Guide to the Bismuth-Lemaître Papers
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Youth Uprising the Lettrist Alternative to Post-War Trauma
Please, return this text to box no. 403 available at museoreinasofia.es Youth Uprising The Lettrist Alternative to Post-War Trauma Lettrism was the first art movement after the Second World War to reintroduce the radicalism of the first avant-garde trends, particularly Dada and Surrealism, and became a communicating vessel for the Neo-avant- garde trends that followed. Lettrism is conceived as a total creative movement, a movement that doesn’t forsake any medium or field of action: poetry, music, film, visual arts or drama. Isou managed to place Lettrism ‘at the vanguard of the avant-garde,’ in contrast with the decline of Dada and Surrealism. During this period Lettrism acquired the true dimension of a group, although the first differences appeared almost at once, producing a split that some years later and in concurrence with other cells of rebe- llious creativity would give rise to the Si- tuationist International. By order of mem- bership, the individuals who joined the first Lettrism is one of the few avant-garde isms that still have a secret history. With the ex- Lettrist group included Gabriel Pomerand, ception of France, its native and almost exclusive soil (radiant Paris, to be more precise), François Dufrêne, Gil Joseph Wolman, the movement was only known superficially, remotely and partially. Ironically, Lettrism Jean-Louis Brau, Serge Berna, Marc’O, is often referred to as an episode prior to Situationism, given the mutual disdain and the Maurice Lemaître, Guy-Ernest Debord, ruthless insults the groups levelled at each other. Furthermore, it is a very complex move- Yolande du Luart and Poucette. -
Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
Letterism 1947-2014 Vol. 1
The Future is Unwritten: Letterism 1947-2014 Vol. 1 Catalog 17 Division Leap 6635 N. Baltimore Ave. Ste. 111 Portland, OR 97203 www.divisionleap.com [email protected] 503 206 7291 “Radically anticipating Herbert Marcuse, Paul Goodman, and their Letterism is a movement whose influence is as widespread as it is unacknowledged. From punk to concrete poetry to experimental film, from the development of youth culture to the student uprisings of 1968 and epigones in the 1960s new left, Isou the formation of the Situationist International, most postwar avant-garde movements owe a debt to it’s rev- produced an analysis of youth as olutionary theories, yet it remains largely overlooked in studies of the period (some notable exceptions are listed in the bibliography that follows the text). an inevitably revolutionary social sector - revolutionary on its own This catalog contains over one hundred items devoted to Letterism and Inismo. To the best of our knowl- edge it is the first devoted to either of these movements in the US. It contains a number of publications terms, which meant that the terms which have little or no institutional representation on these shores, and represents a valuable opportunity for of revolution had to be seen in a future research. new way.” A number of the items in this catalog were collected by the anarchist scholar Pietro Ferrua, who was closely associated with members of both Letterism and Inismo and who has written a great deal about both move- ments. Ferrua organized the first international conference on Letterism here in Portland in 1979 [see #62]. -
The Art of Hans Arp After 1945
Stiftung Arp e. V. Papers The Art of Hans Arp after 1945 Volume 2 Edited by Jana Teuscher and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 2 The Art of Arp after 1945 Edited by Jana Teuscher and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Foreword Jana Teuscher and Loretta Würtenberger 16 The Art of Hans Arp after 1945 An Introduction Maike Steinkamp 25 At the Threshold of a New Sculpture On the Development of Arp’s Sculptural Principles in the Threshold Sculptures Jan Giebel 41 On Forest Wheels and Forest Giants A Series of Sculptures by Hans Arp 1961 – 1964 Simona Martinoli 60 People are like Flies Hans Arp, Camille Bryen, and Abhumanism Isabelle Ewig 80 “Cher Maître” Lygia Clark and Hans Arp’s Concept of Concrete Art Heloisa Espada 88 Organic Form, Hapticity and Space as a Primary Being The Polish Neo-Avant-Garde and Hans Arp Marta Smolińska 108 Arp’s Mysticism Rudolf Suter 125 Arp’s “Moods” from Dada to Experimental Poetry The Late Poetry in Dialogue with the New Avant-Gardes Agathe Mareuge 139 Families of Mind — Families of Forms Hans Arp, Alvar Aalto, and a Case of Artistic Influence Eeva-Liisa Pelkonen 157 Movement — Space Arp & Architecture Dick van Gameren 174 Contributors 178 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp’s late work after 1945 can only be understood in the context of the horrific three decades that preceded it. The First World War, the catastro- phe of the century, and the Second World War that followed shortly thereaf- ter, were finally over. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
