Like the Dadaists and Surrealists, the principal concern of Situationist at first was the “suppression of art," desiring to transcend the distinction between art and culture and incorporate them into everyday life. The SI was also known for various interruptions of the art world, most notably was their raid against an international art conference in Belgium during 1958. During the conference the SI dropped large pamphlets leading to significant media coverage, culminating in the arrest many situationists and sympathizers associated with the scandal.
In the realm of the art world, Situationism began the attempted formulation of industrial painting (“painting prepared en masse”). The intent behind this formulation was to defame the traditional value of the art world and again redirect focus onto the everyday.
However after 1962, the Situationists began applying their critique to all aspects of capitalistic society and thus began a more political phase with Guy Debord at the helm. This push even lead to the evolution of the influential artistic members such as Jorn, Gallizio, Troche, and Constant by 1965. Due to Debord’s contributions, SI established the situationist critique of art as a social and political critique and one that should be instituted by traditional artistic activities, such as painting. Situationism than began a more political critique of capitalist society along the theoretical boundaries of Marxism.
Although "re-discovering" anarchist theory during this political stage, the situationist largely pulled from elements of Marxism, specifically using the lens of Henri Lefebvre’s critique of the alienation of everyday life. They believed that the revolutionary movement in advanced capitalist countries should be led by an “enlarged proletariat” which would include the majority of waged laborers. However, despite claiming neither leadership nor disciples within this enlarged proletariat, the group remain elitist and often dealt with differences by expelling the dissenting minority. They looked to a world-wide proletarian revolution to bring about the maximum pleasure.
Asger Oluf Jorn (1914-1973)
Jorn was a Danish painter and sculptor that was a founding member of the avant-garde movement COBRa and the Situationist International (SI).
Jorn was a Danish painter and sculptor that was a founding member of the avant-garde movement COBRa and the Situationist International (SI).
Jorn believed that the conception of the Situationist ideas incorporated both artistic and political influences, and thus the two could never be separated. The Situationists’ general principles were a critique of the capitalist exploitation and degradation of the everyday life, and the proposal of solutions through “alternative life experiences, construction of situations, unitary urbanism, psychogeography, with the union of play, freedom and critical thinking.” Join applied these principles to his style of painting, and that influence can be seen in his most famous oil painting, Stalingrad.
Piero Simondo (1928 - present)
An Italian artists and one of the original founders of the Situationist International, Piero was a member and leader within the imaginiste movement and his art remained experimental in a nature similar to Jorn even after leaving the Situationist group following a row with Debord.
Guy Louis Debord (1931-1994)
Debourd was a French Marxist theorist, filmmaker, and Lettrst that became a founding member of the Situationism International through his friendship with John.
Fims: Society of the Spectacle (1973)
In girum imus nocte et consumimur igni (1978).
Fims: Society of the Spectacle (1973)
In girum imus nocte et consumimur igni (1978).
References
http://www.artmovements.co.uk/situationism.htm
https://theanarchistlibrary.org/library/jan-d-matthews-an-introduction-to-the-situationists
http://www.cddc.vt.edu/sionline/si/news7.html
library.nothingness.org
library.nothingness.org
No comments:
Post a Comment