The original, unreproducible covers, made of super-tactile flong embossed with pages from newspapers, were all different. This book documents a unique moment of collaboaration between an expressionist painteer and a radical filmmaker, through a form of spontaneous and collective artistic production. The experiment, unique in both artist's oeuvre, combines photolithographs of Jorn: paint drips with images from a local newsstand of ads, building plans, photographs etc. The book was made during 24 hours as an artistic experiment. The book is, with its many cards and names of places, a kind of psychological landscape, an intoxicated cartography, and Jorn's final goodbye to Copenhagen. The most sought-after of Jorn's books.

Literature: Hofman Hansen (ed.): A bibliography of Asger Jorn's writings, #166 + Thomas Hvid Kromann: “Montager svøbt i matricepap. En materialearkæologisk undersøgelse af Asger Jorn og Guy Debords ”Fin de Copenhague“”, in Fund og forskning, Vol. 54, p. 587, 2015.

Provenance: Sculptor Torsten Johansson (1917–1996).