Asger Jorn quotes - page 2
We cannot inherit a fixed, unmoving view of life and of art from the past generation. The expression of art is in any period different, as are our experiences. A new experience creates a new form. We like to learn all we need from earlier generations, but we have to find out for ourselves what we need; nobody else can do that for us. It is not our business to receive and work on what the earlier generation might want us to work on. On the other hand, it is its business to help us where we want its help.
Asger Jorn
The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words. It is known as a rule in the so-called Germanic art, and through the middle ages heaps of such stories are directly inspired by fantastic images.
Asger Jorn
Being an artist is being an isolated individual. But the development of the creative foundation of the encumbers the individual artists more and more with the prevailing problems. You are of your time whether you like it or not. Developing ones foundation to an artist means continually revising it. The artistic formulae wear thin quickly and yet daily the artist - when developing his own foundation - must enter his own time and the problems of other contemporary artists. Paths cross and the soil of time is starting to be turned.
Asger Jorn
Those who try to combat the production of shoddy pictures are enemies of the best art today. Those woodland lakes in a thousand sitting-rooms with gold-tinted wallpaper belong to the profoundest inspirations of art. It always feels tragic to see people labouring to saw off the branch they are sitting on.
Asger Jorn
Nordic art casts a spell on the mind which ranges from laughter to tears and from tears to violent rage. One can see how dangerous it is, we can be tyrannized by a cynical person endowed with the power of art. Much has been said about this demonic aspect. In it lies the ultimate demand that the artist must take responsibility for the states of mind that he produces, or at least he must answer for them by knowing them in his own person. This psychic demand in both the artist and the viewer has made Expressionist art so hated by devotees of aestheticism and formalism.
Asger Jorn
If one tries to understand the position of art today, one must also try to understand the conditions that have created the development of our perception of art and our perception of the relation to the individual and to society. The artist takes an active part in the campaign to deepen this our knowledge of the basis of our existence, the basis which, for him, makes possible an artistic creation. The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details. Nothing can be sacred to him, because everything has become important to him.
Asger Jorn
This is not an objective, historical or psychological evaluation of Danish experimental art and its historical roots, but an ideological and artistic, collective representation of our own work, thoughts, and ideas. It shows how we ourselves view our work and our way of working, and considers which of the many traditions that make up our foundation we feel connected to.
Asger Jorn
We are not talking about a new cognition in relation to Abstract art, rather a new area of cognition... This is where abstract art steps in, in a stronger sense of life, a stronger contact with the growing life, a feeling of the pulsation of life and growth in oneself, an activation of deep-seated powers a staple vitality far deeper than our cognition, not instead of science but inspired by it.
Asger Jorn
This calls for an explanation and it may be this, that no painting, however good it seems to us is anything in itself, except chemicals smeared on a flat surface. The value in the work of art is in the spectator, you see, and a painting has no bigger value than the mental and intellectual forces it arouses in the spectator.
Asger Jorn
In contrast to Breton we believe that - behind the false ethical and aesthetic, indeed metaphysical understandings which are out of contact with the vital interest of "man" - we find the real, the materialistic ethics and aesthetics. One includes our needs, the other is an expression of our sensual desires. It is exactly in order to liberate the true ethics and the true aesthetics that we make use of "automatism."
Asger Jorn
Be modern
collectors, museums
if you have old paintings
do not despair
Retain your memories
but detourn them
so that they correspond with your era.
Why reject the old
if one can modernize it
with a few strokes of the brush.
This casts a bit of contemporaneity
on your old culture.
Be up to date
and distinguished
at the same time.
Painting is over
You might as well finish it off
Detourn (détournez)
Long live painting.
Asger Jorn
The basic function of thought is to find ways of satisfying our needs and desires. The Surrealism of Breton and the functionalism of architecture which was more concerned with the way in which thought functions rather than with its function, - was initially idealistic. But is this not something which we can extract from Breton's definition of automatism?
Asger Jorn
To understand the magic way of thinking you have to know non-magic thinking. If you see that clearly, you will see how many magic thoughts are necessary elements even of natural science today. There seems to be just as much magic thinking in modern thought as in older; only it takes place in other areas.
Asger Jorn
When I used [in his speech] the word silent myths it was for a personal reason. I mean that the relations of pictorial art to the formation of myths has to be silent, consequently not illustrative. In this part of Jutland where the life of the myth has grown strongest and is kept deepest for millenniums, here where I come from and where I have known the richness of the narrative imagination of the people, here I wanted to place a monument to the anonymous strength of the word, not to a single myth, nor to a single cycle of myths, because the myths of the Edda, of the heroic poetry, yes perhaps particularly the myths of the Kalevala, have inspired me like the myth which is to be created today in the people who are glad to tell, racy and fertile.
Asger Jorn
![Our experiments [the artists of 'Cobra'] the aim at letting thought express itself spontaneously without the control which reason represents. By means of this irrational spontaneity we get closer tot the vital source of life. Our goal is to liberate ourselves from the control of reason which has been and still is the thing which the bourgeoisie has idealized to seize control of life. (Asger Jorn)](https://cdn.quotesdtb.com/img/quotes_images_webp/74/asger-jorn-aim-bourgeoisie-479974.webp)
One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.. ..Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.
Asger Jorn