders and slogans or advertisements for products appeared on the billboards, they emphasized the similarities of the two decisive at the time Systems in the everyday life of the individual and were always more interested in subversion , meta-levels and the realization of passions than in the politics of the day, ideologies, fashions or parties, all of which rejected them as part of the spectacle. They saw their opponents not only in the supporters and representatives of the existing order, but especially in a watered-down, consumable (pseudo) criticism of the existing, which ultimately only enables its continued existence.

The situationists contrasted the human image of Homo oeconomicus with that of Homo ludens . They turned against any solidification, solidification, and absolutization. In doing so, they repeatedly emphasized that there is no such thing as situationism as " -ism " as a rigid ideology: They claimed that the term situationism was an invention of their opponents. They also turned against their own admirers, who they accused that their admiration was only a form of consumption and mystification , not an "active" participation in their project.

“The capitalist or allegedly anti-capitalist world organizes life in a spectacular way ... It is not important to work out the spectacle of refusal, but to reject the spectacle itself. The elements of the destruction of the spectacle just have to cease to be works of art in order for their elaboration to be ARTISTIC in the new and authentic sense defined by the SI. There is neither a 'SITUATIONISM', a situationist work of art, nor a spectacular situationist. Once and for all."

- Raoul Vaneigem

Contemporaries reacted partly mockingly, partly hysterically, to their radicalism. Situationist ideas became very popular, however, and authors like Henri Lefebvre openly sympathized with them in magazines like “ Das Argument ”.

Psychogeography

Situationists always proceeded from the subjective experience of the individual, his wishes and desires. For them this was the linchpin of every political demand.

The aim was to dissolve the boundary between art and life as well as a fundamental redesign of the urban structures and social norms. The SI acted both through artistic actions and politically and "psychogeographically". The term “ psychogeography ” referred to movement and life in cities, but also to urban planning and the organization of psychological potentials. The situationists wanted to invent new conditions for life, beyond economic constraints, which would offer new possibilities for human behavior ("adventures").

media

With redesigned comics, in which the texts were exchanged and replaced with situationist ideas, with their posters, graphics, publications and campaigns, they also represented an early form of the communication guerrilla. They worked at the same time on a theoretical, symbolic and practical level. They followed the reports about themselves in the media with great interest and liked to print reviews of their group in their own newspaper.

style

For Situationists, questions of style have always been decisive; they demarcated themselves from similar political endeavors. a. also through their celebrated elegance, which found expression, for example, in their language, the staging of their conferences or the clear and minimal aesthetics of their publications. They rejected the aesthetics of the hippie movement.

important terms

The situationists introduced terms like:

• "Separation" (the "atomization" of human relationships under the conditions of the "spectacle")
• "Dérive" (exploring a city by wandering aimlessly)
• "Détournement" (the misappropriation of, for example, film sequences, photos, comic images, buildings through changed text / comment / cut / use)
• "Recuperation" (the appropriation that takes place every time or the simulation of rebellion, rebellion as a commodity)

Quotes

"As soon as a mythical building contradicts the socio-economic reality, an empty space opens between the way of life of the people and the ruling explanation of the world, which is suddenly inadequate, is in retreat."

“Love has never moved away from a certain secret resistance that has been christened intimacy. It was protected by the concept of private life, driven out of the bright day (which is reserved for work and consumption) and pushed into the hidden corners of the night, into the subdued light. In this way she escaped the great integration of the day's activities "

- from the handbook of the art of living for the young generations

“ Dadaism wanted to abolish art without realizing it; and surrealism wanted to realize art without canceling it. The critical position developed by the Situationists since then has shown that the abolition and the realization of art are the inseparable aspects of one and the same overcoming of art. "

“With automation , which is the most advanced area of ​​modern industry and at the same time the model in which its practice is perfectly combined, the world of goods must overcome the following contradiction: technical instrumentation, which objectively abolishes work, must at the same time work as a commodity and received as the only place of birth of the goods. So that automation or any other less extreme form of increasing the productivity of work really does not reduce the socially necessary working hours, new jobs must be created. The tertiary sector and the services are the immense expansion field for the stage lines of the distribution and praise army of today's goods; It is precisely in the artificiality of the need for such goods that this mobilization of supplementary forces happily finds the necessity of such an organization of the rearguard work. "

