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34-540: The Situationist Times ran to six issues edited and published by Jacqueline de Jong between May 1962 and December 1967 in Hengelo ( Netherlands ), Copenhagen and Paris , in editions of between 1,000 and 2,000. Contributors include: Theo Wolvecamp , de Jong, Armando , Vanderkamm, Gruppe SPUR , de Boer, Edle Hansen , Singer, Gordon Fazarkely , Max Bucaille, G. Hay, Asger Jorn , P. Schat, Noël Arnaud , Pierre Alechinsky , Boris Vian , and many others. This issue

68-463: A lecture (7 May, May 2012). In 2012 (9–25 May), an exhibition of her work was organized at Boo-Hooray in New York, under the title "Jacqueline de Jong: The Situationist Times 1962-1967”, including publications, photography, ephemera and manuscripts related to de Jong’s publication The Situationist Times , celebrating the 50th anniversary of its first issue, after which five other issues appeared in

102-577: A letter on February 10, 1962, were that "fractional activity of this group is based on a systematic misunderstanding of situationist theses", that they were using the Situationists to succeed on the art market and that to achieve this they had "perfectly disregarded the discipline of the S.I.". On the accusation of using the SI to "arrive" as artists, Spur member Dieter Kunzelmann admitted that it applied for sure to Lothar Fischer , but rejected that it

136-527: A painter, sculptor and graphic artist, she keeps on exhibiting all over Europe and the U.S.A. She created wall paintings for the Amsterdam town hall and a separate installation for the Nederlandse Bank . In 1970 she left Asger Jorn and moved to Amsterdam with Hans Brinkman later on a gallery owner and organiser of exhibitions and international Fairs. They divorced in 1989. In 1990 de Jong became

170-474: A report by Attila Kotányi , leads to posing the question: "To what extent is the SI a political movement?" Various responses state that the SI is political, but not in the ordinary sense. The discussion becomes somewhat confusing. Debord proposes, to bring out the opinion of the Conference, that each person responds in writing to a questionnaire asking if he considers that there are "forces in the society that

204-508: Is the "International British Edition", dedicated to "The Typology of Knots". This issue deals with labyrinths; This issues deals with the Ring, the interlaced ring and consequently the Chain . (International Parisian Edition) contains 33 lithographs (Alechinsky, Peter Klasen, Jorn, Wifredo Lam , Roberto Matta , Roland Topor , Antonio Saura .) De Jong, Jacqueline (2003). Undercover In

238-764: The CoBrA group, They became companions. He was forty-five years old, compared to her twenty years. She joined the Situationist International in 1960, and started to participate in conferences and the Central committee. After the expulsion of Constant Nieuwenhuys and his group, she became the Dutch Section of the organization. She did not accept the way the German section, also known as Gruppe SPUR , had been expelled and resigned. The cleft between

272-594: The Situationist International , a restricted group of international revolutionaries, between 1959 and 1961. After a series of core divergences during 1960–1, the Spur members were officially excluded from the SI on February 10, 1962. The events that led to the exclusion were: during the Fourth SI Conference in London (December 1960), in a discussion about the political nature of the SI, Spur group disagreed with

306-486: The Arts . Ludion. Situationist Times. https://monoskop.org/Situationist_Times This Dutch newspaper-related article is a stub . You can help Misplaced Pages by expanding it . This article about critical theory is a stub . You can help Misplaced Pages by expanding it . Jacqueline de Jong Jacqueline Beatrice de Jong (3 February 1939 – 29 June 2024) was a Dutch painter, sculptor, and graphic artist. De Jong

340-649: The Debordists and the Second Situationist International grew, however she refused to join either faction, instead stating that people should act as situationists. Between 1962 and 1968 she edited and published The Situationist Times involving Gaston Bachelard , Roberto Matta , Wifredo Lam and Jacques Prévert in this project. In 1968 she was in Paris, printing and distributing revolutionary posters. From starting her activities as

374-792: The Dutch painter Max van Dam . At the border they were captured by the French police, but just as they were about to be deported to the Drancy internment camp , they were rescued by the resistance , who helped them over the border. When they returned to the Netherlands following the war, Jacqueline could not speak Dutch. From 1947 on she went to school in Hengelo and Enschede (at the Gemeentelijk Lyceum). In 1957 de Jong went to Paris and

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408-643: The Golden and Platina jewellery, "Pommes de Jong" 2008–2011). Together with Tom she established The Weyland de Jong Foundation early 2009. The main aim is to support avant-garde artists of all disciplines, architects and art-scientists having reached the age of 50 and over. Weyland died in May 2009. In 2003, a retrospective exhibition of her work was shown at the Cobra Museum for Contemporary Art in Amstelveen ,

442-671: The Netherlands and at the KunstCentret Silkeborg Bad Denmark , whereas a monography was published, Undercover in de Kunst/in Art (Edition Ludion), in Belgium. In 2012, an exhibition of her work took place in Stockholm (Moderna Museet, 25 February – 8 April 2012). Her Archive was purchased by Beinecke Rare Book & Manuscript Library , Yale University, USA ('The de Jong Papers') in 2011, where she also gave

476-430: The SI can count on? What forces? In what conditions?" This questionnaire is agreed upon and filled out. When, a day later, the Spur members present a joint response to the questionnaire, in which they reject the concept of a proletarian revolution , it generates a sharp debate: This very long declaration attacks the tendency in the responses read the day before to count on the existence of a revolutionary proletariat, for

510-541: The SI on February 10, 1962. After this, despite the two organizations having a "sufficiently large objective opposition between their respective principles, methods, and goals," Guy Debord expressed esteem to Spur, considering it the highest expression of German art and culture of post WW2. However, after the exclusion and split, the two groups remained distinct and separated, and each was only responsible for its autonomous actions. The first contact with Situationist International happened through Asger Jorn . Jorn, one of

544-602: The SI to get success in the art market. As a consequence, during the Fifth SI Conference held in Gothenburg , Sweden, 28–30 August 1961, Asger Jorn (signing himself as "George Keller") proposed to unify the S.I. publications in the various countries (including Spur ) as a single journal, to be translated in four editions in English, French, German and Swedish. The reaction of the Spur members to this proposal

578-406: The art market; and the betrayal of a common agreement on the Spur and SI publications. The exclusion was the recognition that the Spur group's "principles, methods and goals" were significantly in contrast with those of the SI. This split however was not a declaration of hostilities, as in other cases of SI exclusions. A few months after the exclusion, in the context of Judicial prosecution against

612-604: The artists and intellectuals currently honored in Germany are only retarded and timid imitators of imported, old ideas. Debord noted that Western Europe and the Scandinavian countries, had another level of intellectual tolerance, that such a trial was, at that moment, unthinkable in Paris or Copenhagen. That clumsy affair had already harmed the reputation of the Federal German Republic. Debord asserted that

646-827: The companion of lawyer Thomas H. Weyland (Tom 1931–2009). From 1995 Tom Weyland was on the editorial board of the International Journal of Cultural Property (De Gruyter Berlin- New York). They got married in 1998 in Airopolie (Greece). They gave several lectures on 'intellectual right, copyright, détournement and modification' in the Netherlands and U.K. In 1996 they bought their property in Bourbonnais , France, where she had her vegetable garden and grew potatoes, which became Art ("Potato language," Van Abbe Museum Eindhoven, invited by Jennifer Tee, 2003; "Baked Potatoes," Albisola, Italy, invited by Roberto Ohrt, 2006; and

680-399: The core situationist stance of counting on a revolutionary proletariat ; the accusation that their activities were based on a "systematic misunderstanding of situationist theses"; the fact that at least one Spur member, Lothar Fischer , and possibly the rest of the group, were not actually understanding and/or agreeing with the situationist ideas, but were just using the SI to get success in

714-408: The editorial committee of Spur, the following issue #7 was printed five months later without Kotányi and de Jong's knowledge. Issue #7 featured considerable divergences with the SI ideas, marking a distinct regression from the preceding #5 and #6 issues. These events led the following month, February 1962, to the exclusion from the SI of those responsible. The arguments for the exclusion, declared in

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748-586: The following years (till 1967). In 2019 she received the French AWARE prize for her career and oeuvre, while a retrospective exhibition of her work, Pinball Wizard , was on show at the Stedelijk Museum in Amsterdam. De Jong died of liver cancer in Amsterdam, on 29 June 2024, at the age of 85. Gruppe SPUR Spur was subject to prosecution and was convicted "in the name of moral order". The Spur group joined and collaborated with

