Possessions : Scott Myles et l’invocation-évocation artistique de l’Internationale situationniste
- Submitting institution
-
University of Glasgow
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-11986
- Type
- D - Journal article
- DOI
-
-
- Title of journal
- Théâtre/Public
- Article number
- -
- First page
- 1
- Volume
- 231
- Issue
- -
- ISSN
- 0335-2927
- Open access status
- Compliant
- Month of publication
- January
- Year of publication
- 2019
- URL
-
http://eprints.gla.ac.uk/178877/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- This output is accompanied by a pdf of supporting material.
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- This article locates and analyses the oeuvre of contemporary artist Scott Myles in relation to his ongoing preoccupation with the subversive activities of Guy Debord and the Situationist International (S.I.). By tracing Myles’s artistic trajectory—from his early exposure to the S.I. through the influence of his teacher Alan Woods to much later explorations of Debord’s legacy such as the 2013 project Potlatch at Fondation Lafayette—the text details the particular stakes of invoking and appropriating Situationism within contemporary art. The argument presents Myles’s work as responding creatively to Debord’s paradoxical demand for a simultaneous ‘abolition and realization of art.’