- Guy Debord in The Society of the Spectacle

“After the products of the avant-garde have been brought onto the market in an aesthetically neutralized manner, they now want to divide up their demands, which are still aimed at a realization in the entire area of ​​life, and to discard them to dead tracks. In the name of the past and present avant-garde and all isolated, dissatisfied artists, we protest against this cultural corpse-fraying and call on all creative forces to boycott such discussions. (...) We who create new values ​​are no longer just loudly fought by the guardians of culture, but are committed to specialized areas, and our demands are ridiculed. "

- from a leaflet by the SPUR group from January 1961

“This outbreak was caused by some groups who rebel against modern society, against consumer society, against mechanical society, be it communist in the east or capitalist in the west. Groups who (...) delight in negation, destruction, violence, anarchy, waving the black flag. "

- De Gaulle in a televised address on June 7, 1968 about the student riots and the general strike

"All texts published in the SITUATIONISTISCHEN INTERNATIONALE may be freely printed, translated or edited without any indication of origin."

- Text on the first inside page of every issue of the "international situation list"

Follow to this day

Classification in art history and stepping out of it

The situationists represent one of the last classic avant-gardes of the 20th century, and for some viewers their end also marks the transition to postmodernism. In America, for example, artists like Andy Warhol have long been working with a serial aesthetic of goods or enjoying and thus negating their own alienation. With postmodernism , other ways of speaking emerged, strategies such as irony or apparent or real affirmation . From Debord's point of view, however, the need for a radical negation of the existing conditions continued. From a situationist point of view, Pop Art and other varieties of the art business do not refute the end of art.

Today's reception

The artistic reception of the Situationist movement today is very different and even controversial: They range from a perception of the Situationists as a purely avant-garde or architectural theory artists of the (word) radical gesture on idealizing-trivializing affirmative appropriations in the arts or even in advertising , on Further developments and hybridizations of their theory in art and politics, including portrayals of the SI as a purely political left-wing radical group, which art only wanted to overcome and in reality only wanted to cause a political revolution. Often the internal heterogeneity and discussions within the group are overlooked. The situationists themselves understood their demands as political right from the start. The relationship to art and the role of an artist changed over time with the structure of the members.

Many originally situationist demands are today vaguely ascribed to “the 68ers”. Others were forgotten again. Relationships and self-declared successors can be found among others. a. in:

art

The Fluxus movement had partly similar goals and methods, but was much less politically oriented and, with its happenings, was more likely to move on safe artistic terrain.

In contemporary art, too, one occasionally refers to situationist demands, for example in the Park Fiction project.

The Center for Art and Media Technology dedicated a large exhibition to Guy Debord in 2001.

Tachistic painting can almost only be found as a design on clothing, cars and curtains.

Psychogeographical questions are u. a. researched in architectural psychology.

From April 4 to August 5, 2007, the Museum Tinguely in Basel presented an extensive exhibition on the Situationist International, developed in cooperation with the Centraal Museum Utrecht, under the motto “In girum imus nocte et consumimur igni”.

music

Situationist ideas and a radical aesthetic (“radical chic”) were taken up by some hardcore punk bands such as Nation of Ulysses or the Swedish band Refused : In their enclosed booklets, they demanded the abolition of the boundary between art and life, which in their opinion is only possible through a revolutionary overcoming of capitalism. Malcolm McLaren and Jamie Reid , managers and graphic designers of the Sex Pistols , were enthusiastic about the ideas and actions of the SI at the university. The Manic Street Preachers , Beck , Die Goldenen Zitronen , Bernadette La Hengst , Schwabinggrad Ballett , Tocotronic , Pussy Riot and others were also represented. a. influenced by the situationists.

politics

The magazine Pflasterstrand referred to the famous quote in its title, but the content soon came into conflict with situationist demands.

In the Anglo-Saxon world, various groups refer to situationist ideas, such as Angry Brigade , Class War , Neoism and the Reclaim the Streets , Adbusters campaigns or the Libre Society .

Criticism of work continues by groups like the Lucky Unemployed . The critique of work is separated from the necessity of a critique of capital and the state; the work critique of the group Krisis sticks to this connection . The situationists are also referred to in the context of criticism of existing consumerism .

