THE FIRST and until now only major retrospective of the Situationist International was organized by the Centre Pompidou in Paris in 1989. Hotly contested, it was hindered by Guy Debord’s boycott and by the withdrawal of his films from circulation. Now, almost thirteen years after the strategist’s demise, a show currently in Utrecht and traveling to the Museum Tinguely in Basel next month brings to light some interesting new materials, courtesy of Debord’s old allies and his widow. The exhibition addresses the history of the SI with an assortment of objects, collages, printed matter, and a few

Aernout Mik’s exhibition “Raw Footage/Scapegoats” consisted of two projects. Raw Footage (all works 2006), a two-channel video installation, is the artist’s first work employing found footage. Mik edited material shot during the war in the former Yugoslavia, gathered from the archives of Reuters and Independent Television News (ITN), into a 39-minute double projection. We always see more or less related footage on both screens; in one segment, for instance, dead bodies are dragged and carried in different ways by one or more people, resulting in a perverse typology of corpse displacement. In