Twenty years ago, on 30 November 1994, Guy Debord put his affairs in order and shot himself through the heart, ending one of the most brilliant and original careers in modern European history. In his sixty-three years he had co-founded the Situationist International, the last of the historic avant-gardes. He had written some enduring revolutionary texts, including his best known, The Society of the Spectacle. And he had made several remarkable avant-garde films. For someone who managed to live up to his early slogan “Never Work!” he was remarkably busy.
He is now something of a canonical figure in literature, cinema and the art world. It has become commonplace to refer to the media sphere as a spectacle, and the cut and mix practices of today’s aesthetics appeals to the apparently similar Situationist practice of détournement for legitimation. He has been, as he might say, recuperated back in to spectacular commodity production. Such is the fate of all avant-gardes.
"In some ways, the great danger for this commodified universe is our boredom with it ... There is this sort of dialectic that you could tease out, that even in this overdeveloped late-capitalist world, that boredom was still this kind of critical energy that you could work on and try to theorize and then act on, to find other kinds of belonging, other kinds of desire, other kinds of life."