Text: Dutch. 36 p.; b/w ills.; 10,5 x 30 cm; 50 g. " The Provo Group : In a series of actions and public interventions in Amsterdam and other Dutch cities between 1965 and 1967, the anarchist counterculture movement Provo unleashed multiple attacks on the social structures of the state, mixing absurd humour and cynicism with an attempt to awaken a critical spirit in citizens and bring about social change. In spite of its brief existence, the conceptual activism and political projects carried out by Provo a phenomenon that was part artistic movement and part political party managed to capture the spirit of a whole generation in the Netherlands, and coincided with the early days of the hippy movement. Provo was one of the movement’s most representative and significant publications. A total of fifteen issues were published monthly at first, and then at more irregular intervals , as well as a special Provo gazette, with the last issue published in April 1967. Given that official printers considered these publications too subversive to print, the members of the collective also had to undertake the printing of the magazine themselves. Provo was almost always printed in black and white, except for some covers and a few issues, which were printed in two colours. Issues 1 to 6 are printed on a cyclostyle, and from issue 7 onwards the group used offset printing. Aesthetic matters took a back seat, even though the group consciously tried to move away from the advertising aesthetic that had become widespread since the fifties. The uniformity and consistency of Provo’s style actually stems from the technical and financial restrictions that conditioned its production processes: the prime objective was to obtain as many copies as possible and achieve maximum distribution at minimum cost; this determined the format and its formal characteristics. Provo shared two important graphic elements with the group’s other publications. Firstly, the apple, or gnot, symbol designed in 1962 as a psycogeographic representation of the city of Amsterdam, which became the movement’s unofficial logo and frequently appeared on the pages of the magazine and other publications produced by the groups, and also in urban graffiti. And secondly, the image of the lattice of a brick wall, a recurring motif that was a nod to the group’s attitude that considered walls and by extension, the city itself as a blank canvas on which to express new ideas. " (MACBA) - Shelfwear, one paragraph marked with cross in red ballpen inkt. Edition: 2.300. Collector's item