Bibliography

By Ali Dur & McKenzie Wark. Music by Paul D Miller aka DJ Spooky that Subliminal Kid. A détournement of Constant's New Babylon, translated into the digital, and into New York City. December 27, 2011.

Video essay for Professor Vossoughian's City Planning class by Matt Torres & Daniel Reinhart. December 18, 2011

Essay by McKenzie Wark and Ali Dur for MIT Press Journals, Fall 2011.

Reader reacts to a call for debate by referencing Constant on Metropolis M.

Video of a lecture by Tom McDonough (art historian, United States) called Campo nomadi: Constant’s Design for a Gypsy Camp.

Announcement that the painting Vogelvrouw (Bird Woman) will be auctioned at Sotheby's Amsterdam.

ADIP-Rethinking Berlin//Architectural utopias

'The Manifesto is remarkable for its imaginative power.. it is the first great modernist work of art' - Marshall Berman In this remarkable collection of 100 manifestos from the last 100 years, Alex Danchev presents the cacophony of voices of such diverse movements as Futurism, Dadaism, Surrealism, Feminism, Communism, Destructivism, Vorticism, Stridentism, Cannibalism and Stuckism, taking in along the way film, architecture, fashion, and cookery.

The acclaimed, readable history of the Situationist International by the author of A Hacker Manifesto Over fifty years after the Situationist International appeared, its legacy continues to inspire activists, artists and theorists around the world. Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles.

Lecture by Tom McDonough on Constant's Design for a Gypsy camp in connection to Arno Mik's larger model of the Design for the Roma paviljon, Call the Witness during the Biennale in Venice, 2011.

Catalog for the exhibition Klee & Cobra at Louisiana Museum of Modern Art in Humlebaek, Danmark from 30 Sep 2011 to 8 Jan 2012. On the cover: Blau mantel, Paul Klee, 1940.

The realization that children have their own type of childish creativity and the potential to express themselves through art was a crucial driving force in Paul Klee’s own creative work: from pieces displaying the spontaneous texture of finger painting to his Dada-esque puppets made of found materials. Animated by Klee, after World War II painters from the group of artists known as CoBrA in turn lighted on the child’s visual world as a source of inspiration for their new, revolutionary artistic departure.

Die Entdeckung des bildnerischen Ausdruckspotentials von Kindern und der eigenen kindlichen Kreativität gab Paul Klee entscheidende Impulse für sein künstlerisches Schaffen – von Arbeiten mit der spontanen Haptik von Fingermalereien bis zu seinen dadaesken Handpuppen aus vorgefundenen Materialien. Inspiriert von Klee, entdeckten die Maler der Künstlergruppe CoBrA nach den Ende des Zweiten Weltkriegs ihrerseits die Bildwelt des Kindes als Inspirationsquelle für ihren revolutionären künstlerischen Aufbruch.

Catalogue for the exhibition Parijs — Stad van de moderne kunst 1900-1960 at Kunstmuseum Den Haag from 15 October 2011 till 29 January 2012. 

Blog on the influence of fun with references to Constant and Johan Huizinga's concept of the Homo Ludens.

Video presentation on New Babylon.

Catalog with the exhibition at AAMU [Museum voor hedendaagse Aboriginal Kunst, Utrecht], 11 November 2010 till 8 May 2011.

Video presentation on New Babylon

Blog on Constant's New Babylon and Archigram.

Blog by a Spanish blogger about Constant's New Babylon and the homo ludens.

Review of the exhibition Met eigen ogen – zelfportretten in de Nederlandse moderne kunst at the Noord-Brabants Museum. Constant's self portrait is mentioned in the fifth paragraph.

A brief animated history of the avant-garde artist's group CoBrA (Copenhagen, Brussels, Amsterdam). COBRA was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret in 1948 in the Café Notre-Dame, Paris. They'd sign their manifesto 'La Cause Était Entendue. They split up in 1951.

Article by Ethel Baraona Pohl on the website www.archdaily.cl, March 2009.