In conjunction with Against Cinema: Situationist Film and Its Legacy, an exhibition which seeks to retrace the history and legacy of Situationist film, we’ll be showing the movie The Society of the Spectacle (2013) by Guy Debord and Heath Schultz with an introduction by Heath Schultz at Pro Arts Gallery and COMMONS on Friday, September 27 at 7 PM. The door opens at 6:30 PM.
Free and open to all. CLICK HERE TO REGISTER
About The Society of the Spectacle
“The Society of the Spectacle (2013, 75 min.) takes infamous Situationist Guy Debord’s film of the same name as a starting point and skeleton for a new video project. Through intensive research and détournement the film is part recreation, part criticism, and part inquiry.
Spectacle can be thought of as a piece of research by way of re-making or re-stating; a research project which makes use of Debord’s work not as a quotation but as an appropriation of a collective inheritance in the cultural commons. My film reflects a complexity in both theory and practice by overlaying emotional, aesthetic, historical, political, and theoretical discourses in a matrix that forces the viewer to engage on multiple registers simultaneously. As much as it is an experiment in video, it was also an experiential act of research that sought to glean lessons from Debord’s film while leveling critiques of its shortcomings; it was an act of translation in an effort to make these lessons and criticisms legible in a contemporary American context.”
— Heath Schultz
About Heath Schultz
Heath Schultz a research-based artist and writer addressing questions of activism, radical politics, and the political efficacy of art. His writing practice inhabits the intersections of critical theory, anti-racist theory, pedagogy, and radical politics. His creative practice currently engages a study of whiteness as a structural position of violence, with a particular interest in how this violence is evidenced in a visual culture of a “post-racial” society. This typically involves an intensive gathering of cultural materials that pursue a charting of ideological patterns. Using cultural material as raw material allows me to stage ideological juxtapositions, make evident how violence is an iterative process, and experiment with strategies of détournement. When viewed together, his writing and creative practices offer a larger picture—one that locates cultural expressions within a historical and political context while seeking various methods to expose their underlying ideologies.
He’s based in Chattanooga, TN, where I teach at University of Tennessee at Chattanooga.