Collectivism after Modernism - autonomous learning - Blogs

40 Jelena Stojanović
Moulin with Pauline Costa, L’Artiste, l’institution et le marché (Paris: Flammarion,
1991), 15–87.
18. On the social dynamics of the museum-going public, see Pierre Bourdieu and
Alain Darbel, The Love of Art: European Art Museums and Their Public, trans. Caroline
Beattie and Nick Merriman (London: Polity, 1991).
19. See more in the next section.
20. See in particular the issues of Potlatch in Potlatch, 1954–1957, magazine’s
reprint (Paris: Editions Allia, 1996).
21. A cursory glance at Cobra journal but also ReXex or Surealisme Revolutionaire
reveals a complexity of this ongoing rejection/fascination with surrealism. See also
Robert Estivals, La Philosophie de l’histoire de la culture dans l’avant-garde culturelle
parisienne depuis 1945 (Paris: G. Leprat, 1962), 23–88. Also see Jules-François Dupuis
(Raoul Vaneigem), Histoire desinvolte du surrealisme (Nonville: Editions Paul Vermont,
1977), 7–47, 157–67; translated into English as Cavalier History of Surrealism,
trans. Donald Nicholson-Smith (Edinburgh: AK Press, 1999).
22. As was the case with Noël Arnaud and Asger Jorn, La Langue verte et la cuite:
Étude gastrophonique sur la marmythologie musiculinaire, linguophilée, linguophagée et
postpharyngée (Paris: J.-J. Pauvert, 1968).
23. On Lettrism, see Robert Estivals’s study La Philosophie de l’histoire de la culture
dans l’avant-garde. Isidore Isou, Mémoires sur les forces futures des arts plastiques et sur
leur mort (repr., Paris: Cahiers De l’Externité, 1998).
24. We are borrowing a distinction between tactic and strategy from Michel de
Certeau. See The Practice of Everyday Life (Berkeley and Los Angeles: University of
California Press, 1984). “The tactics of consumption, the ingenious ways in which
the weak make use of the strong, thus lend a political dimension to everyday practice”
(xvii).
25. The call for cultural revolution comes especially after 1956. See “Preface” in
Guy Debord presente “Potlatch” (Paris: Gallimard, 1985), 7–9.
26. An excellent analysis of nuclear art is still the one by Arturo Schwarz, long
time a gallerist and friend of these artists. See Arturo Schwartz, Nuclear Art (New
York: M. Maestro, 1962).
27. For a very detailed study of their not always easy relationships, see Gianfranco
Marelli, L’Amère victoire du situationnisme: Pour une histoire critique de l’Internationale
Situationniste (1957–1972), trans. David Bosc (Arles: Editions Sulliver, 1998).
28. “M. Georges Lapassade est un con,” Internationale Situationniste 9 (August
1964).
29. Bakhtin, Rabelais and His World, 10.
30. Jean Baudrillard, “Le ludique et le policier,” Utopie, nos. 2 and 3 (May 1969):
14. Baudrillard writes about the necessity to surpass existing critical dichotomies.
31. Christian Dotremont, Le Petit Cobra, no. 2 (1949).
32. Émile Zola, The Experimental Novel and Other Essays, trans. Belle Sherman
(New York: Cassell, 1893), 8–28.
33. Christian Dotremont, “Le Réalisme socialiste contre la revolution” (selfpublished
pamphlet). See Figure 1.2.
34. See the review of Henri Lefebvre, Critique de la vie quotidienne, vol. 1: Introduction
(Paris: Grasset, 1947), by Noël Arnaud in Cobra, no. 1 (1949).
35. One of the points Lefebvre insisted on in his analysis in his Wrst Critique. See
Lefebvre, Critique de la vie quotidienne. Trans. by John Moore as Critique of Everyday
Life (London: Verso, 1991).