782-542: The group by the German state, Debord expressed his esteem to the Spur group, calling it the only significant artistic group in Germany since WW2, and at the level of the avant-gardes in other countries. The SPUR artists met first at the Academy of Fine Arts Munich in Munich , Germany . They formed the group in 1957, which lasted until 1965. Guy Debord remarked that while between 1920 and 1933 "Germany incontestably had

816-446: The highest rank in the elaboration of art and, more generally, the culture of our era", from the post-war era to 1960, "Germany has been characterized by a total cultural void and by the dullest conformism". The Spur journal was a flourishing exception to such void and conformism, as it was, for the first time in decades, an artistic group that manifested a certain freedom of investigation, and as an "extremely worrisome symptom", this group

850-565: The most prominent members of the SI, discovered the SPUR-paintings at a gallery managed by art dealer Otto Van de Loo . Later on, the Spur members come to join and became members of the Situationist International, forming the majority of the members of the German section of the SI. A major point of divergence came up from the Spur group during The Fourth SI Conference in London (December 1960). The discussion of

884-412: The pretext by which the Spur group was brought to trial, was "to make the Spur group, and all those who wish to pursue the same route, succumb to the ambient conformism." Debord ridiculed that trial to the prosecutions of Baudelaire and Flaubert for pornography and immorality in the 19th century France: For a very long time [thereafter], one could only refer to these [French] judgments as evidence of

918-602: The rest of the SI. Kunzelmann declares that this discussion could advance quickly based on Vaneigem's report, which would be studied more closely in Germany. Nonetheless, the Germans commit themselves to propagate and elaborating situationist theory as soon as possible, as they have begun doing with issues #5 and #6 of Spur. On their request, the Conference adds Attila Kotányi and J. de Jong to the editorial committee of Spur to verify this process of unification. Despite Spur's agreement to add Attila Kotányi and Jacqueline de Jong to

952-415: The scandalous imbecility of the judges. It is necessary to think of them today. Before history, artistic liberty always wins its trials. The Spur group collaborated with the Situationist International , a restricted group of international revolutionaries, between 1959 and 1961, when the Spur members joined the SI. After a series of core divergences during 1960–1, the Spur members were officially excluded from

986-427: The signers strongly doubt the revolutionary capacities of the workers against the bureaucratic institutions that have dominated their movement. The German section considers that the SI should prepare to realize its program on its own by mobilizing the avant-garde artists, who are placed by the present society in intolerable conditions and can count only on themselves to take over the weapons of conditioning. This position

1020-418: Was almost immediately the object of police and juridical persecutions. Helmet Sturim, Dieter Kunzelmann, Heimrad Prem and H.P. Zimmer each received 5 months in prison. The Spur group was the first German group after the war to reappear on the international plane, to make itself recognized as an equal by the cultural avant-garde of several different countries, in the real artistic experiments of today; whereas

1054-509: Was born in the Dutch town of Enschede , where her father, Hans, owned a lace and stocking factory. She grew up in Hengelo , with her Jewish parents. Faced with the German invasion of the Netherlands , they went into hiding. After an abortive escape attempt to England, her father Hans remained in Amsterdam while her mother, Alice de Jong-Weil and she made for Switzerland, accompanied by

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1088-436: Was critiqued by Debord, Nash, Kotányi, and Jorn. The majority of the S.I. seems to be against it, and the Spur members are asked to formalize their position so it can be brought to a vote. But, when the Spur group returned from their deliberation, they retract the preceding declaration. Debord starts to suspect that the Spur members were not understanding and/or agreeing with the situationist ideas and that they were instead using

1122-468: Was employed in the boutique at Christian Dior in the meantime studying French and drama. After leaving for London spring 1958 studying drama at the Guildhall School of Music and Drama , she returned to Amsterdam September 1958 – 1961 and was employed by the Stedelijk Museum , the home of Modern Art there. She visited London in 1959 where she met Danish painter Asger Jorn , the founder of

1156-448: Was mentioned in the conference report: The German situationists who publish the journal Spur agree to the project in principle, but prefer to postpone its implementation until the time is right; such that the majority of the Conference abstains from voting on a question rejected by the situationists most directly concerned. They stress the urgency, already made evident by the Conference, for them to unify their positions and projects with

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