ole stig andersen (10 risultati)

Stockholm; Almqvist & Wiksell, 1972. Originalets titel: Bogen om storfamilierna (Köpenhamn, 1970). Översättning av Gun och Nils A. Bengtsson. 18,5x11 cm. 199, (1 blank) s. + 12 planschblad med foton. Originalpocket. Exlibris för Berndt Gustafsson. Ryggen lätt blekt. Fint ex. "Genom intervjuer med medlemmarna i olika kollektiv ger författarna en allsidig bild av denna annorlunda samlevnadsform och det som gör att allt fler människor väljer den framför andra sätt att bo och leva." (baksidestext).

Condizione: Very good.

Aschehoug, København 1998. 379 sider. Orig. kartonbind med smudsomslag. Smudsomslag og omslag med lette brugsspor og smudsomslaget falmet på ryggen. omslaget falmet i kanterne, ellers pænt eksemplar.

Aschehoug, København 1998. 1. oplag. 379 sider. Orig. helshirtingsbind med smudsomslag. Ryggen af omslaget jævnt falmet, men ellers velholdt eksemplar.

Forlaget Sohn, Rødovre 2012. 594 sider. Orig. kartonbind. Velholdt eksemplar.

A near complete run of Hætsjj, the Danish avant-garde artists' "newspaper" rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word "hetz" ("smear" or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj "Bulletins" for different events, performances, and happenings at the Festival 200 of 1969 each bulletin a stunning work of art in its own right. Additionally, this set contains four numbers of the Henning Christiansen's Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum's memoir, about the founding of Hætsjj and its context accompanies these. Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School ("Ex-School"), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik's Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment "was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos" (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, "during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture" (ibid). The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit and the groups collaborated extensively on each other's publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to "incite against the authorities and against those who choose to cooperate with them in any way." Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys' "Eurasia" actions), such as Bjørn Nørgaard and Peter Louis-Jensen. The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark's then-Prime Minister Hilmar Baunsgård, that "violent demonstrations" were "the greatest threat to democracy." The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It "was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s" (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication's power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, "Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper" (ibid). The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art. All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression. Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016). Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several "Bulletins" with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes,

A near complete run of Hætsjj, the Danish avant-garde artists' "newspaper" rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word "hetz" ("smear" or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj "Bulletins" for different events, performances, and happenings at the Festival 200 of 1969 each bulletin a stunning work of art in its own right. Additionally, this set contains four numbers of the Henning Christiansen's Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum's memoir, about the founding of Hætsjj and its context accompanies these. Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School ("Ex-School"), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik's Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment "was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos" (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, "during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture" (ibid). The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit and the groups collaborated extensively on each other's publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to "incite against the authorities and against those who choose to cooperate with them in any way." Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys' "Eurasia" actions), such as Bjørn Nørgaard and Peter Louis-Jensen. The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark's then-Prime Minister Hilmar Baunsgård, that "violent demonstrations" were "the greatest threat to democracy." The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It "was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s" (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication's power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, "Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper" (ibid). The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art. All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression. Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016). Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several "Bulletins" with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes,

A near complete run of Hætsjj, the Danish avant-garde artists' "newspaper" rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word "hetz" ("smear" or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj "Bulletins" for different events, performances, and happenings at the Festival 200 of 1969 each bulletin a stunning work of art in its own right. Additionally, this set contains four numbers of the Henning Christiansen's Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum's memoir, about the founding of Hætsjj and its context accompanies these. Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School ("Ex-School"), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik's Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment "was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos" (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, "during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture" (ibid). The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit and the groups collaborated extensively on each other's publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to "incite against the authorities and against those who choose to cooperate with them in any way." Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys' "Eurasia" actions), such as Bjørn Nørgaard and Peter Louis-Jensen. The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark's then-Prime Minister Hilmar Baunsgård, that "violent demonstrations" were "the greatest threat to democracy." The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It "was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s" (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication's power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, "Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper" (ibid). The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art. All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression. Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016). Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several "Bulletins" with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes,

A near complete run of Hætsjj, the Danish avant-garde artists' "newspaper" rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word "hetz" ("smear" or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj "Bulletins" for different events, performances, and happenings at the Festival 200 of 1969 each bulletin a stunning work of art in its own right. Additionally, this set contains four numbers of the Henning Christiansen's Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum's memoir, about the founding of Hætsjj and its context accompanies these. Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School ("Ex-School"), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik's Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment "was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos" (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, "during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture" (ibid). The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit and the groups collaborated extensively on each other's publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to "incite against the authorities and against those who choose to cooperate with them in any way." Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys' "Eurasia" actions), such as Bjørn Nørgaard and Peter Louis-Jensen. The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark's then-Prime Minister Hilmar Baunsgård, that "violent demonstrations" were "the greatest threat to democracy." The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It "was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s" (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication's power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, "Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper" (ibid). The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art. All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression. Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016). Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several "Bulletins" with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes,

A near complete run of Hætsjj, the Danish avant-garde artists' "newspaper" rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word "hetz" ("smear" or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj "Bulletins" for different events, performances, and happenings at the Festival 200 of 1969 each bulletin a stunning work of art in its own right. Additionally, this set contains four numbers of the Henning Christiansen's Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum's memoir, about the founding of Hætsjj and its context accompanies these. Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School ("Ex-School"), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik's Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment "was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos" (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, "during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture" (ibid). The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit and the groups collaborated extensively on each other's publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to "incite against the authorities and against those who choose to cooperate with them in any way." Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys' "Eurasia" actions), such as Bjørn Nørgaard and Peter Louis-Jensen. The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark's then-Prime Minister Hilmar Baunsgård, that "violent demonstrations" were "the greatest threat to democracy." The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It "was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s" (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication's power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, "Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper" (ibid). The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art. All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression. Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016). Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several "Bulletins" with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes,