Asger Jorn Quotes - Page 2

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• If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.

  Asger Jorn

  Art, Often Is, Important

  "Asger Jorn" by Arken Museum of Modern Art, (p. 162), 2002.

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• To get anywhere, one must choose one's mistakes, I chose experimental acts.

  Asger Jorn

  Mistake, Choices

  "Asger Jorn" by Arken Museum of Modern Art, (p. 129), 2002.

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• The goal changes from the general to the individual from need to wish, from ethics to aesthetics.

  Asger Jorn

  Goal, Wish, Needs

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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• This is what aesthetics, development and progress depend upon: that we go out on thin ice.

  Asger Jorn

  Ice, Progress, Development

  "Asger Jorn" by Arken Museum of Modern Art, (p. 169), 2002.

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• In the beginning was the image.

  Asger Jorn

  Asger Jorn, Solomon R. Guggenheim Museum (1982). “Asger Jorn: the Solomon R. Guggenheim Museum, New York”

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• Those who try to combat the production of shoddy pictures are enemies of the best art today... It always feels tragic to see people labouring to saw off the branch they are sitting on.

  Asger Jorn

  Art, People, Enemy

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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• We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown.

  Asger Jorn

  Art, Renewal, Form

  "Asger Jorn" by Arken Museum of Modern Art, (p. 52), 2002.

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• In 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal Helhesten) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

  Asger Jorn

  Responsibility, Reflection, Years

  "On the Passage of a few people through a rather brief moment in time: the Situationist International, 1957-1972" edited by Elisabeth Sussman, (p. 142), 1989.

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• 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.

  Asger Jorn

  Inspire, Important, Normal

  Letter to anthropologist Francis Huxley, 1970.

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• 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

  Artist, Foundation, Soil

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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• There can be no question of selecting in any direction, but of penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life.

  Asger Jorn

  Beautiful, Real, Character

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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• It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it.

  Asger Jorn

  Art, Eye, Style

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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• 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.

  Asger Jorn

  Thinking, Magic, Elements

  Asger Jorn, Per Hovdenakk, Stine Høholt, Arken museum for moderne kunst (Ishøj, Denmark), Cobra Museum voor Moderne Kunst (Amstelveen, Netherlands) (2002). “Asger Jorn”

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