THE SITUATIONIST TIMES: SAME PLAYER SHOOTS AGAIN! INTERNATIONAL TILT EXHIBITION TORPEDO MAY 11 – SEPTEMBER 2 2018

The Situationist Times was a magazine edited and published by the Dutch artist in the FLIPPEREN IS VERUKKULLUK!! The Situationists and automa- years 1962–1967. It was in a meeting of the central (Hans Brinkman) tion: “This device allows for committee of the Situationist International in Brussels the automatic generation of a in 1961, that de Jong proposed to make an English lan- Gaussian curve (position of the guage magazine called The Situationist Times along- balls at the bottom). The artistic side the French bulletin Internationale Situationniste problems of the dérive occur at and the German magazine Spur. By the time the first The first two iterations were the same level as the relatively issue appeared in 1962, however, de Jong had been co-edited with the pataphyscian unpredictable path of each ball.” excluded from the Situationist International and trans- Noël Arnaud. Both issues deal (, Internationale formed the magazine project beyond recognition. In extensively with the trial against Situationniste no. 1, 1958) its multilingual, trans-disciplinary and cross-cultural the Munich collective Spur, exuberance, The Situationist Times became one of whose magazine had become the most exciting and playful magazines of the 1960s. the object of obscenity charges Throughout its six remarkably diverse issues, The in Germany, at the same time The Situationist Times no. 7: Situationist Times challenged not only the notion of as the members were being photos, correspondence, and what it means to be a situationist, but also traditional excluded from the Situationist other documents. understandings of culture more broadly and of the way International. No. 1 features de Jacqueline en de situationisten, culture is created, formatted and shared. Jong’s scathing showdown with 1970. TV program, VPRO. and the Situationist 30:45 minutes. International, spiraling across “Here the field of situological eleven hand-written pages: “I’m experience is divided into two proud that you call us gangsters, opposed tendencies, the ludic nevertheless you are wrong. We tendency and the analytical are worse; we are Situationists.” tendency. The tendency of art, spin and the game, and that of SEE ME, FEEL ME, TOUCH ME! science and its techniques. For example, take the network rep resented by Galton’s apparatus.- As a plaything this machine – doing the tilt – can be found Pinball wallpaper (2018), by in most Paris bistros; and as a Jacqueline de Jong in collabora- representation of calculated tion with Koosje Ruigrok. variability, it is the model of all the telephone networks.” Issues no. 3–5 changed gears Throughout no. 2, the so-called (Asger Jorn, Internationale and dealt with specific topics: Belgian issue, the editors Situationniste no. 5, 1960) interlaced patterns (the interna- embark on a photographic dérive tional British edition), labyrinths through Wallonia with Serge (the international labyrinth Vandercam alongside a “Lettwist LE PROBLÈME ESSENTIEL edition) and chains (the inter- Song”, a Peter Schat opera and a DES SITUATIONNISTES national olympic edition). De tune by Boris Vian. EST EN JEU! Jong collated hundreds of found images in collages informed by the mathematical discourse of SUDDENLY, YOU ARE SOMEWHERE ELSE! topology, whose principles were Big Valley (Bally, 1970). Free-play Browse The Situationist Times! introduced to the readers of electro-mechanical pinball ma A digital interface developed by The Situationist Times by Max chine, by courtesy of Oslo Pinball the Scandinavian Institute for - Bucaille, Lech Tomaszewski, Club. Design by Ted Zale, art by Computational Vandalism invites D.G. Emmerich and others. Christian Marche. The International Tilt Exhibition unfolds the material you to navigate the riches of the assembled by de Jong and her then-partner Hans magazine, its labyrinths, knots Brinkman in the early 1970s for a seventh, unreal- and controversies, as well as leaf ized issue of The Situationist Times devoted to the through the issues together with Overleaf: culture and topology of pinball. The documents - de Jong, who tells stories of their foot on Merry Widow (Williams, include original photographs, correspondence with making in a series of newly pro 1963). Art by George Molentin, prospective collaborators, an inventory of pinball duced video clips. design by Steve Kordek. machines in Amsterdam, clippings from magazines The final issue was something and newspapers, as well as essays by Brinkman and altogether different: an édition the psychologist Joost Mathijsen. analphabétique de luxe (the international Parisian edition) of WHAT ARE THE MOTIFS OF The Situationist Times: Same Player Shoots Again! is produced in collaboration with Konsthall Malmö and Museum Jorn. It forms part of These are Situationist original lithographs by 33 artists. THE PASSIONATE FEMALE Times, an exhibition, digitization and publication project developed by Torpedo and Ellef Prestsæter together with Jacqueline de Jong and generously sup- ported by Nordic Culture Point and the Norwegian Arts Council. Design by Anna Prestsæter. The “de Jong Papers,” including the archives of The Situationist PINBALL PLAYER? Times, is held at Beinecke Rare Books and Manuscripts Library, Yale University. All reproduction, deformation, modification, derivation and transformation (Joost Mathijsen) of The Situationist Times is permitted.