20161115 Upcoming- Several Exhibitions About Constant Nieuwenhuys
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18ª Bienal De São Paulo
CATÁLOGO GERAL 18~ BIENAL INTERNACIONAL DE SÃO PAULO 4 de Outubro a 15 de .... 0::;;"'-<:;;, de 1985 G GERAL Fundação Bienal de São Paulo Pavilhão Engenheiro Armando Arruda Pereira Parque Ibirapuera . São Paulo· Brasil Patrocínio Oficial Governo Federal Presidente José Sarney Ministério da Cultura Aluísio Pimenta, Ministro Ministério das Relações Exteriores Olavo Egydio Setubal, Ministro Governo do Estado de São Paulo Governador André Franco Montara Secretaria de Estado da Cultura Jorge da Cunha Lima, Secretário Prefeitura do Municipio de São Paulo Prefeito Mário Covas Secretaria Municipal da Cultura Gianfrancesco Guarnieri, Secretário • 2 • Fundação Bienal de São Paulo Presidente Perpétuo Diretoria Executiva Francisco Matarazzo Sobrinho (1898/1977) Roberto Muylaert - Presidente Conselho de Honra Mário Pimenta Camargo 1- 10 Vice-Presidente Oscar P. Landmann - Presidente Pedro D'Alessio - 2.0 Vice-Presidente Luiz Femando Rodrigues Alves Henrique Pereira Gomes Luiz Diederichsen Villares João Augusto Pereira de Queiroz João Marino Stella Teixeira de Barros Conselho de Administração Thomaz Jorge Farkas José E. Mindlin - Presidente Comissão de Arte e Cultura Ermelino Matarazzo - Vice-Presidente Sábato Antonio Magaldi - Presidente Aldo Calvo João Marino - Representante da Benedito José Soares de Mello Pati Diretoria Executiva Ema Gordon Klabin Erich Humberg Casimiro Xavier de Mendonça Francisco Luiz de Almeida Salles Fábio Luiz Pereira de Magalhães Hasso Weiszflog Glauco Pinto de Moraes João Fernando de Almeida Prado Representante da Secretaria Municipal Justo Pinheiro da Fonseca de Cultura e .Associação Profissional Oscar P. Landmann de Artista Piásticos de S.P. Oswaldo Arthur Bratke Oswaldo Silva Luiz Diederichsen Villares Roberto Pinto de Souza Renina Katz Sábato Antonio Magaldi Representante da Associação Sebastião Almeida Prado Sampaio Profissional de Artistas Plásticos de S.P. -
The Game of War, MW-Spring 2008
The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text. -
Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes. -
Cosmonauts of the Future: Texts from the Situationist
COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263. -
Constant Nieuwenhuys-August 13, 2005
Constant Nieuwenhuys Published in Times London, August 13 2005 A militant founder of the Cobra group of avant-garde artists whose early nihilism mellowed into Utopian fantasy Soon after the war ended, the Cobra group burst upon European art with anarchic force. The movement’s venomous name was an acronym from Copenhagen, Brussels and Amsterdam, the cities where its principal members lived. And by the time Cobra’s existence was formally announced in Paris in 1948, the young Dutch artist Constant had become one of its most militant protagonists. Constant did not hesitate to voice the most extreme beliefs. Haunted by the war and its bleak aftermath, he declared in a 1948 interview that “our culture has already died. The façades left standing could be blown away tomorrow by an atom bomb but, even failing that, still nothing can disguise the fact. We have lost everything that provided us with security and are left bereft of all belief. Save this: that we live and that it is part of the essence of life to manifest itself.” The Cobra artists soon demonstrated their own exuberant, heretical vitality. Inspired by the uninhibited power of so-called primitive art, as well as the images produced by children and the insane, they planned an idealistic future where Marxist ideas would form a vibrant union with the creation of a new folk art. Constant, born Constant Anton Nieuwenhuys, discovered his first motivation in a crucial 1946 meeting with the Danish artist Asger Jorn at the Galerie Pierre, Paris. They exchanged ideas and Constant became the driving force in establishing Cobra. -
Chronology of the Lettrist International and the Situationist International
