Asger Jorn

Asger Jorn (1963)

Asger Jorn (born March 3, 1914 in Vejrum , Jutland , † May 1, 1973 in Aarhus ; actually Asger Oluf Jørgensen ) was a Danish artist .

Life

Asger Oluf Jørgensen was the son of a teacher couple. In Silkeborg , where the family moved in 1929, Jorn received private painting lessons from the painter Martin Kaalund-Jørgensen . Above all, landscapes and portraits were created. It was there that Jorn met the radical syndicalist Christian Christiansen, which marked the beginning of his lifelong political commitment. In 1936 Jorn moved to Paris to join Fernand Léger's Académie Contemporaine . During the German occupation of Denmark in World War II , Jorn returned to Denmark as an active communist and resistance fighter . After the war he changed his name to Jorn. He was a member of the artist group Høst .

After the occupation, the space for critical thinking was found annoying by many communists due to increasing political control by the communist party. As a result, Jorn left the party. He experienced great conflicts between his commitment as a syndicalist and communist on the one hand and his simple evangelical origin on the other, and both remained alive for him throughout his life.

Later he was a founding member of the group CoBrA, merged from the groups Høst , Belgian Revolutionary Surrealist Group and Reflex . Almost all of Jorn's work is in European collections. Jorn had few traders in the United States, in part because he refused to enter a country where he should have signed a declaration not to be a communist. Jorn was the founder of the movement for an imaginistic Bauhaus ( Mouvement pour un Bauhaus Imaginiste ). He was a leading head of the later merger of both organizations with the Lettrist International and the London Psychogeographical Association to the Situationist International (SI). Here he used his scientific and mathematical knowledge, which he obtained from Henri Poincaré and Niels Bohr , to develop his situlogical technique .

After spending almost a year and a half in a sanatorium, Asger Jorn moved to Switzerland in 1952 . From 1955 he lived in Paris and Albissola Marina near Genoa .

In 1961 he left the SI to found the Scandinavian Institute for Comparative Vandalism . However, he continued to fund the group's activities.

Asger Jorn was a participant in documenta II (1959) and documenta III in 1964 in Kassel . In 2018 the Hamburg Deichtorhallen presented his work under the title Asker Jorn - Without Boundaries .

plant

His painting is associated with Informel , it varies between figurative and abstract painting . Thematically, he was based on Nordic sagas and myths . His redesign of old pictures that he bought at flea markets are well known. His early work is influenced by Le Corbusier . Later the picture structure and the painting technique became more dynamic: "With powerful, rude brushstrokes he painted mysterious beings, often abstracted beyond recognition, crude, demonic ghost figures, pictures that are close to Art brut and often have the charm of children's drawings."

In addition, Jorn worked out comprehensive theories of art and design that included politics and economics.

Museum Jorn , located in the Danish city of Silkeborg, now manages Asger Jorn's artistic legacy. The museum has the world's largest collection of works by the artist. In addition, his work is represented in the collections of numerous museums, including the Kunsthalle Bremen , the Kunsthalle in Emden , the Cobra Museum , the Statens Museum for Kunst and the Louisiana Museum of Modern Art .

Three sided football

By inventing the sport of " three-sided football ", he gave his philosophical system of triolectics a practical application and illustration (in contrast to dialectics, there are three opposing positions, of which, for example, two can temporarily merge at the expense of the third) . Triolectic was a form of deconstruction of the concept of dialectic.

Publications

• Held & Hasard - Dolk & Guitar. Copenhagen 1952; 2. oplag: Udsendt som meddelse nr. 3 fra Skandinavisk Institut for Sammenlignende Vandalisme 1963; 3. oplag er et fotografisk genoptryk af udgaven fra 1963, Borgens Forlag (Copenhagen-Valby) undated, ISBN 87-418-3079-2 .
• Order of nature. De divisione naturae. Silkeborg interpretation versus Københavner interpretation. Udsendt som meddelse no. 1 fra Skandinavisk Institut for Sammenlignende Vandalisme 1962, Copenhagen 1962; 2. oplag er et fotografisk genoptryk, Borgens Forlag (Copenhagen-Valby) undated , ISBN 87-418-3080-6 .
• Værdi and økonomi. Criticism of the economic policy and udbytningen af ​​det enestående. Udsendt som meddelse no. 2 fra Skandinavisk Institut for Sammenlignende Vandalisme og "Foreningen for ung dansk kunst" 1962, Borgens Forlag (Copenhagen-Valby) 1962.
• Ting and Polis. Complementariteten mellem sandhedskrav og retskrav i vesteuropoæisk culture. Udsendt som meddelse no. 4 fra Skandinavisk Institut for Sammenlignende Vandalisme 1964, Copenhagen 1964; 2. oplag er et fotografisk genoptryk, Borgens Forlag (Copenhagen-Valby) undated , ISBN 87-418-3081-4 .
• Alpha and Omega, second to none. Skrevet som meddelse nr. 5 fra Skandinavisk Institut for Sammenlignende Vandalisme 1963–64, Copenhagen 1964; Udgivet 1980 Borgens Forlag (Copenhagen-Valby) 1980, ISBN 87-418-3076-8 .
• Open Creation and It's Enemies. Unpopular Books, 1994.
• An artist's thoughts. Heil und Zufall (1953). The order of nature (1961–1966). Munich 2002, ISBN 3-924963-87-8 .

