Guy Debord, Life continues to be free and easy, c. 1959
(more info from The Situtationist City):

Collage of text, postage stamp, and hand-colored figures of soldiers pasted over a portion of Guy Debord and Asger Jorn’s screenprint The Naked City (1957), Rijksbureau voor Kunsthistorische Documentatie, The Hague. Made as part of Debord’s correspondence with his situationist colleague Constant, the piece was a tiny gem of situationist potlatch (art created as a gift), and detournement (art composed from “diverted” aesthetic elements). Its layering of allusions––to colonialism, war, urbanism, situationist “psychogeography” and playfulness––was dizzying.

Guy Debord, Life continues to be free and easy, c. 1959

(more info from The Situtationist City):

Collage of text, postage stamp, and hand-colored figures of soldiers pasted over a portion of Guy Debord and Asger Jorn’s screenprint The Naked City (1957), Rijksbureau voor Kunsthistorische Documentatie, The Hague. Made as part of Debord’s correspondence with his situationist colleague Constant, the piece was a tiny gem of situationist potlatch (art created as a gift), and detournement (art composed from “diverted” aesthetic elements). Its layering of allusions––to colonialism, war, urbanism, situationist “psychogeography” and playfulness––was dizzying.

13 Jun 2012 / 49 notes

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