Jørgen Nash identifies the the first manifestation of the second Situationist International after it broke away from the Situationist International as a leaflet signed by himself along with Jacqueline de Jong and Ansgar Elde, shortly after the group Seven Rebels was formed at Bauhaus Situationiste Drakabygget, in 1960 in southern Sweden. This assertion was made in the Times Literary Supplement, Special Issue, 1964. Jørgen Nash (March 16, 1920 - May 17, 2004) was a Danish artist, writer and central proponent of situationism. ... The Situationist International (SI), an international political and artistic movement, originated in the Italian village of Cosio dArroscia on 28 July 1957 with the fusion of several extremely small artistic tendencies: the Lettrist International, the International movement for an imaginist Bauhaus, and the London Psychogeographical Association. ... Jacqueline de Jong (Born 1939) was born in the Dutch town of Hengelo to Jewish parents. ... Ansgar Elde (1933 - December 4, 2000) was a Swedish artist famous for his work in ceramics. ... 1960 (MCMLX) was a leap year starting on Friday (link will take you to calendar). ... The Times Literary Supplement (or TLS) is a weekly literary review published in London by News International, a subsidiary of News Corporation. ... For the Nintendo 64 emulator, see 1964 (Emulator). ...
See also the Drakabygget Declaration The Drakabygget Declaration appeared in the Situationist Times No. ...
The notion of situationism is obviously devised by antisituationists."
While the entire history of the Situationists was marked by their impetus to revolutionize life, the split was characterised by Vaneigem (of the French section), and by many subsequent critics, as marking a transition in the French group from the Situationist view of revolution possibly taking an "artistic" form to an involvement in "political" agitation.
The Situationist movement exerted a strong influence on the punk rock phenomenon of the 1970s, for example, which in itself could be said to have changed the English cultural landscape during the last quarter of the twentieth century.
Situationists are more readily discussed as individuals in an effort to separate them from the collective contestation, although this collective contestation is in fact the only thing that makes them “interesting” individuals.
Situationists are talked about the moment they cease to be situationists (as with the rival varieties of “Nashism” in several countries, whose only common claim to fame is that they lyingly pretend to have some sort of relationship with the SI).
As for the situationists’ own conditions, they stated that they had no objection to publishers, film producers, patrons, etc., interested in financing situationist projects, whether disinterestedly or in the hope of making profits, as long as it was understood that the situationists would retain total control over the form and content of the projects.
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