Nordic Journal of Aesthetics 29 (60):48-71 (2020)

This article discusses Fin de Copenhague, a Situationist book experiment from 1957 by Asger Jorn and Guy Debord. By way of a contextualizing archival study with special attention to Jorn’s contemporaneous book project Pour la forme, the article demonstrates that the Russian avant-garde book was a key influence if also a point of critical departure. On this reading, Fin de Copenhague marks a turn away from the unbridled technological optimism of the historical avant-garde. In its material implications and aesthetic choices, Fin de Copenhague draws attention to crucial changes in the capitalist mode of production and challenges the then nascent discourse about “full automation.”
Keywords Asger Jorn  Automation  Guy Debord  Postwar  Situationist International  Value-form theory
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DOI 10.7146/nja.v29i60.122841
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