A Visionary Book: Charles Nodier's L'h Istoire Du Roi De Boheme Et De Ses Sept Chateaux
A Visionary Book: Charles Nodier's L'H istoire du Roi de Boheme et de ses sept chateaux Anne-Marie Christin ABSTRACT: Charles Nodier's Histoire du Roi de Boheme is original in several respects: it is the first French Romantic illustrated book; it introduces into writing a completely new typographic expressivity; and it represents an aside in the oeuvre of an author torn between "bibliomania" and the love of fantastic tales. The purpose of this article is to analyze the various functions of the image and the typography within L'Histoire du Roi de de Boheme, and to show that these visual representations of the written word, which give the effect of both spectacle and plastic utterance, mark the beginning of a quest that will find its completion many years later. It will also be seen that the author who is thus dispossessed of his control over narration is the very same who is fascinated by the "dispossession" of dreams; and that for him, a compelling necessity links this book to the oneiric inspiration peculiar to his tales. In January of 1830, when L'Histoire du Roi de Boheme et de ses sept chateaux was beginning to appear in bookstores, Charles Nodier wrote: "This is a work which does not strike a responsive chord in any mind, and which is not of this era."1 In point of fact, the book was a commercial fail ure, and it even bankrupted its publisher, Delangle, who fell victim to the considerable expense of its production. "To the loony bin with the King of Bohemia!" was the refrain with which, in a satire by Sci pion Marin two years later, several well-known literary figures attempted to drown out the litany of Nodier's onomatopoeias and quotations assaulting their ears.2 Champfleury, analyzing the principal illustrated books of the Romantic era- of which Nodier's was the first- confirms the book's misunderstood nature: "By its printing, by the accents of its vignettes, the Roi de de Boheme continues to be a most singular note in the world of the Romantic book"; but, he adds, "Nodier wished to be read ... -
The Letterists
The Letterists The Letterism, founded in 1946 by Gabriel Pomerand (1925-1972) and Isidore Isou (1925-2007), uses letters as “sounds” and then as “images.” Poetry turns into music and writing becomes painting. The letterists extend these changing relationships to film, culture and society. In 1952 the movement divides because of diverging objectives: living art or the art of living. Jean-Louis Brau, Guy Debord and Gil Wolman founded the Letterist International to “transcend art”. Marc’O set up the group “Ex- ternalists” to encourage the uprising of youth. The Isouists asserted that their only doctrine came from a single creator. Letterists, for a long time, would remain “badly known or known to be bad”. gation d’un nom et d’un messie and at- tempted alliances such as Réflexions sur André Breton; group lectures on youth up- rising, which Isou would develop in Traité d’économie nucléaire; lectures by Pomer- and on prostitution, pederasty, rain and fine weather, that he published and had him sent to jail, such as his book Lettres ouvertes à un mythe. Le cri et son arch- ange, which Isou wanted to appropriate, led Pomerand to break with him. Isou pub- lished Isou ou la Mécanique des femmes, which brought him legal troubles, like those of Pomerand. 1949 and the beginning of 1950 marked a move to the production of films and paint- From poetic letterism to political letterists: 1946-1952 ings. The documentary filmed about Saint The letter as sound 1946 / 1949 Germain des Près, on which Jacques Barat- Letterism takes its name from the letter that some young people, of the inter-war gen- ier worked with Pomerand starting in 1947, eration, wanted to use in ways other than words, which they believed had been killed by was finished in 1949. -
Jean-Michel-Mension-Tribe-Translated-Donald-Nicholson-Smith-1.Pdf
