Longread — 7 Feb 2019 — Karen Kurczynski
This essay is a preview from the anthology These are Situationist Times, edited by Elin Maria Olaussen, Ellef Prestsæter, and Karen Christine Tandberg, published by Torpedo Press in Summer 2019.
“Ladies and Gentlemen,” begins Jacqueline de Jong in the announcement she read at the launch of the fifth issue of The Situationist Times in 1965 at the gallery Gammel Strand in Copenhagen. “We are happy to present the 5th number of The Situationist Times to you. This number is the third issue which concerns a definite subject, . . . Rings and Chains.” The first two issues, she explained, dealt with “no specific subjects” (in fact, they produce an explicit and playful critique of the exclusive nature of the Situationist International, out of which the publication arose). The third and fourth were about “interlaced Patterns and Labyrinths respectively.” Issues 3, 4, and 5 introduce topology as an organizing investigation of the journal, in the form of interlacement, the labyrinth, and finally rings and chains. These issues present an eccentric archive of imagery drawn, described, and appropriated from disparate geographic origins and interdisciplinary sources, the visual and conceptual impact of which is as powerful today as it was extraordinary in the early 1960s, when the journal was launched as a defense of the revolutionary value of creativity. The implications of its visual investigations and radical openness to diverse perspectives continue to unfold in contemporary culture, as women and men continue to wrestle with the rings and chains that bind and separate them.
As part of the inner circle of the Situationist International (S.I.), co-founded by Guy Debord with Asger Jorn and others in 1957, De Jong conceived of the idea of an English-language Situationist journal to give international reach to its ideas of revolutionizing everyday life, subverting the spectacles of politics and entertainment, and exploring new possibilities of creative production liberated from the existing limited and elitist networks. When the S.I. decided to exclude all artists from its ranks, just after several of De Jong’s German colleagues in Gruppe SPUR had been accused of pornography and blasphemy by the authorities of the Bavarian state, De Jong, herself an artist, was livid. She went ahead with the journal with a new purpose, envisioning it “as a platform to respond to the eviction of the artists.”1
It declared itself open to any and all, evolving from a rejection of the exclusionary policies of a so-called radical organization into a profound artistic exploration of the creative possibilities of all fields of human endeavor. In her own innovative contribution, the meandering hand-scribed “Critic on the Political Practice of Détournement,” De Jong declares, “Misunderstandings and contradictions are not only of an extreme value but in fact the basis of all art and creation, if not the source of all activity in general life.”2 The Situationist Times would unfold its own détournements (Situationist subversions of appropriated ideas), heteroglossic contradictions, and eccentric visual morphologies over six issues.
The second issue includes the “Declaration of the Second Situationist International,” a tract written by Jorn with his brother Jørgen Nash and Ansgar Elde of the Swedish Drakabygget group (also excluded by the S.I.), who signed De Jong’s name to the declaration without her permission—just one of many instances of internal contradiction that De Jong brought into the journal.3 The declaration describes the new movement’s basis in Scandinavian culture and specifically social democratic politics, asserting that “the social structure that fulfills the new conditions for freedom we have termed the situcratic order,” which was based on Jorn’s writing on “analysis situs,” an early mathematical iteration of topology, first published in Internationale situationniste.4 Referencing Niels Bohr’s theory of complementarity in physics, which allows for a synthesis of differing perspectives, it declares that the “Scandinavian outlook” is based not on a calculated position, as is the “French” one of the orthodox Situationists, but instead on “movement and mobility.”
These are certainly the principles De Jong’s publication followed, although she likely would not have described them as “Scandinavian.” Unfolding Jorn’s complex theories of evolution and renewal of tradition, the declaration maintains that “today terms like conservatism, progress, revolution and reactionism have become meaningless. The terminology of liberalism is equally fatuous and played out. There is no point in using phrases of this kind for the Nordic philosophy of situations which is essentially tradition-directed.” Their tract calls for an artistic reinterpretation of the past, as Jorn would explore with the Scandinavian Institute for Comparative Vandalism, which he founded to investigate Nordic pre-modern traditions in art after he voluntarily left the S.I. in 1961. The experimental artists’ rejection of progress, and against the by then clichéd and increasingly reactionary idea of the avant-garde with its elitist associations, was explicitly set against the orthodox Situationist belief in revolution over reform and the notion that there is a single correct path to the future.
Chains of Topological Association
As described in issues 4 and 5 of The Situationist Times by the Polish architect Lech Tomaszewski, topology is the formal study of the features of geometrical figures that remain invariant under spatial transformations.5 Tomaszewski’s illustrations include drawings of Möbius strips and pretzel-like knots and photos of a knotted rope and 3D mathematical models. Non-orientable surfaces, he explains, are almost all multidimensional. As such, they are, mathematically speaking, impossible to represent accurately other than through equations. All visualizations therefore remain purely speculative—literally visionary.
Max Bucaille’s notes that form “The Dog’s Curve” in issue 3 provide a more “artistic” and playful (but equally mathematical) pendant to his own topological explanation of the mathematical formula for Hoppe’s curve earlier in the issue.6 The resulting diagram is a regular, sharply curved parabola representing the movement of a dog running with its human in a park. Given even minimal knowledge of ordinary canine behavior, it is obviously fake. Bucaille’s text, handwritten in looping script, opens with a poem by the futurist poet Filippo Tommaso Marinetti about “the smelly landscape of my Alsacian dog” and includes surrealist-style collage elements: a photograph of a human figure draped in cloth, a diagram of the human circulatory system, and a found illustration of a dog.
His article bridges the divide between advanced mathematical equations, incomprehensible to the average reader, and visual forms that are ancient and immediately legible such as the spiral, the human image, and the hyperbola. Bucaille crosses art with math, as two autonomous visual discourses intimately related to everyday life. His investigations over several articles of “topological invariants” that will “help man to define himself” manifest as the journal unfolds the universality of difference, implying the impossibility of definition as diverse topological examples accumulate.
The Situationist Times collects imagery of historical, decorative, and imaginative forms from around the world, much of it researched by De Jong in the Bibliothèque nationale de France in Paris or culled from contemporary artistic and scientific publications. Visual imagery of knots and other interlacing designs permeates the multilingual discussions in issue 3, and in issue 4, labyrinths and spirals taken from ancient Scandinavian rock carvings, medieval urban plans, and Christian church labyrinths compete for our attention. Issue 5 includes imagery ranging from rings of topological forms, to hopscotch diagrams, to jewelry, to hoop skirts. Issues 4 and 5 are the most visually packed. They exemplify the journal’s inventive approach to the collection of imagery as a creative act.
Tomaszewski’s article in issue 4, sent to De Jong as an unsolicited response to issue 3, was included, according to her editorial note, to make “the problem of Topology more Excessable.”7 The journal invites understanding and new interpretation to spin out from nodal points, each a mere opening to the possibilities to which the images and texts point, possibilities of form that are at the same time possibilities of social life. Rings and chains are depicted in issue 5 as adornment and ritual objects and spatial descriptors from many different cultures. Rings mark the spot of the moon landing, the target of an arrow, a playground structure, and the stone circle around a grave. Chains are prayer beads and handcuffs. They are the shackles chaining Andromeda to the rock as well as the key that opens the locks. They chain a group of civil rights protestors to each other in New York—an especially significant contemporary image that connects the matter of black American lives to historical images of slavery and inhumane corporal punishment from radically different times and places. Multiracial bodies appear not only enchained as prisoners but also ringed with jewels and chained with precious metals, crowned, haloed, and hula hooped, wearing chain mail and wielding chains as weapons.
The paintings De Jong produced while working on The Situationist Times draw on and reframe explicitly heterosexual energies, channeling sexual joy as well as rage. Her vivid, large-scale works often depict monstrous characters in melodramatic scenarios struggling with and driven by urges and desires, violent entrapments, and resistance to coercion. Contemporary heterosexual scenarios appear to manifest prehuman physical forces that could morph at any moment into a new configuration. The frantic clashes of color and brushwork relativize the depicted struggles and turn them into devilish spectacles—cultural games that are structured and deconstructed continually as society evolves. In her paintings of the mid-1960s, De Jong explodes heterosexual masculinity all over the canvas in technicolor. Playboy no. 1 (1964) seems to come undone at the very apotheosis of his ecstatic sexual rampage; Le Pazze della Piazza Ascona (1966) lose their teeth as they leer at each other and roll around the canvas surface. In Le Salau et les Salopards (1966)—a masterwork of carnivalesque fury—colorful human-animals depicted as lumpy balls of flesh exchange sexual parts in polymorphous perversity. These forms make manifest the human body’s own topological potential, as De Jong expresses in an interview from 1970. She says, in deliberate flirtation with the interviewer and the television audience:
On a whole body, there are a whole bunch of wonderful mechanical things. Eyes, tongues, you name it. But I find this so beautiful. Hence, very topological. I mean: the volume changes. The thing remains the same, but adopts other positions, other situations and also receives another expression. That’s quite fantastic. Which is also the case with breasts and such.21
About the author
Karen Kurczynski (New York City, 1974) is an Associate Professor of Modern and Contemporary Art History at the University of Massachusetts, Amherst. She published her book, The Art and Politics of Asger Jorn: The Avant-Garde Won’t Give Up, in 2014. She was a Fulbright Scholar at Ghent University in Fall 2018, teaching and researching a new book on the Cobra movement. She curated two exhibitions on Jorn and Cobra, for the NSU Art Museum Fort Lauderdale (2016) and the Museum Jorn in Denmark (2014), and has published widely on Asger Jorn, Cobra, the Situationist International, and drawing in contemporary art.
