If exposure of Gallic coins of the rue d'Ulm has excited the indignation of the most narrow-minded nationalists, including the Gauls were once the exclusive property, it had nevertheless been rising for the sole purpose of fighting the socialist realism, plastic from the tradition of Greco-Latin, by opposing a certain conception of modern art-eternal, incompletely figurative, that insiders may recognize in the decoration of caves, dolls Hopi, the Gallic coins and the latest theories Charles Estienne.
Dede-les-Amourettes, always on the lookout an ideological break easily, was naturally involved. With the hope of regild its name by a new dose of primitivism. We know that primitivism is for him what is Bogomoletz for others.
dualistic construction that seeks to oppose an "eternal tendency" of art to another is as stupid as all of occult thought, equally dear to the same people.
Like most traditional dishes, the most artificial realism was already the preserve of the socialist-realist theory, the two bad cases are now fighting on the same field with the same weapons, which are precisely those of the petty-bourgeois idealism. Each proudly defends the antiquity and eternity of its standards.
can judge from the article by M. Pierre Meren ("Operation Art Gauls") in Issue 65 of The New Criticism . M. Meren for all attempts so-called modern art movements necessarily join primitive because they show the same inability of man to a world that springs him escape. But instead of realizing that if attempts are expressions historically needed a modern alienation of man, their passing is nothing else than an art full level of resources it is today to submit, Meren merely prescribe the remedy that s is supremely demonstrated in Athens and in Renaissance Europe.
The same aesthetic moreover more references because it was the raw material of all sub-products of artistic dumbing reserved to the people by the bourgeoisie, since the latter, bound by the technical progress to educate future employees, has had to develop the falsification of this instruction, textbooks for the daily press.
These trivialities, left and right, will soon be corrected by history. These companies have in common is that their program shows to fill their void, and provides even go to work.
In this regard, it is good to admit that we have not gone to the Educational Museum of the Rue d'Ulm since May 1952. At that time, making one stone, we were there we visited after the demonstration against Ridgway to interrupt a ridiculous Congress Poetry for Young - the last exhibition of its kind in Paris, to our knowledge - and several police cars called by the Museum's management had been required to defend this against our Teen Poetry criticism.
Other pranks have since been able to choose the same formal framework and teaching. We have not seen again in this moving, even if his search would be the vanguard to expose the false money be used.
Mohamed Dahou, G.-E. DEBORD.
Mohamed Dahou & G.-E. Debord, "The Last Days of Pompeii" Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)
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