One of the theoretical bases for Brad Pitt’s Dog is the
philosophy and artistic practice of the Situationists. Johan peppers his text with a sprinkle of
theory to spice things up as if Johan’s hot and salty writing style did not
provide enough flavor. Johan favors Asger
Jorn and Raoul Vaneigem to Guy Debord. I
would suspect that Johan sees Debord as the Brian Jones of the Situationists. Undoubtedly, a talented, even brilliant
thinker whose thought was ultimately made fuzzy and blunted by alcohol abuse.
Johan privileges Jorn and Vaneigem because of their artistic and poetic
sensibilities as much as any philosophical chops. The philosophy of everyday life is powerful
stuff for Johan but the fact that Vaneigem’s slogans appeared frequently on the
walls of Paris blurring the lines between graffiti, poetry, advertising, and
philosophy does not hurt either. Johan
is hip to such things as his book on the visual aspects of 1968 Paris shows. See http://www.amazon.com/Beauty-Is-Street-Visual-Uprising/dp/0956192831.
Yet Beauty Is in the Street:
A Visual Record of the May ’68 Paris Uprising suggests another, and,
ultimately I think more thought provoking, philosophical influence: Walter Benjamin. Nowhere is Benjamin mentioned within the
pages of Brad Pitt’s Dog but his archival practice infuses and drives the entire
book, not detournment or derive. What
makes Johan’s various endeavors interesting is the spirit of the Arcades
Project not The Theory of the Spectacle.
Let’s set aside Benjamin on photography or art in the age of mechanical
reproduction, which also threads throughout Brad Pitt’s Dog, and focus on the building
of archives and collections to preserve lost, forgotten or dying
subcultures. This is Johan’s bread and butter;
it is the collecting impulse behind his writing that makes his literary licks
so tasty.
So why has the writing of Benjamin been scrubbed of the wall
in Brad Pitt’s Dog. I think it gets back
to Johan viewing himself as fannish over sercon. As I mentioned before, Johan is pure sercon,
but that it not as cool, fun, or irresponsible as being fannish. It is pure good times riffing on how great your
latest garage rock find sounds; it is hard work finding out the history of
these forgotten bands and labels. To his
credit, Johan can do both equally well.
I would suggest that a work like The Velvet Underground and New York Art
sounds better than Brad Pitt’s Dog. As
it should, it is a more ambitious and important work. Furthermore, the philosophy of the fannish Situationists
is much more punk rock than that of the sercon and classical Benjamin. Benjamin can make even the taking of hashish an
intellectual exercise. Debord on alcohol
is more of derangement of the senses. Yet
Debord’s philosophical take on alcohol cannot be separated from his prodigious
intake of the sauce. In this case,
putting philosophy into practice worked against Debord and, when you get right
down to it, turns Johan off.
Johan might talk about taking it to the streets,
but it his desire to storm the library, the archive, the museum and the gallery
and infect them with the virus of various subcultures (punk, garage, mimeo
revolution, outsiders and madmen, commune and alternative living) that really
gets his motor running and makes him truly wild.JB
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