Guy Debord, 'The Naked City', 1957

•The Situationist International can be considered as the last avant-garde movement of the XXth century. Its revolutionary programme aimed at undermining the symbols of power and at fighting the expropriation of everyday life by the consumer society. Operating at the frontier of art and politics, situationism had a strong impact on the student uprisings of the 60s but its influence goes far beyond. It can be found in the punk culture or, today, in those who oppose globalism. The exhibition covers the 15 years of the movement, from its founding in 1957 to its dissolution in 1972, around the biography of its leading figure, Guy Debord, whose mythical and later film « In girum imus nocte et consumimur igni » (1978), works as a guideline.

•The concept of landscape is crucial to the theory of situationalism, whose main concern is the increasing tendency to express and mediate social relations through objects. Contextualists believe that the transformation of personal expression from personal expression to direct life experience, or the first-hand realization of real desires, through agents, through the exchange or consumption of goods, or through passive second-hand alienation, causes significant and far-reaching damage to the quality of life of individuals and society. [1] another important concept of situationalismis the main means of resisting landscape. Deliberately constructed situations, life moments, in order to reawaken and pursue true desires, to experience the sense of life and adventure, and the liberation of everyday life.

•Deborah herself produced a map called "naked city" in 1957. The Paris plan is divided into 19 parts and randomly rearranged. Map users use a series of arrows to link various parts of the city to choose their own route through the city. Contextualists also use other intellectual tools when they walk, for example, when they move through the landscape, they try to be aware of how their surroundings lead them to the past. The city is regarded as a historical landscape, its structure and appearance shaped by events of time that have been buried but never completely erased. The contextualist concept of psychogeography successfully draws people's attention to the importance of keeping contact with urban history and attracts many people to explore cities from a new perspective.

Debord and Asger Jorn 'Memoires(1959)' included a reference to the "derivative" that came to be known as the situational drift: wandering aimlessly through the city in an attempt to find the spirit of the city.

Asger Jorn and Guy Debord, 'Fin de Copenhague', 2008. This is a book whose pages are filled with rough traces of paint and wild energy. Newspapers and magazines are cut out into collages and then dripped with ink. These are etched into abstract shapes, like a monkey scribbling frantically, with gradations of color on both sides of the paper and collage elements printed in black.

Guy Debord, 'The Situationist International (1957-1972)'. Debord cuts out a common map but circles what she thinks are important memories. This form of design is the response of the situationists when they feel the map. The parts circled on the map may be experienced or memorable.

This map is Debord's expression of urban things. She reorganized the urban relationship, and the redundant parts were deleted, and only her experiences and feelings in the scene were expressed.

Mai, 'You are intoxicated', 1968. This is a provocative satire on Italian politics. Shaped like a humble man.

Ralph Rumney, 'The Change', 1957. Influenced by contextualism, Rumney, an artist in the field of cultural contextualism, hopes to break the boundary between artists and consumers, so that culture becomes a part of life. At its worst, situationists can be said to have removed the need for specific skills and techniques from art in the hope of making it something that everyone can do, rather than something that is only in the hands of experts. They played a big role in making art inclusive.

The working process.

The final work.

Reflection

At the beginning, I still did not fully understand the true meaning and main mode of expression of situationists international. I only present objects on the map, but it does not reflect people's feelings and thoughts in the scene. So I use ink painting as an episodic experience. The eye-catching ink lines can play a good guiding role, highlighting the feeling emphasized by situationalism.

Reference

McDonough, T. (ed), 2002, Guy Debord and the situationist international : texts and documents, Cambridge, Mass. : MIT Press, London.

Jappe, A., 1999, Guy Debord, Berkeley, Calif. : University of California Press, the USA.