In the course of a current discussion about a reassessment of the movement of 1968 in Germany, its motives and consequences, the situationists and their goals have so far hardly been mentioned, in the foreground are contemporary protagonists in Germany such as Rudi Dutschke . Only recently has a section of the radical left in Germany started to debate the Situationist International. Biene Baumeister et al. have published an introductory book that has been respected in these circles. That is why there was a discussion in the scene magazine Phase II . In addition, the Berlin group “Friends of Classless Society” seems to refer loosely to the Situationist International, whose texts they also publish. Interesting in this regard is a barely noticed scene magazine, which is simply called "MAGAZIN" and is obviously located in the tradition of the Situationist International - even if the influences of this magazine are diverse and reach as far as German classical music and the French Enlightenment. The latter two groups vehemently reject the aforementioned introductory book and describe its authors as "anti-situationists", whereby in the case of "MAGAZIN" the political opponents are also referred to as "toilet brushes" in the style of the SI.

philosophy

The philosophy of postmodernism ( poststructuralism ) is influenced by situationist ideas , for example early works by the philosopher Jean Baudrillard (“The Agony of the Real”) or the concept of the simulacrum . Since Baudrillard asserts the indistinguishability of reality and simulation, his theory amounts to the impossibility of criticism.

In his book "Lipstick Traces", the writer Greil Marcus created mental connections between the traditions of Christian mysticism , the Dada art movement , the Frankfurt School ( Adorno ), the situationists and punk .

Among the journals that took up situationist criticism in France are the Encyclopédie des Nuisances , directed by Jaime Semprun , to which Debord wrote individual articles, and the journal Oiseau-tempête (petrel) , published in 1997–2008 . On the homepage of the Oiseau-Tempête on July 30, 2004, the Oiseau-Tempête described itself as follows: “Oiseau-Tempête, a socially critical review, has been published since 1997 by a collective of 10-15 people who can be assigned to different political directions. Some are inspired by anarchist or Marxist ideas, others by the situationists or surrealists [...] The project [...] is a communist, libertarian and internationalist project at the same time. Our goal is the common use and distribution of all wealth and tasks, and we reject any form of institutionalized power and superfluous mediation. We believe that general freedom is the necessary condition for all individual freedom. "

subculture

Malcolm McLaren claims he invented punk because of the situationists. Situationist strategies and convictions live on in some actions of the communication guerrilla or the hacker culture. The later concept of the temporary autonomous zone of the writer Hakim Bey is similar to that of the situationist situation. The street artist Miss.Tic was artistically and politically socialized in the 1970s in the context of the late Situationists. She played street theater in the group Zéro de Conduite .

See also

• Guy Debord
• Members of the Situationist International , list of members in the English language Wikipedia

literature

• Texts on Dialectic 7: Situationist International. Verlag Trikont Duisburg and Verlag Dialog-Edition, Duisburg 2016, ISBN 978-3-945634-29-5 .
• Christopher Gray: Leaving the 20th Century. The Incomplete Work of the Situationist International . Free Fall Publications, London 1974, ISBN 0-9503532-0-5 , (Also: Rebel Press, London 1998, ISBN 0-946061-15-7 ).
• Collected editions of the organ of the Situationist International . 2 volumes. MaD Verlag (Vol. 1), Edition Nautilus (Vol. 2), 1976/1977 (enlarged / new edition ).
• Raoul Vaneigem : Handbook of the art of living for the young generations . 3. Edition. Edition Nautilus - Lutz Schulenburg, Hamburg 1980, ISBN 3-921523-50-8 .
• Guy Debord : Report on the construction of situations and the organizational and action conditions of the international situationist tendency and other writings . Edition Nautilus - Lutz Schulenburg, Hamburg 1980, ISBN 3-921523-33-8 , ( leaflet 23).
• Ken Knabb: Situationist International. Anthology . 3rd printing. Bureau of Public Secrets, Berkeley CA 1995, ISBN 0-939682-00-1 .
• Roberto Ohrt (ed.): The beginning of an epoch. Situationist texts . Edition Nautilus, Hamburg 1995, ISBN 3-89401-243-9 .
• Guy Debord: The Society of the Spectacle . Edited by Klaus Bittermann . Edition Tiamat, Berlin 1996, ISBN 3-923118-97-X , ( Critica Diabolis 65).
• René Viénet : Paris May 68. Angry and Situationists in the Movement of the Occupations , ed. from the "Friends of the Classless Society", Berlin 2006 [2] .
• Texts of the Situationist International . Eight brochures, published by the “Friends of the Classless Society”. Berlin 2006/2007 [3] .
• Wolfgang Scheppe and Roberto Ohrt (eds.): The Most Dangerous Game. Volume 1 & 2 . Merve, Berlin 2018, ISBN 978-3-96273-018-5 .

