Abstract

In the late 1950s the French revolutionary artists’ group the Situationist International (SI) formed to fight against, and destabilize, capitalist society by creating visual representations, objects, and situations that would question the spectators, invite them to reconsider their own position toward society, and increase their international consciousness. Guy Debord and Constant Nieuwenhuys articulate the SI initiative, as “The situationists must take every opportunity to oppose retrograde forces and ideologies, in the culture and wherever the question of the meaning of life arises.” ¹