“One More Try if you Want to be Situationists (the SI In and Against Decomposition), 1957, via Milwaukee 18 Power Plus Volt Sawzall Case The only real difference between the paintings of apes and my complete cinematographic work to date is its possible threatening meaning for the culture around us, namely, a wager on certain formations of the future.
I believe that in another five or six years they will come to love my film and the paintings of apes, just as they already love Robbe-Grillet. Passive consumers of culture (one can well understand why we count on the possibility of active participation in a world in which “aesthetes” will be forgotten) can love any manifestation of decomposition (they would be right in the sense that these manifestations are precisely those that best express their period of crisis and decline, but one can see that they prefer those that slightly disguise this state). Afterward, the same London audience (Institute of Contemporary Arts) was treated to some paintings executed by chimpanzees, which bear comparison with respectable action painting.
It was not a hoax and still less a Situationist achievement, but one that depended on complex literary motivations of that time (works on the cinema of Isou, Marco, Wolman), and thus fully participated in the phase of decay, precisely in its most extreme form, without even having - except for a few programmatic allusions - the wish for positive developments that characterized the works to which I have alluded. Last June witnessed a scandal when a film I had made in 1952 was screened in London. From a 1957 column fragging Alain Robbe-Grillet’s timid clinging to the present, Debord declares for the revolutionary power of ape art: UPDATE: Meanwhile, Geraldine Juárez, who’s been really smart in her analysis of NFTs for a while already, and who also made the Debord connection almost a year ago, just tweeted about an even deeper Debord/Apes connection. So if you’re looking for a way to expose the spectacle’s alienating financialization while mirroring capitalist recuperation through détournement and self-critical commodification, hopefully, you order your Debord Ape T-shirt while you could.
KENNY G BREATHLESS CASSETTE FREE
The ape will live on as a jpg, free for right clicking. If fewer than 15 people order, I will burn the project, refund the enlightened dozen or whatever people’s money, and console them with some kind of tasty swag. Because of the multiple screens required to mint this, and because I still just lost money on the last supposedly breakeven shirt stunt, this shirt is $25, shipped worldwide.ĭebord Ape will be available til the end of Febrary. This exclusive one-of-one Debord Ape will be silkscreened in grayscale on a white Hanes Authentic T-shirt in 100% cotton. Study for Debord Ape Yacht Club t-shirt, in four-screen grayscale on a Hanes shirt so authentic it has Authentic in the name, $25 shipped. 1967, Debord Ape, 1/1, properties: grayscale, jaded eyes with round glasses, comb-forward bowl cut, cigarette, ratty sweaterĪnd so now here we are, at the intersection of détournement and commodification, selling t-shirts.
“The spectacle is capital accumulated to the point that it becomes images,” Guy Debord tweeted in 1967.Īnd when tweeted, “I can’t shake the thought that NFTs are the truest manifestation of the spectacle,” yesterday,ĭebord Ape Yacht Club was minted in my brain.
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