Appendix 4 Chronology of the Lettrist International and the Situationist International 1951 – In April, Guy Debord meets Lettrist leader Isidore Isou and several other Lettrists at the Cannes Film Festival. – In the summer, Debord graduates from high school in Cannes, moves to Paris, and joins Isou and the Lettrists. – Throughout 1951, Debord spends much of his time at his favorite bar, Chez Moineau, where he meets several people who would become important to him during that time, including Gil Wolman, Michele Bernstein, Ivan Cht- cheglov, Eliane Papai, and Jean-Michel Mension. 1952 – In February, Wolman screens his only film L’Anticoncept. – In June, Debord screens his first film, Howls in Favor of Sade; the audience erupts in anger, halting the screening. – In October, Debord, Wolman, and two other Lettrists perpetrate the “No More Flat Feet!” scandal against Charlie Chaplin, an action Isou distanced himself from in a newspaper article. – In December, Debord, Wolman, and other Lettrists split from Isou to form the Lettrist International (LI). 1953 – In early 1953, Debord artistically manifests the LI’s contempt for wage slav- ery when he scrawls “Ne Travaillez Jamais!” (“Never Work!”) on a wall on the rue de Seine. – In October, Chtcheglov presents Debord with his poetic manifesto, “Formu- lary for a New Urbanism.” © koninklijke brill nv, leideN, 2019 | DOI: 10.1163/9789004402010_014 James Trier - 9789004402010 Downloaded from Brill.com09/30/2021 07:21:04AM via free access 422 Appendix 4 1954 – In June, the LI publishes the first issue of Potlatch, which will continue to be published semi-regularly through much of 1957, when the Situationist International is formed. -
To Realize Art: Notes for a History of the Situationist International
156 83RD ACSA ANNUAL MEETING HlSTORYiTHEORYlCRlTlClSM 1995 To Realize Art: Notes for a History of the Situationist International LIBERO ANDREOTTI Georgia Institute of Technology Philosophy must never forget that it has always spoken Pavillon des Temps Nouveaux (1937).2In 1953 he founded its part in the most burlesque and melodramatic setting the IMIB as an alternative to Max Bill's more technical school - Attila Kotani at Ulm, guilty in his view of having sold-out the Bauhaus idea to industrial capitalism. In its short life-span of only three In Theoy of the Avant-garde, Peter Burger argues that years, this "center for free and experimentalresearch " had been Futurism, Dada, and Surrealism aimed at "the sublation of art able to attract several leading European artists, including into life." A similar consideration might well be made about Matta and Enrico Baj, and had already exhibited some of its the Situationist International (SI), a movement of great ambition and influence whose reflections on art, the city, spontaneity, and the spectacle, have insured it a vital but largely hidden role in 20th century art and politics. ' In what follows I propose to sketch briefly the history of this group from its beginnings in 1957 to its participation (some would say its leading role) in the May '68 events in France, which marked the zenith of SI activity and also the beginning of the group's decline (it was formally dissolved in 1972 by its only two remaining members, Guy Debord and Gianfranco Sanguinetti). More specifically, I would like to emphasize 1) the urban dimension of many SI practices, as seen in the notions of "derive," "psychogeography," and "unitary ur- banism," 2) the importance of play as a technique of diversion and re-appropriation, evident especially in the notion of "detoumement," and 3) the global scope of SI activities, which ranged from poetry to architecture, fiom cinema to urbanism, and which developed as part of the group's totalizing (in Lukacs' sense) critique of capitalist consumer culture. -
Het Elektrisch Bestaan. Schrijvers En Tijdschriften Tussen 1949 En 1951
