Hilde goes Asgar
HILDE DE BRUIJN, KOSTIS VELONIS, YIANNIS ISIDOROU
One day of lectures and Q&A in the framework of HILDE GOES AGER, a curatorial research project into the thinking and writing of the experimental artist Asger Jorn (1914-1973).
1. Asger Jorn – Thinking in Threes’, introduction into the thinking/writing of the Danish experimental artist Asger Jorn by Hilde de Bruijn.
2. Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve” by Kostis Velonis
3. What Asger Jorn help me [un]learn.” Theses concerning the movements and modes of the artist in the symmetrified world of economics by Yannis Isidorou
Asger Jorn – Thinking in Threes’, introduction into the thinking/writing of the Danish experimental artist Asger Jorn by Hilde de Bruijn.
The lecture starts out with a description of some of his work. This part of the presentation serves to both contextualize Jorn in his own time frame, and to introduce many of the key elements in his way of thinking as his artistic output was always developed in direct dialogue with his theoretical point of view. In the second part of the lecture I will discuss the triolectic thinking method that Jorn developed.
Hilde de Bruijn is a curator in contemporary and modern art based in Amsterdam. She studied Art History at the Radboud University, Nijmegen, and took the Curatorial Training Programme at De Appel, Amsterdam (2000/2001). She was Head of Exhibitions of former SMART Projects Space, Amsterdam (2007-2010). She is currently a curator at the Cobra Museum of Modern Art, Amstelveen (NL) where she creates dialogues between the museum’ collection and contemporary art(ists).
As a freelance curator her main activity a curatorial research into the writings of the Danish artist and thinker Asger Jorn together with contemporary artists and art historians. The research is reflected in the blog www.hildegoesasger.org. Within this framework public events took place at various venues Or Gallery, Berlin (2015); The Statens Museum, Copenhagen (2014); Nieuwe Vide, Haarlem (2014); Officin – Books, Papers and Prints, Copenhagen (2014); Casco, Office for Art, Design and Theory, Utrecht (2014); AGORA, 4th Athens Biennial (2013).
Recent publications: ‘Cobra and the Contemporary’, in: CoBrA. Una grande avanguardia europea (1948-1951), Skira Edditore, Rome, 2015; ‘Asger Jorn: The Secret of Art, in: Bocchicchio Luca and Valenti Paola (eds), Asger Jorn. Oltre la forma, Genova University Press, 2015; ‘From a Calculated Forgetting to the Reality of the Archive’ in: Tsivopoulos, Stefanos and De Bruijn, Hilde (eds), Stefanos Tsivopoulos: ARCHIVE CRISIS, Shaking up the Shelves of History: A Visual Essay on Media Images from the Recent Political Past of Greece, Jap Sam Books, 2015.
Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve” by Kostis Velonis
I am trying to answer the question whether the swerve (κλιναμεν) in the way that Lucretius defines it, involving the deviation of atoms in the field of physics, contributes to a theory of free will. If so, it can be operated by implication to the terms of a theatrical (Alfred Jarry) and pictorial avant garde (Asger Jorn), and even through clear morphological facts?
Μovements that deviate from their expected precise recurrence, thus defining what we call contingency, constitute Alfred Jarry’s way of philosophizing, through Dr. Faustroll, as well as his nihilistic caricaturizing, through the cowardly and greedy King Ubu. Respectively, Asger Jorn’s commitment to ‘primitivism’ and also his theoretical contribution to the practice of arabesque seeks answers beyond the “experimental” context of his Zeitgeist. Both of them, through the parody of physics (pataphysics) make use of the deviant course (declinatio) which is the structural substance of freedom.
Kostis Velonis lives and works in Athens. He holds an MRes in Humanities and Cultural Studies from London Consortium (Birkbeck College, ICA, AA, Tate). He studied Arts Plastiques/ Esthétiques at Université Paris 8 (D.E.A). He earned his PhD from the Department of Architecture, N.T.U.A University of Athens. He taught on the subject of domesticity in relation to the avant garde movements as a Lecturer at the School of Architecture of the University of Thessaly (2008-2011).
Selected solo/group shows include (2015-2014): 2015: “Mount the Air”, Kalfayan Galleries, Athens, “This probably will not work”, Lothringer 13-Städtische Kunsthalle München, Μunich; “Super superstudio”, PAC, Milan; “Adventures of the Black Square: Abstract Art and Society 1915 –2015”, Whitechapel Gallery, London; “Au nom de le Corbusier”, Maison Spiteris, Athens, “Rims and Frontiers” Delphi Archaeological Museum, 2014: “ The Theater of the World”, Museo Tamayo, Mexico City; “This is Not My Beautiful House”, Kunsthalle Athena, “No Country for Young Men”, BOZAR, Brussels; “Direct Democracy” , MUMA, Melbourne , “The Future Lies Behind Us”, AD Gallery, Athens, “Tout Feu Tout Flamme”, Lefebvre & Fils, Paris
Forthcoming solo show: Casa Maauad, Mexico City, Mexico, 2016 (artist in residence).
What Asger Jorn help me [un]learn.” Theses concerning the movements and modes of the artist in the symmetrified world of economics by Yannis Isidorou
Yiannis Isidorou was born in Piraeus and he lives and works in Athens. In most of his work and practices as an artist, he is seeking a coherent commentary on the human potential for interpreting the world, and at the same time a critical investigation on the utopia for the world’s change, and the consequent dystopian realizations of these changes.
He is co-founder and editor of the Greek e-magazine happyfew.gr / danger.few, on politics, philosophy and art. Ηe was a founding member of intothepill, an artists’ collective with diverse activities and participations in international art projects and exhibitions. Since 2009 he works with artist Yiannis Grigoriadis through Salon de Vortex, an artistic co-operation for experiments and affiliations between artists, writers, theorists, technicians, workers, scientists and anyone else who can contribute to a thorough research on democracy, dominance and decay in the late capitalist European society. Since 2013 he is the artistic director of [ΦΡΜΚ], the biannual journal in print, on poetry poetics and visual arts.
Supported by DAAD Programme: Partnerships with Greek Institutions of Higher Education 2014 – 2016 / A Cooperation between the Academy of Fine Art Munich (ADBK) and the Athens School of Fine Arts (ASFA)