Within the framework of my research into Asger Jorn´s writing and thinking I organize public and semi-public sessions with special guests at a variety of venues. The guest´s practice, knowledge, insights, or responses are informative to my research, or steer the direction I take on a particular topic. The sessions also often respond to the context of the hosting institution, or to a specific request. Making the sessions public is a way to share and enter into a dialogue with the audiences.
‘Comparative Vandalism’ was an exchange of thoughts on Asger Jorn’s Scandinavian Institute of Comparative Vandalism. Special guests were Niels Henriksen (PhD candidate at Princeton on Asger Jorn), Ellef Prestsæter (curator of the Scandinavian Institute of Contemporary Comparative Vandalism) and Nicolas Malevé (co-founder of the SICCV) as well as an equally special group of other participants:
Søren Andreasen, an artist based in Copenhagen. Andreasen often makes drawings, etchings and works using a range of printing techniques. He has published several books and written a series of pamphlets. The combination of abstract images and texts about art, its politics and relationship with everyday social situations plays a vital role in his work. He is essentially interested in the way art affects the way we think and behave.
Helle Brøns, a PhD candidate at the University of Copenhagen, Statens Museum for Kunst, and Museum Jorn. Author of Asger Jorn, Copenhagen 2009, “Masculine Resistance. Expressions and Experiences of Gender in the Work of Asger Jorn”, in October: Asger Jorn: A Special Issue no 141, 2012 and “The Shock of the Old,” in Hvad Skovsøen gemte. Jorn’s Modifications & Kirkeby’s Overpaintings, Museum Jorn, Silkeborg, 2011.
Louise Hold Sidenius, who runs Officin – Books, Paper and Prints. Together with Marie Kølbæk Iversen she also runs the Danish editorial project Internationalistisk Ideale. They recently made a print and video display focusing on Jorn´s publication “La Langue Verte et la Cuite” from 1968, known in Danish as ‘tungebogen’ – the ‘tongue book’ and a wall installation with cut-outs from the book generating a new visual narrative.
Jørgen Michaelsen, an artist based in Copenhagen. Michaelsen’s artistic practice includes a variety of media. Underpinning all his work is a preoccupation with the dichotomy between image and language. His publication AUTO. Selected Writings 1993-2005 contains the dialogue “Jorn: Desperate Triolectics Between Mozart and Gadaffi?” Michaelsen’s latest large-scale installation piece was ´Yummy Rooms for Robespierre´ at the Museum for Contemporary Art in Roskilde, Denmark, 2012. Jørgen Michaelsen considers Asger Jorn, as an artist-cum-writer, a highly mutable source of inspiration as well as an interpretative death trap in terms of consensual historicization. See also http://jorgenmichaelsen.net/
Teresa Østergaard Pedersen, an art historian with a background in medieval art and archeology, a former curator at Museum Jorn and currently a PhD candidate. For her PhD she is taking Asger Jorn’s theories and extensive photographic archives on pre-Christian Scandinavian images as a starting point for her re-evaluation of the narrative constituting Scandinavian Visual Culture in the contemporary archeological and art historical fields.
The afternoon of exchange took place on Sunday 6 July at Officin: Books, Paper, Prints in Copenhagen.