The Cavern of Antimatter
Giuseppe “Pinot” Gallizio and the Technological Imaginary of the Early Situationist International
Bibliographic Data
| ID | 12755142 |
|---|---|
| Authors | Nicola Pezolet (Massachusetts Institute of Technology, corresponding author) |
| Year | 2010 |
| Volume | 38 |
| Pages | 62-89 |
| Publication date | 2010-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Grey Room (JOURNAL) |
| Journal identifiers | ISSN: 1526-3819 • E-ISSN: 1536-0105 |
| Publisher | The MIT Press (PUBLISHER • US) |
| DOI | 10.1162/grey.2010.1.38.62 |
| OpenAlex | W2092156988 |
| Language | EN |
| Citations received | 2 |
| References cited | 2 |
During its formative years (1957–1960), the Situationist International (SI) charted a paradoxical relationship between an enthusiasm for a technological future and a surrealist longing for the premodern. In the first installments of the Internationale situationniste, alongside articles by Asger Jorn, Giuseppe “Pinot” Gallizio, and others are several unsigned articles, most of which were written by the editor, Guy-Ernest Debord, advocating the “destruction of the subject” and the use of contemporary machines to systematize and consciously organize “what the Surrealists had still experienced as random, as the marvelous.”1 According to Debord, the surrealists originally provided useful insights in their indictment of bourgeois society but soon regressed into an occultist movement that failed to recognize the potential of modern “conditioning techniques.”2 As a response to such a deterioration of surrealism’s subversive potential and its cooptation by commercial interests, Gallizio’s “industrial paintings” were championed by Debord as a new technological form of creativity that would bring a fatal blow to the outdated avant-garde and that could be used to create liberating, transitory “situations” signaling the emergence of a revolutionary movement.3 By using “industrial painting”—as well as détournement and several other technological and scientific metaphors—Debord attempted to work through the influential practices of André Breton’s group, which still occupied a prominent role in postwar Europe
Art · Art history · Icon · Sociology · The arts · The Imaginary · Visual arts · Architecture, Art, Education · Art, Politics, and Modernism · Computer Science · History · Visual Culture and Art Theory · Architecture
| Unique citing works | 2 |
|---|---|
| Citations per year | 0.14 |
| Citation span | 2012 - 2012 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |