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Helhesten and the Danish Avant-Garde, 1934-1946

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Helhesten and the Danish Avant-Garde, 1934-1946 City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2015 Mobilizing The Collective: Helhesten And The Danish Avant-Garde, 1934-1946 Kerry Greaves Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/566 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MOBILIZING THE COLLECTIVE: HELHESTEN AND THE DANISH AVANT-GARDE, 1934-1946 by KERRY GREAVES A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 © 2015 KERRY GREAVES All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Professor Emily Braun Chair of Examining Committee Date Professor Claire Bishop Executive Officer Professor Romy Golan Professor David Joselit Professor Karen Kurczynski Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT MOBILIZING THE COLLECTIVE: HELHESTEN AND THE DANISH AVANT-GARDE, 1934-1946 by KERRY GREAVES Adviser: Professor Emily Braun This dissertation examines the avant-garde Danish artists’ collective Helhesten (The Hell- Horse), which was active from 1941 to 1944 in Nazi-occupied Copenhagen and undertook cultural resistance during the war. The main claim of this study is that Helhesten was an original and fully established avant-garde before the artists formed the more internationally focused Cobra group, and that the collective’s development of sophisticated socio-political engagement and new kinds of countercultural strategies prefigured those of postwar art groups such as Fluxus and the Situationist International. The group and its eponymous journal involved the Danish modernists Asger Jorn, Ejler Bille, Henry Heerup, Egill Jacobsen, and Carl-Henning Pedersen, as well as anthropologists, archeologists, psychologists, and scientists. Helhesten’s twelve issues from April 1941 to November 1944 featured essays on art theory, non-Western artifacts, literature, poetry, film, architecture, and photography, together with exhibition reviews and profiles of contemporary Danish artists. The group appropriated certain stylistic traits from German Expressionism, Dada, and Surrealism. Yet rather than partaking in a retrograde modernist nostalgia, the Helhesten artists radically reformulated the tactics of these movements into what they called a “living art,” or “new realism,” which emphasized subjectivity, indeterminacy, and a fundamental anti-essentialism that rejected the Nazi obsession with purity as much as it did the prescriptive manifestos of the historical avant-gardes. What emerged was purposefully unskilled, brightly colored painterly abstraction and naïve styles that were iv humorous and disarmingly child-like on the surface but trenchant and sophisticated underneath. Helhesten consciously challenged Nazi racist propaganda and its conception of Volk, caricatured the idealized Aryan body, defied Hitler’s attempts to assert a common Nordic heritage, and critiqued the National Socialist obsession with historical continuity and order. Moreover, as a fundamental link between pre- and postwar vanguard art movements, Helhesten’s living aesthetic celebrated quotidian existence through play, disruption, and heightened awareness in a manner that presaged the postwar avant-garde’s engagement with everyday life. v ACKNOWLEDGEMENTS This dissertation was a collective project very much in the spirit of Helhesten, and it would not have been possible without the efforts of many people. I would like to thank my adviser, Emily Braun, for her unflagging support of my research. Her rigorous scholarship and ability to get me to focus on minute details while considering the larger concerns of the field have been invaluable. Karen Kurczynski, whose dissertation on Asger Jorn sparked my interest in Helhesten, has been a steadfast mentor, source of enthusiasm, and friend. I express my sincerest gratitude to my defense committee members, Romy Golan and David Joselit—their unparalleled work has served as models for my own. I have received indispensible financial support for my doctoral studies and dissertation. I thank all of the people involved with the Fulbright/Danish-American Foundation, the American Scandinavian Foundation, the Roth Endowment, and the CUNY Graduate Center. Because of the support of these institutions, I was able to spend more than a year in Copenhagen where I worked as part of a growing community of colleagues dedicated to the furthering of modern Danish art history. I would like to thank Mikkel Bolt Rasmussen, Torben Jelsbak, Morten Thing, and Tania Ørum for