All photos of The Situationist Times were taken by Øivind Möller Bakken.
1. De Jong, in Christophe Bourseiller, “Les temps situationniste, entretien avec Jacqueline de Jong,” in Archives et documents situationnistes (Paris: Denoël, 2001), 30.
2. Jacqueline de Jong, “Critic on the Political Practice of Détournement,” The Situationist Times, no. 1 (May 1962), n.p.
3. “Declaration of the Second Situationist International,” The Situationist Times, no. 1 (May 1962), 60–61. Jorn’s signature does not appear, but the text bears the theoretical hallmarks of his writing; according to the artist Lars Morell, Jorn was one of the main people responsible for composing it at Drakabygget in 1962, during a visit of De Jong’s with Nash and Jens Jørgen Thorsen. Lars Morell, Poesien spreder sig: Jørgen Nash, Drakabygget & Situationisterne (Copenhagen: Det Kongelige Bibliotek, 1981), cited in Jakob Jakobsen, “The Artistic Revolution: On the Situationists, Gangsters and Falsifiers from Drakabygget,” in Expect Everything, Fear Nothing: Scandinavian Situationism in Perspective, eds. Mikkel Bolt Rasmussen and Jakob Jakobsen (Copenhagen: Nebula Books, 2011), 252.
4. Jorn playfully suggested returning topology to its origins as “analysis situs,” mathematician Henri Poincaré’s original term for topology, partly in order to reject Euclidean mathematics as an ideal system that does not take into account the point of view of the observer. Asger Jorn, “La création ouverte et ses ennemis,” Internationale situationniste, no. 5 (December 1960), translated by Fabian Tompsett in Asger Jorn, Open Creation and Its Enemies with Originality and Magnitude (On the System of Isou) (London: Unpopular Books, 1994).
5. Lech Tomaszewski, “Non-orientable Surfaces,” The Situationist Times, no. 4 (October 1963), 3–8; and “Regular Forms of Closed Non-orientable Surfaces,” The Situationist Times, no. 5 (December 1964), 13–14.
6. Max Bucaille “La courbe du chien,” The Situationist Times, no. 3 (January 1963), 80–81.
7. Editor’s note, The Situationist Times, no. 4 (October 1963), 2.
8. Karen Kurczynski, “Red Herrings: Eccentric Morphologies in The Situationist Times,” in Expect Everything, Fear Nothing: Scandinavian Situationism in Perspective, eds. Mikkel Bolt Rasmussen and Jakob Jakobsen (Copenhagen: Nebula Books, 2011), 131–82.
9. Asger Jorn, “Art and Orders: On Treason, the Mass Action of Reproduction, and the Great Artistic Mass Effect,” The Situationist Times, no. 5 (December 1964), 8–12.
10. Jacqueline de Jong, press release for Issue 5 of The Situationist Times, December 1964.
11. Fanchon Fröhlich, “Quantum Physics and the Organic Philosophy of Whitehead,” The Situationist Times, no. 2 (September 1962), 30–32.
12. Alfred North Whitehead, Process and Reality (New York: Free Press, 1978), 3. For a recent discussion of Whitehead in the context of contemporary poststructuralist theory, see Roland Faber, Henry Krips, and Daniel Pettus, eds., Event and Decision: Ontology and Politics in Badiou, Deleuze, and Whitehead (London: Cambridge Scholars Publishing, 2010).
13. Fröhlich, “Quantum Physics,” 31.
14. Fröhlich, “Quantum Physics,” 31.
15. Fröhlich, “Quantum Physics,” 32.
16. Niels Bohr, “Natural Philosophy and Human Cultures,” Nature, no. 143 (February 18, 1939), 271.
17. Bohr, “Natural Philosophy and Human Cultures,” 271.
18. Henrik Knudsen and Henry Nielsen, “Pursuing Common Cultural Ideals: Niels Bohr, Neutrality, and International Scientific Collaboration During the Inter-War Period,” in Neutrality in Twentieth-Century Europe: Intersections of Science, Culture, and Politics after the First World War, eds. Rebecka Lettevall, Geert Somsen, and Sven Widmalm (New York: Routledge, 2012), 131.
19. Bohr, “Natural Philosophy and Human Cultures,” 271.
20. See “A Maximum of Openness: Jacqueline de Jong in Conversation with Karen Kurczynski,” in Expect Everything, Fear Nothing, 187–88.
21. Jacqueline de Jong, in Jacqueline en de Situationisten, 1970, television interview, dir. Lies Westenburg and Hans Redeker, transcribed by Peter Westenberg, VPRO studios.
22. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1990), 31.