The Cardinal, the Film and the Orgy

In the king's court, there are more priests than buffoons, in the same way that in his kingdom, there are more police officers than artists. (Kolakowski, The Priest and the Buffoon.)

The Cardinal is no longer of this world.[1] We expect that he blessed the army for its crusade against the East. In vain. Likewise, we expect that, one day, the Cardinal will place at our disposition his place in the pulpit to open the road to new mythological experiences. We expect the greatly desired opening of the Notre Dame Cathedral and all the other churches so that we can bring them to their primary destination: THE CELEBRATION OF ORGIASTIC FESTIVALS AND NEW ECSTATIC GAMES THAT RELY UPON THE ACTIVE PARTICIPATION OF ALL. Starting today, the Central Council of the SI has constitued a "EUROPEAN COMMITTEE OF ORGIES," which will collaborate with the Bureau of [Unitary] Urbanism in Brussels, the Scandanavian Agency for Sex, and the Munich Commissariat of Ceremonies and Popular Traditions, which descends from the Institute for the Study of Behavior, headed up by Lorenz (because we have perceived that he is too boring to verify that surrealism can be equally applied to animals).

In [Jacques] Doniol-Valcroze's first film, Water into the Mouth,[2] one sees a deliberately amateurish bedroom scene. Thus, this scene aims to render perceptible to the public a lack of satisfaction and regret for non-participation that must lead to new possibilities of action where the film and the orgy, art and life, are mixed up together. Who wouldn't love to take part in the magnificent riot that one sees in Zazie?[3]

The attempt to make the public participate opens up a new era in which the word "man" can no longer be separated from the word "artist." Henceforth, the halls of the cinema must be temples for modern orgies.

D. Kunzelmann

[1] Probable allusion to the recent death of Joseph Wendel, the Archbishop of Munich. Due to their multiplications of anti-religious provocations, in writing and designs, in very Catholic Bavaria, the Spurists would shortly be persecuted by the police (on this question, see Internationale Situationniste #7, p. 51 and Internationale Situationniste #8, p. 64.) In the accusatory instrument of the judge of the tribunal in Munich, one can read: "Issue 4 published an article, 'The Cardinal, the Film and the Orgy,' in which defendant Kunzelmann, in chaotic phrases, demanded orgiastic festivals and ecstatic games in the interiors of churches that supposed the active participation of all. This already brings to light a licentious and blasphemous tendency.' Followed by the complete checklist of obscene and irreligious phrases and designs contained in issues 5 and 6 of Spur.

[2] A correction of what appears in the German version: Water in the Mouth by Daniol-Valoroze. Despite the "deliberately amateurish bedroom scene" of which Kunzelmann speaks, this "New Wave" film (1959) defends a particularly reactionary morality: after the libertinage, the inevitable remorse. As to Doniol-Valcroze's choice to portray the two young men as French ex-soldiers in Indochina, it wasn't innocent: it was nothing more or less than an attempt to rehabilitate this recent colonial war, at the moment that France was conducting a new dirty war in Algeria.

[3] Zazie in the subway (Louis Malle, 1960).

(Written in German and published in Spur #4, February 1961. Translated by NOT BORED! June 2005 from the French version published in Archives Situationnistes: Volume 1: Documents traduits 1958-1970. Footnotes by the editor of Archives Situationnistes.)

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