Secondary literature

• Bee builder Zwi Negator (artist name) : Situationist Revolutionary Theory, Vol. 1. An appropriation. Enchiridon , Schmetterling Verlag, 1st edition Stuttgart 2005, 240 pages, ISBN 3-89657-586-4
• Gianluigi Balsebre, Della critica radicale. Bibliografia ragionata sull'internazionale situazionista con appendice di documenti inediti in italiano , Grafton 9 edizioni, Bologna, 1995.
• Eckhard Siepmann, Dieter Kunzelmann , Wolfgang Dreßen (ed.): Hippopotamus of the infernal jungle. Traces in an unknown city. Situationists, Group Spur, Commune I, Anabas . , Anabas-Verlag, Giessen 1991, ISBN 3-87038-172-8 , ( Werkbund-Archiv 24).
• Thomas Dreher: Between art and way of life. From the Lettrists to the Situationists . In: Neue Bildende Kunst No. 6, 1992, ISSN  0941-6501 , pp. 11-15.
• Andrew Hussey : The Game of War: The Life and Death of Guy Debord . London: J. Cape, 2001
• Greil Marcus : Lipstick Traces. From Dada to Punk - cultural avant-garde and their ways from the 20th century . German by Hans M. Herzog and Friedrich Schneider. Rogner & Bernhard at Zweiausendeins, Hamburg 1992, ISBN 3-8077-0254-7 .
• Roberto Ohrt: Phantom Avantgarde. A history of the Situationist International and modern art . 2nd Edition. Edition Nautilus u. a., Hamburg 1997, ISBN 3-89401-168-8 , (also: Hamburg, Univ., Diss., 1989), (extensive art historical appraisal, presentation of the individual biographies and the history of the group).
• Zwi Schritkopcher: The Situationists (1958–1972). Prelude to Western Communism . In: Transitions to Communism N ° 3/4, 1997.
• Roberto Ohrt (Ed.): The big game. The situationists between politics and art . Edition Nautilus, Hamburg 2000, ISBN 3-89401-349-4 .
• Marvin Chlada : Another city for another life. Situationist urbanism. In: quadrature. Culture book, Vol. 4: City, Views, FKO-Verlag, Duisburg / Cologne 2002, pp. 155–160, ISBN 3-9806677-4-X
• Catherine de Zegher , Mark Wigley (Eds.): The Activist Drawing. Retracing Situationist Architectures from Constant's New Babylon to Beyond . MIT Press, Cambridge MA et al. a. 2001, ISBN 0-262-04191-X .
• Biene Baumeister, Zwi Negator: Situationist Revolutionary Theory . An appropriation . Volume 1: Enchiridion . Butterfly Verlag, Stuttgart 2005, ISBN 3-89657-586-4 .
• Kalle Lasn : Culture Jamming. Reclaiming the characters . Updated and expanded translation of the original English version. orange press GmbH, Freiburg (Breisgau) 2005, ISBN 3-936086-22-2 .
• Pia Wiegmink: Theatricality and Public Space. The Situationist International at the intersection of art and politics . Tectum, Marburg 2005, ISBN 3-8288-8935-2 , ( Small Mainzer Writings on Theater Studies 2).
• Stephan Grigat , Johannes Grenzfurthner , Günther Friesinger (eds.): Spectacle - Art - Society. Guy Debord and the Situationist International (lectures given at the symposium of the same name in January 2005 in the Kunsthalle Exnergasse in Vienna). Verbrecher Verlag, Berlin 2006, ISBN 3-935843-61-5 ., Available as a free e-book under CC.
• archplus - magazine for architecture . No. 183, May 2007, ISSN  0587-3452 : Situational Urbanism .
• Simon Ford: The Situationist International. An instruction manual . Edition Nautilus, Hamburg 2007, ISBN 978-3-89401-545-9 , ( Small library for hand and head 58).
• Selima Niggl: Pinot Gallizio. Painting by the meter - Munich 1959 and the European avant-garde . Edition Nautilus, Hamburg 2007, ISBN 978-3-89401-544-2 .
• Max Jakob Orlich: Situationist International. Entry, exit, exclusion. On the dialectic of interpersonal relationships and theory production of an aesthetic-political avant-garde (1957–1972) . transcript Verlag, Bielefeld 2011, ISBN 978-3-8376-1748-1 .
• Ralph Rumney; The consul. Contributions to the history of the Situationist International. Edition Tiamat Berlin 2011, ISBN 978-3-89320-149-5
• Anna Trespeuch-Berthelot: International situationniste . Presses universitaires de France, Paris 2015, ISBN 978-2-13-061970-3 .
• McKenzie Wark : The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International. Verso, London & Brooklyn 2011. ISBN 978-1-84467-720-7
• McKenzie Wark: The Spectacle of Disintegration: Situationist Passages out of the 20th Century. Verso, London & Brooklyn 2013. ISBN 978-1-84467-957-7 (print); ISBN 978-1-84467-958-4 (eBook)
• Frances Stracey: Constructed situations: a new history of the situation is international . London: Pluto Press, 2014