reading early drafts of the dissertation. Frederik Tygstrup and Mette Sandbye at the Department of Arts and Cultural Studies at the University of Copenhagen graciously arranged for office space and resources for the long hours of work. The generosity of Lotte Korshøj and Hanne Lundgren Nielsen at the Carl-Henning Pedersen and Else Alfelt Museum, Anni Lave Nielsen at the Heerup Museum, Dorthe Aagesen at the Statens Museum for Kunst, Birgitta Spur at the Sigurjón Ólafsson Museum, Jakob Sevel at KUNSTEN Museum of Modern Art, Henrik Lundbak at the Museum of Danish Resistance, and Ivar Dahlmann Olsen all allowed me to undertake incredibly rich archival research and establish a network of Helhesten supporters that I vi hope will continue to flourish. At the Museum Jorn, I would like to extend my deepest gratitude to Troels Andersen, Lars Bay, Karen Friis, Lucas Haberkorn, Teresa Østergaard Pedersen, and Jacob Thage. The unparalleled source material in the museum’s archives was essential to my research, and I continue to be humbled by how helpful they have been. Colleagues on both sides of the Atlantic helped before and during this dissertation, not least with revisions, translations, research questions, and general relief of dissertation angst along the way. Hanne Abildgaard, Bonnie Apgar Bennett, Andrea Appel, Patricia Berman, Nanna Bonde Thylstrup, Helle Brøns, Elena Ciletti, Solveig Daugaard, Nan Gerdes, Sherrill Harbison, Lauren Kaplan, Carol Lees, Walter Liszewski, Patricia Mainardi, Thor Mednick, Kevin Murphy, Kristina Rapacki, Britany Salsbury, Louise Sørensen, Pari Stave, Anna Strelis, Therkel Stræde, Jens Tang Kristensen, and Karen Westphal Eriksen—I am so grateful for your support, and your interest in this project. To my friends Sarah Carmody, Jessica Difabio, Fie Kollerup, Kerri Maloney, Bridget Marlowe, and Jenny Trombley, we may live far apart most of the time, but your beautiful friendship and laughter has sustained me through this process. To my family, especially my parents John and Eileen Greaves and my brother John Greaves and his family, your unconditional love, work ethic, and constant understanding made this dissertation possible. It is dedicated to you. vii TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS LIST OF ILLUSTRATIONS INTRODUCTION 1 CHAPTER 1: Experimental Art Journals, Surrealism, and Politics in Interwar Denmark 30 CHAPTER 2: Helhesten and the Occupation 82 CHAPTER 3: The New Realism 137 CHAPTER 4: Thirteen Artists in a Tent 195 CHAPTER 5: The Legacy of Helhesten 263 BIBLIOGRAPHY 298 ILLUSTRATIONS 312 viii ILLUSTRATIONS Chapter 1 1. Front cover, Linien 1, no. 1 (January 15, 1934) 2. Front cover, Documents 1 no. 1 (1929) 3. Front cover, Bauhaus 1, no. 1 (1926) 4. Front cover, Kritisk Revy 1, no. 1 (July 1926) 5. Photomontage featuring N. F. S. Grundtvig, Kritisk Revy 3, no. 4 (December 1928): 7 6. Front cover, Kritisk Revy 4, no. 1 (March 1928) 7. Front cover, Kritisk Revy 4, no. 4 (December 1928) 8. Henningsen, front cover, Hvad med kulturen (What About Culture), 1933 9. Poul Henningsen, “Life outside the home: Then and now,” photomontage, Hvad med kulturen, 18-19 10. Hans Scherfig, back cover, photomontage, Hvad med kulturen 11. Hans Scherfig, New York, Coney Island. “Hit the Nigger!” 1930, pencil and ink on paper, 27.9 x 21.5 cm, Arbjedermuseet, Copenhagen 12. 18 Asger Jorn, “Blasfemiske julesalmer” (“Blasphemous Christmas Songs”), Frem 2, no. 3 (December 1933) 13. Richard Mortensen, Erotikkens mystik (Erotic Mystery), 1933, oil on canvas, 85 x 120 cm, Esbjerg Kunstmuseum, Esbjerg 14. Richard Mortensen, Untitled, 1937, oil on canvas, 46.4 x 62.3 cm, HEART, Herning Museum of Contemporary Art, Herning 15. Richard Mortensen, Figure Picture, 1942, oil on canvas, 90 x 68 cm, private collection 16. Joan Miró, Legends of the Minotaure, as reproduced in Minotaure 3-4 (1933) 17. Ejler Bille, Befrugtning på grænsen mellem det gode og det onde (Fertilization on the Border Between Good and Evil), 1933, oil on canvas, 47.5 x 62 cm, Statens Museum for Kunst, Copenhagen 18. Ejler Bille, Eksplosion, 1938, oil on canvas, 92 x 65 cm, Hostelbro Kunstmuseum, Hostelbro ix 19. Ejler Bille, Maske, 1938, oil on canvas, 61 x 45.5 cm, Hostelbro Kunstmuseum, Hostelbro 20. Ejler Bille, Fugl (Bird), 1934 as reproduced in Linien 2, no. 10 (February 15, 1935) 21. Vilhelm Bjerke Petersen, Ægteskab (Marriage), as reproduced in Linien 1. no. 1 (January 15, 1934): 9 22. Henry Heerup, Untitled, drawing, as reproduced in Linien 1, no. 2 (February 15, 1934): 11 23. Asger Jorn, Paatrængende
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