enfants perdus
situationist (1) chrestomathy (2)
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He’d bring me to a spot he’d found, and the place would begin to live. Some old, forgotten part of London. Then he’d reach back for a story, for a piece of history, as if he’d been born there. He’d quote from Marx, or Treasure Island, or De Quincey.
Alexander Trocchi
Guy married me so that I could have the benefit of his work if ever he died or went to jail.
Alice Becker-Ho
We loved each other and sometimes we loved other people, but we had no respect for the institution of marriage.
Alice Becker-Ho
A man who to my mind could be the ideal successor to André Breton as a fertile promoter of new ideas. I refer to Guy Debord—and nothing since that time has caused me to revise my opinion of him.
Asger Jorn
I have no thought of complaining about anything, and certainly not about the way I have managed to live.
Guy Debord
An anti-spectacular notoriety has become something extremely rare. I myself am one of the last people to retain one, having never had any other. But it has also become extraordinarily suspect.
Guy Debord, Commentaires sur la société du spectacle §7
The simple truth, however, perhaps more painful for the amateurs or the barons of the present social spectacle, is that in all my life I have never appeared anywhere.
Guy Debord, Considérations sur l'assassinat de Gérard Lebovici
Among such a cartload, I accept the last two names: “theoretician,” that goes without saying, although I have not practiced that exclusively nor with a specialized title, but in the end I have been one as well, and one of the best. And I also accept “enragé,” because in 1968 I acted in concert with the extremists who at the time gave themselves that name; and in addition because I have an affinity for those of 1794.
Guy Debord, Considérations sur l'assassinat de Gérard Lebovici
It seems to me that here my work, very short but extended over a period of twenty-six years, corresponds very well with the principal criteria of modern art: 1) originality that is clearly marked from the beginning and the firm decision to never do “the same thing” two times in a row, all by having an always-recognizable personal thematic and style; 2) understanding the society of its time, id est to explain it by critiquing it, because this is obviously an era that lacks critique more than apologetics; and 3) finally, being revolutionary in form and content, which seems to me to go in the direction of all of the “unitary” aspirations of modern art: towards the point at which it wants to go beyond art.
Guy Debord, Correspondance
Guy Debord did very little art, but he did it to the extreme.
Guy Debord, Guy Debord, son art et son temps
2025