Web links

This article or section needs to be revised: The section »Web Links« is not intended to serve as a general link container, but rather to provide a quick overview of the most important and finest web links. Please clean up! If necessary, some links can also be incorporated into the literature section. - DF5GO • ☎ • 08:32, 28 Aug. 2013 (CEST)
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Commons : Situationist International  - collection of images, videos and audio files

Situationist texts

• Si revue. All texts from the Situationist International as an online archive
• Elementary program for a unitary urbanism, 1961
• Texts and images from the magazine internationale situationniste
• Instructions for the fight, in: SI No. 6
• About the misery in the student environment, 1966
• Rene Viénet: Paris, May '68. The occupation of the Sorbonne. Excerpt from: Angry and Situationists in the Movements and Occupations (1968)

Secondary texts

• Thomas Dreher: Between art and way of life. From the Lettrists to the Situationists (with illustrations) (PDF file; 6.7 MB)
• Friends of the Classless Society: A Short Course on the History of the Situationist International
• Center for Art and Media Technology: Feature for the 2001/2002 exhibition
• Kunstwissen.de: Lettrists, Situationists (with one, glossary)
• Jens Kutilek: The Sex Pistols and the Situationist International (housework, pdf) (251 kB)
• Theory-Practice-Local: Situationist Revolutionary Theory (seminars and texts)

criticism

• Biene Baumeister, Zwi, Negator: The German Thought. About situationist revolutionary theory, Europe and Germany in: jungle world
• Lars Quadfasel: Need and Liberation. On the criticism of the situationist theory of revolution in: Phase 2
• Achim Siehler: The little sleep and its customers, in: Heart attack , No. 4/1982
• Stephan Grigat: French avant-gardists and Zionism. The Situationists about Israel
• Hans-Christian Dany: The eternal youth of an offended master plan
• Gilles Dauvé: Critique of the Situationist International

Pictures, graphics etc.

• In our spectacular society (comic)
• Guy Debord: Guide Psychogeographique de Paris, 1957? (Image)
• Asger Jorn: Lure, 1960 (picture)

Individual evidence

1. ↑ Orlich, Max: Situationist International. Entry, exit, exclusion, Bielefeld, 2011, p. 161.
2. ↑ Kathrin Hondl: I will never explain anything. deutschlandfunkkultur.de, March 30, 2013, accessed on December 16, 2018 . 
3. ↑ "Situationist Revolutionary Theory" - Communist topicality and left-wing delusion (PDF; 178 kB) by Biene Baumeister Zwi Negator, accessed September 26, 2008
4. ^ Roberto Ohrt, Phantom Avantgarde , Edition Nautilus, Hamburg, 1990, pp. 118f.
5. ↑ Thomas Y. Levin: "Ciné qua non": Guy Debord and cinematic practice as theory , "7. Guy Debord as a filmmaker "
6. ↑ [1] About the misery in the student milieu ... (Html ​​document - Situationist International)
7. ↑ Quoted here from: Anja Seifert: Body, Machine, Death On symbolic articulation in art and youth culture of the 20th century, Wiesbaden 2004, p. 191
8. ^ Situationist International 1958 - 1969, collected editions of the organ of the Situationist International, Volume 1, MaD-Verlag Schulenburg, 1977, p. 279
9. ^ Leaflet of the Situationist International: Avant-garde is undesirable!
10. ↑ Detlef Berentzen: Art rebels. The "Situationist International", in: Bayern 2, July 25, 2014 ( Memento from August 23, 2014 in the Internet Archive )
11. ↑ Christoph Schäfer: The City is Unwritten. Urban Experiences and Thoughts Seen Through Park Fiction.
12. ↑ cf. the Culture Jammers, Kalle Lasn 2005
13. ↑ For example in: Claus Leggewie (taz): Demystify yourselves!
14. ↑ cf. literature
15. ↑ Internet presence of "friends of the classless society"
16. ↑ MAGAZINE website
17. ↑ Source is missing
18. ^ Oiseau-tempête homepage , 2004
19. ↑ Jorinde Reznikoff, KP wing: Bomb it, Miss.Tic! With the graffiti artist in Paris. Hamburg 2011, Edition Nautilus

This version was added to the list of articles worth reading on March 30, 2006 .