The Abolition Of The Art And The Implementation

The Situationist International in France in the1950s and1960s was an extremely important political-art movement. It inherited the daily life of critical theory developed from Marxism by Lefebvre, and was inextricably linked with the Frankfurt School’s criticism of popular culture. Although its contribution to future generations mainly lies in its intervention in politics and social criticism, such as the theory of "society of the spectacle" exposing of the new form of capitalist society, but its art practices and concepts under the aegis of political ideology still have a certain research value. This article attempts to conduct a preliminary study of the artistic ideas of the Situationist International.From the content point of view, the article is divided into four sections: Introduction traces two theoretical clues of the Situationist International by the theme of art-culture, namely the Western Marxism’s criticism of popular culture and neo-Marxist’s social criticism relating to the "daily life" theory, paving the grand theoretical background for the specific text discussed below; The first chapter mainly introduces Situationist artists’ art-political practices under the influence of Dadaism and Surrealism (Jorn’s "detoumement" painting, Constant’s "New Babylon" architecture, Gallizio’s "industrial painting" and Debord’s Situationist film), these practices generally have a "Construction of the Situation" and "Anti-spectacle" feature, which is the core concept of the "Supersession and Realization of Art"; The second chapter is based on Debord’s theory text Society of the Spectacle, revealing the true face of the "spectacle" which is against by the above artistic practices through a few pairs of concepts, and the Situationist International’s subjective looking forward to the art of anti-visual discourse; Chapter three is based on Debord’s criticism on Yves Klein’s art, teasing out the development trend of avant-garde culture in the first half of the20th century, in a comparative study with Peter Burger’s avant-garde theory and Benjamin H.D. Buchloh’s critique of the avant-garde theory of Burger, to sort out the dialectical relationship between "historical avant-garde" and "neo avant-garde", resulting in the specific cultural background of the conception of "Supersession and Realization of Art", and then sum up the overall meaning of this conception, and by comparison with Arthur Danto’s "the end of art" to reveal its essentially difference.