literature

• Jürgen Claus : Asger Jorn as theoretician. Conversation with Asger Jorn. In: Jürgen Claus: Art today. Rowohlt, Reinbek 1965
• Jens Staubrand: Asger Jorn - On the author Ager Jorn and his five books from the Scandinavian Institute of Comparative Vandalism and Index to Asger Jorn's five books from the Scandinavian Institute of Comparative Vandalism. Copenhagen 2009, ISBN 978-87-92259-89-9 . (English, Danish)
• Jens Staubrand: Asger Jorn - aforismer and other korte tekststykker. København 1995, ISBN 87-21-00175-8 . (Asger Jorn aphorisms and other short passages. Valby 1995)
• Graham Birtwistle: Asger Jorn's comprehensive theory of art between Helhesten and Cobra 1946-1949. Utrecht 1986.
• Troels Andersen, Brian Rasmussen, Roald Pay: Jorn in Havana. Copenhagen 2005. (English, Danish)
• Troels Andersen: Asger Jorn 1914–1973 . Cologne 2001, ISBN 3-88375-477-3 .
• Gerd Presler : Catalog raisonné of the sketchbooks . Silkeborg Art Museum, 2006, ISBN 87-87932-94-6 .
• Gerd Presler: Asger Jorn, catalog raisonné of prints, 2nd edition, Munich / Silkeborg 2009 (1st edition 1976, Otto van de Loo)
• Norbert Haas: Jorns Stalingrad. In: Liechtenstein Excursions VI: Virtuosity. Eggingen 2007, ISBN 978-3-86142-410-9 .
• Henning Eichberg : Comparative vandalism. Who are you, Asger Jorn? In: Wolfgang Dreßen et al. (Ed.): Hippopotamus of the hellish primeval forest - traces in an unknown city - Situationists, group SPUR, commune I. Werkbund-Archiv, Berlin / Anabas, Gießen 1991, pp. 92-105.
• Norbert Haas: Jorns Stalingrad. In: Liechtenstein Excursions VI. Edition Isele, Eggingen 2007, pp. 275-296.
• Norbert Haas, Vreni Haas: Jorn på Læsø . Chaosmos Press, Vaduz 2012.
• Norbert Haas: Forever Jorn. Nimbus, Wädenswil am Zürichsee 2014, ISBN 978-3-03850-001-8 .
• Ruth Baumeister: Asger Jorn in pictures, words and form . Scheidegger & Spiess AG, Zurich 2014, ISBN 978-3-85881-385-5 .

Web links

Commons : Asger Jorn  - Collection of images, videos and audio files

painting

• Asger Jorn Painting on artnet
• Museum Jorn, Silkeborg in English
• Jorn room in the Louisiana Museum in English

Biographies and further information

• Asger Jorn biography at WHO'S WHO
• Asger Jorn in Høst, Cobra, Spur and Situationists group (PDF file; 6.66 MB)
• Texts by Asger Jorn (English translations, web archive from infopool.org.uk ):
  • Forms Conceived as Language ( Memento from June 10, 2011 in the Internet Archive ) (1949)
  • Architecture for Life ( Memento from June 10, 2011 in the Internet Archive ) (1954)
  • Notes on the Formation of the Imaginist Bauhaus ( Memento from June 10, 2011 in the Internet Archive ) (1955)
  • Opening Speech to the First World Congress of Free Artists in Alba, Italy ( Memento from June 10, 2011 in the Internet Archive ) (1956)
  • The Alba Platform ( Memento from June 10, 2011 in the Internet Archive ) (1956)
  • On the Current Value of the Functionalist Idea ( Memento June 10, 2011 in the Internet Archive ) (1957)
  • The Situationists and Automation ( Memento June 10, 2011 in the Internet Archive ) (1958)
  • Détourned Painting ( Memento from June 10, 2011 in the Internet Archive ) (1959)
  • Critique Of Economic Policy ( Memento June 10, 2011 in the Internet Archive ) (1960)
  • Originality and Magnitude (on the system of Isou) ( Memento from June 10, 2011 in the Internet Archive ) (1960)
  • The End of the Economy and the Realization of Art ( Memento from June 10, 2011 in the Internet Archive ) (1960)
  • Open Creation and its Enemies ( Memento from June 10, 2011 in the Internet Archive ) (1960)
  • Pataphysics - A Religion In The Making ( Memento from May 5, 2009 in the Internet Archive ) (1961)
• Representing Chaos: Peircian Triads and 3-sided football (engl.)
• Literature by and about Asger Jorn in the catalog of the German National Library
• Asger Jorn on kunstaspekte.de
• Materials by and about Asger Jorn in the documenta archive

Individual evidence

1. ↑ Bernd Jordan, Alexander Lentz (Ed.): The 100 of the century. Painter . Rowohlt, Reinbek 1995, ISBN 3-499-16456-6 , p. 80 f.
2. ↑ Asger Jorn, Per Hovdenakk, Stine Høholt: Asger Jorn. Arken Museum of Modern Art, 2002, p. 18.
3. ↑ Asker Jorn - Without Boundaries , deichtorhallen.de, accessed on December 13, 2019
4. ↑ P [etra] B [osetti]: Crude being rude stroke. Munich: Asger Jorn . In: Art . The art magazine. Gruner + Jahr, Hamburg February 1987, exhibitions, p. 98 .