JEAN-MICHEL MENSION CONVERSATIONS WITH GERARD BERREB Y AND FRANCESCO MILO TRANSLATED FROM THE FRENCH BY DONALD NICHOLSON-SMITH Contributions to the History of the Situationist International and Its Time, Vol. I CITY LIGHTS BOOKS SAN FRANCISCO © 2001 by Donald Nicholson-Smith for this translation © 1998 by Editions Allia, Paris, for La Tribu by Jean-Michel Mension © by Ed van der Elsken{fhe Netherlands Photo Archives for his photographs All rights reserved 10 98 7 6 5 4 3 2 1 Cover & book design: Stefan Gutermuth/doubleu-gee Editor: James Brook This work, published as part of the program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Service of the French Embassy in the United States. Cet ouvrage publie dans Ie cadre du programme d'aide a la publication beneficie du soutien du Ministere des Affaires Etrangeres et du Service Culture I de l'Ambassade de France represente aux Etats-Unis. Mension, Jean-Michel. [Tribu. English] The tribe / by Jean-Michel Mension ; translated from the French by Donald Nicholson-Smith. p. cm. Interviews with Gerard Berreby and Francesco Milo. ISBN 0-87286-392-1 1. Mension, Jean-Michel-Friends and associates-Interviews. 2. Paris (France)-intellectual life-20th century-Interviews. 3. Radicalism-France-Paris. l. Berreby, Gerard. II. Milo, Francesco. III. Title. DC715 .M39413 2001 944'.36083'092-dc21 2001042129 CITY LIGHTS BOOKS are edited by Lawrence Ferlinghetti and Nancy J. Peters and published at the City Lights Bookstore, 261 Columbus Avenue, San Francisco, CA 94133. Visit us on the Web at www.citylights.com. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Invisible Republic: Music, Lettrism, Avant-Gardes (Lisbon, 25-27 Oct 17)
Invisible Republic: Music, Lettrism, Avant-Gardes (Lisbon, 25-27 Oct 17) University of Lisbon and Museum of Art, Architecture and Technology (MAAT), Oct 25–27, 2017 Deadline: May 25, 2017 Dr Anabela Duarte Venue: University of Lisbon, School of Arts and Humanities and Museum of Art, Architecture and Technology (MAAT) Conference organized by: Anabela Duarte (ULisboa) and Andrew Hussey (ULondon) Organizing Entities: University of Lisbon, ULICES and University of London, SAS, CPS Keynote Speakers: Frédéric Acquaviva, experimental composer and curator (FR), Kaira Cabañas, Associate Professor in Global Modern and Contemporary Art History at the University of Florida (US), Clinton Heylin, Music and Pop Culture Historian (GB), Bronac Ferran, writer and curator at the University of London (GB), Kevin Repp, Professor and Curator at the Beinecke Library, Yale Univer- sity (US), Andrew Hussey, Professor of Cultural History at the University of London In Invisible Republic: Bob Dylan’s Basement Tapes (1997), Greil Marcus charts a countercultural sound map, a kind of laboratory where a new language is being forged. This is where, Marcus argues, we can locate the true voice of the century, a new consciousness, the alchemy of an undis- covered country. From this starting-point, we propose a journey into the tangled relationship between music, the avant-gardes and counterculture. In 1942, Isidore Isou, a Jew from Romania, created in Bucharest an artistic and cultural trend that claimed for a “new republic” of letters. He brought it to Paris in 1945, and this became “Lettrism”, one of the most inventive but also one of the most unknown movements of the post-war avant-- gardes. -
Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context. -
Jean-Jacques Thomas Romance Languages and Literatures University at Buffalo
Jean-Jacques Thomas Romance Languages and Literatures University at Buffalo Isidore Isou’s spirited letters It is paradoxical to consider that today Isidore Isou, probably one of the least known Romanian-born French writers and philosophers could be the most famous and the best considered Romanian intellectual of the twentieth century. It is probably his insatiable desire for public fame and recognition that prevented him from achieving such a possible destiny at least at par with Tristan Tzara or Eugène Ionesco. An extremely well-read intellectual, an indefatigable writer and thinker, there are very few aspects of human knowledge, be they letters, arts or sciences that, at one point or another in his life, did not attract his intellectual attention and his knowledgeable study. Totally convinced of his own worth and of his own exceptional nature, in several essays he compares his nature and intellectual status to that of Leonardo da Vinci, estimating even that his own capacity to construct a unified system of organization of human knowledge placed him above da Vinci who could only systematize and understand fragmentary aspects of human knowledge.1 For many of his contemporaries, it is this hubris (megalomania) coupled with a sharp and relentless criticism of the mediocrity of the other intellectuals, writers and thinkers of the immediate post WWII period in France that explains Isou’s paradoxical status as a marginal intellectual generally at odds with different intellectual and literary movements that span the 1945-1970 period in France. Two terms are directly related to his early literary accomplishments and innovations: Letterism [lettrisme] and metagraphy [métagraphie].