Het elektrisch bestaan. Schrijvers en tijdschriften tussen 1949 en 1951 Piet Calis bron Piet Calis, Het elektrisch bestaan. Meulenhoff, Amsterdam 2001 Zie voor verantwoording: http://www.dbnl.org/tekst/cali002elek01_01/colofon.htm © 2007 dbnl / Piet Calis 6 VOOR MARJAN het licht willen zien, de zon willen vangen, iets afweten van het electrisch bestaan. HANS ANDREUS Piet Calis, Het elektrisch bestaan. Schrijvers en tijdschriften tussen 1949 en 1951 7 Woord vooraf In 1960 bracht ik enkele weken door op Ibiza in het plaatsje San Antonio Abad, waar zich toen nog vrijwel geen hotel en nauwelijks een toerist ophield. Het was die zomer voor het eerst in mijn leven dat ik palmen zag. Ik was er buitengewoon gelukkig. Ik zie me nog bij aankomst op een terrasje zitten, wachtend op enkele vrienden die me af zouden halen en genietend van een glas wijn en enkele donkere olijven. Daar in San Antonio Abad schreef ik elke ochtend in de tuin van die vrienden over de poëzie van Hans Andreus, die me met zijn liefde voor de zuidelijke zon natuurlijk extra wist te inspireren. Ik wist toen nog niet dat Andreus zelf me in dat plaatsje voor geweest was: in de zomer van 1952 hadden hij en zijn Franse geliefde Odile Liénard er in een pension gelogeerd. Het was ook verder een heerlijke vakantie. 's Middags - na van Andreus' verzen genoten te hebben - ging ik zwemmen in de baai en 's avonds trad er in het plaatselijke café een oude man met een gitaar op. Deze die zich met één kunstbeen voortbewoog, schroefde alvorens op te treden altijd dat been los en ging dan op een houten tafel zitten waar hij steevast begon met het schitterende lied ‘Si vas a Calatayud’. -
Nomadic Urbanities: Constant’S New Babylon and the Contemporary City
Graduate Journal of Asia-Pacific Studies 4:2 (2004), 29-52 Nomadic Urbanities: Constant’s New Babylon and the Contemporary City Julie NICHOLS Centre for Middle East and Asian Architecture (CAMEA), University of Adelaide, Australia. CONTEMPORARY URBAN environments are characterised by shifting relationships with place. A theoretical understanding of ‘place’, in the contemporary context, provides opportunities to investigate the conceptual dialectic of nomadity and urbanity. The concept of ‘nomadity’ includes in its scope both physical and virtual movement; the practice of traversing real space to the capacity of roaming in virtual space. Nomadity, therefore, signifies a dynamic and temporal relationship with locality, characteristic of contemporary urban populations. Urbanity, by comparison, is defined as ‘the state, condition, or character of a town or city’. 1 Understood in a contemporary sense, as signifying stasis by being settled in a place, urbanity becomes the antithesis of nomadity. The notions of town or city are often associated with a type of settlement. The historic connotations of the term settlement relate to fortification and safety as well as to an urban establishment fixed permanently in a desired place. 2 In this paper, nomadic urbanities are introduced to reflect on the rapidly evolving nature of urbanism in today’s globalised world. Nomadity, urbanity and travel are modern issues, and may be translated by city dwellers through imaginings, representations or as physical urban environments. This is not necessarily a trend related to specific regions, but can be localised by certain examples. The focus of this paper is the Southeast Asian city and how it is then situated within the global context. -
THE SPECTACLE 2.0 Reading Debord in the Context of Digital Capitalism the Spectacle 2.0: Reading Debord in the Context of Digital Capitalism
CDSMS EDITED BY MARCO BRIZIARELLI AND EMILIANA ARMANO THE SPECTACLE 2.0 Reading Debord in the Context of Digital Capitalism The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism Edited by Marco Briziarelli and Emiliana Armano University of Westminster Press www.uwestminsterpress.co.uk Acknowledgements The spectacle thus unites what is separate, but it unites it only in its separateness (Thesis 29, 1967) Dobbiamo convincerci che oggi, quanto al risveglio del fattore sogget- tivo, non possiamo rinnovare e continuare gli anni Venti, ma dobbiamo cominciare da un nuovo punto di partenza, sia pure utilizzando tutte le esperienze che sono patrimonio del movimento operaio e del marxismo. Dobbiamo renderci conto infatti chiaramente che abbiamo a che fare con un nuovo inizio, o per usare un’analogia, che noi ora non siamo negli anni Venti del Novecento ma in un certo senso all’inizio dell’Ottocento, quando dopo la rivoluzione francese si cominciava a formare lentamente il movi- mento operaio. Credo che questa idea sia molto importante per il teorico, perché ci si dispera assai presto quando l’enunciazione di certe verità pro- duce solo un’eco molto limitata. (Ontologia dell’Essere Sociale, G. Lukács) Un ringraziamento particolare va a Christian Fuchs per aver discusso in pro- fondità il progetto editoriale e per averlo sostenuto in quanto editore e revisore. Siamo altresì grati a Kylie Jarrett e Eran Fisher per averci incoraggiato nelle fasi iniziali di ideazione. iv The Spectacle 2.0 Alla stesura di questo libro hanno anche collaborato, del tutto involontari- amente, Romano Alquati, Tom Bunyard and Jonathan Crary. -
Diversity & Art: a Virtual Tour
Diversity & Art: A Virtual Tour ChristiaaN Karel Appel The NetherlaNds (1921-2006) UNtitled Work ChristiaN Karel Appel’s art was stroNgly iNspired by the spoNtaNeity fouNd iN the art of childreN aNd the meNtally challeNged, as well as tribal aNd primitive creatioNs. As most of CoBrA artists, Appel was preoccupied with the impact of World War II, aNd hoped that his whimsical creatioNs would alleviate some of the hopelessness brought oN by the horrors that took place at the heart of “civilized” Europe. Especially seNsitive to the sufferiNg of childreN, Appel used bright aNd bold colors, both iNtuitive aNd calculated brushstrokes, creatiNg highly expressive art fraught with joy aNd mischief, hopiNg to exude optimism aNd mitigate the darkness aNd disillusioNmeNt that prevailed iN Europe. A multifaceted artist, Appel worked with paiNtiNg, sculpture, staiNed glass, aNd poetry. IN the US, he collaborated with AlleN GiNsberg, oNe of the most respected AmericaN poets of the Beat MovemeNt, iNcorporatiNg his poetry iNto his art. He also created haNd-woveN wool aNd silk tapestries, a media that allows depth aNd scale, weaviNg images aNd stories through a symbolic use of threads that ruN through all humaNity. About the Artist This major Dutch artist was borN iN Amsterdam, the capital city of The NetherlaNds, aNd begaN paiNtiNg at a very youNg age. From 1940 to 1943, he studied at the State Academy of FiNe Arts, while his couNtry aNd most of Europe were uNder Nazi occupatioN, aN experieNce that left aN iNdelible mark oN both the artist aNd the maN. IN 1948, Appel co-fouNded the CoBrA art movemeNt aloNg with artists Asger JorN, CoNstaNt NieuweNhuys, aNd ErNest MaNcoba, South Africa’s first Black moderN artist aNd CoBrA’s oNly AfricaN member. -
Je Rédige Actuellement Un Dossier En Histoire Des Arts Pour Le Baccalauréat, Sur Le Sujet De L’Art À Berlin Durant La Guerre Froide
Je rédige actuellement un dossier en Histoire des Arts pour le baccalauréat, sur le sujet de l’art à Berlin durant la guerre froide. Je cherche pour cela des artistes d’origine berlinoise dans les deux blocs. J’ai déjà fait des recherches sur internet, sans résultat. Merci. Réponse apportée le 05/26/2012 par STRASBOURG Médiathèques de la ville et communauté urbaine – Fonds régional, Illustration, Arts du spectacle (danse) Dans un premier temps, vous pouvez effectuer une recherche rapide dans notre catalogue avec les mots clés « art + guerre froide », vous trouverez les ouvrages suivants qui pourraient correspondre à votre recherche : * Recueil d’affiches de propagande : Posters of the cold war / by David Crowley . – V & A Publishing, 2008 Extraordinary propaganda posters produced by the superpowers and their critics fill the pages of this fascinating book. During the Cold War, the poster was a key medium, used to produce both fear and loyalty, and to facilitate a visual dialogue between the superpowers and their critics. This definitive survey showcases poster design from the late 1940s, when the Iron Curtain was first drawn across Europe, to the early 1990s, when Communism in the Soviet Union collapsed. Selected from twenty countries to demonstrate the wide international reach of the conflict, Posters of the Cold Waris an extraordinary retrospective that features specially commissioned photographs of rarely seen images by artists such as Pablo Picasso, Grapus Design Collective, and Peter Kennard. * Bande-dessinée Abstraction : (1941-1968) / [illustrations de] Jochen Gerner . – Biennale d’art contemporain du Havre. – l’Association, 2011 Cet ouvrage poursuit les réflexions de Gerner autour des bandes dessinées populaires de l’époque de la Guerre Froide, et ajoute à cette exploration une question esthétique qui rejoint les enjeux de l’expressionisme abstrait américain de ces mêmes années 50-60.