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Press Release

Asger Jorn The Prints March 23―June 30, 2019 Mönchsberg [4]

A twofold premiere: the first comprehensive retrospective of the work Press of Asger Jorn (1914 Vejrum, DK―1973 Aarhus, DK) in Austria will also Mönchsberg 32 be the first exhibition outside Denmark to present the artist’s entire 5020 Salzburg printed oeuvre. Austria

T +43 662 842220-601 Salzburg, March 22, 2019. In the exhibition Asger Jorn. The Prints, the F +43 662 842220-700 Museum der Moderne Salzburg presents around 550 works of graphic art by [email protected] the preeminent Danish visual artist, including lithographs, woodcuts, www.museumdermoderne.at etchings, linocuts, silkscreen prints, and potato prints. “As with past exhibition projects, we are drawing on our own collection; fine art prints make up half of our holdings, and among them are works by Asger Jorn given to the museum by its founding director, Otto Breicha, that are now on view in our galleries. A generous loan from the Museum Jorn enables us to show the complete set of ca. 550 prints, the first such presentation anywhere in the world,” Thorsten Sadowsky, director of the Museum der Moderne Salzburg, notes. An ensemble of fifty-two works dating from between 1933 and 1939 that were recently rediscovered in Denmark and have been on public display only once is also on its way to Salzburg.

Complementing his work in painting—and, to Jorn’s mind, in no way secondary to it—the prints he created between the 1930s and 1970s bear witness to the artist’s zest for experimentation and his interest in the potentials of his materials as well as his prodigious fabulist’s imagination and wit. Like no other artist, he stands at the juncture between the classic Expressionism of the early twentieth century and the figurative-expressive tendencies in contemporary art, forging a synthesis of Surrealism, art informel, action painting, and Nordic folk art. Determined to create a distinctively Scandinavian modernism, he often draws inspiration from Norse mythology, legends, and a pantheon populated by failed personalities. In pictures and extensive writings, Jorn celebrates a merry artistic vandalism that jettisons all classical conceptions of value and form and instead embraces the creation of the marvelous, unwonted, mysterious, imaginary, and chaotic as the true mission of art.

Jorn the political artist and networker

In pursuit of his goal of integrating art, politics, and society, Jorn, a lifelong avid networker, starts cultivating contacts in numerous countries in the 1930s. Between 1936 and 1938, he is in Paris, where he frequents Fernand Léger’s Atelier de l’Art Contemporain and exchanges ideas with Le Corbusier. In occupied Denmark, he collaborates on the journal Helhesten (Hell-Horse), the unofficial organ of the artistic resistance, seeking to disseminate subcultural phenomena and ideas vilified by the National Socialists, and in 1942 he is actively involved in printing and distributing the banned communist monthly Land og Folk. Resuming his networking activities after the end of World War II, Jorn, in the fall of 1948, teams up

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/3 Press Release Asger Jorn. The Prints Firmenbuchgericht Salzburg

Press with Danish, Belgian, and Dutch artists to found the group Cobra—the moniker is an acronym combining the English names of the three countries’ T +43 662 842220-601 F +43 662 842220-700 capitals. Cobra’s members share his enthusiasm for a radically visionary art that defies all boundaries of genre and is characterized by spontaneity, [email protected] experimentation, and openness. Jorn goes on to initiate a series of artist www.museumdermoderne.at collectives with varying aims, including the Movement for an Imaginary Bauhaus, the Situationist International, and the Scandinavian Institute of Comparative Vandalism. Irrepressible in his excitements and restless in his embrace of creative innovation, Asger Jorn puts his stamp on the evolving modern conception of art and is a major influence on the postwar avant- gardes; together with Edvard Munch and Per Kirkeby, he is now recognized as one of the most important Scandinavian artists of the twentieth century.

The exhibition is produced in cooperation with the Museum Jorn, Silkeborg, DK, and is accompanied by a publication.

Exhibition catalogue Errations in Wood, Copper and Stone. Asger Jorn’s Prints Edited by Thorsten Sadowsky for the Museum der Moderne Salzburg. With texts by Lucas Haberkorn, Barbara Herzog, Lena Nievers and Thorsten Sadowsky Hardcover, ca. 144 p., ca. 100 ill. Hirmer Verlag, Munich, 2019 ISBN 978-3-943616-63-7 € 20

With generous support from

Curators: Thorsten Sadowsky with Barbara Herzog and Lena Nievers

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Press Press contact Martin Moser T +43 662 842220-601 F +43 662 842220-700 T +43 662 842220-601 M +43 664 8549 983 [email protected] [email protected] www.museumdermoderne.at

Visitor information Museum der Moderne Salzburg Mönchsberg 32 5020 Salzburg, Austria T +43 662 842220 [email protected], www.museumdermoderne.at

Hours Tue―Sun 10 a.m.―6 p.m. Wed 10 a.m.―8 p.m. During the festival season also Mon 10 a.m.―8 p.m.

Admission Mönchsberg Regular € 8 Reduced € 6 Families € 12 Groups € 7 Tickets with reduced Mönchsberg lift tariff available at the bottom station.

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Press Images

Asger Jorn The Prints March 23―June 30, 2019 Mönchsberg [4]

The use of visual material is permitted exclusively in connection with Press coverage of the exhibition and with reference to the cited picture captions and copyrights. No work may be cut nor altered in any way. Mönchsberg 32 5020 Salzburg Download: http://www.museumdermoderne.at/en/press/ Austria

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Asger Jorn Untitled, 1933―1939, print 2018 linocut Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Caresse Géologique, 1942 (Geological Caress) From the series Occupations, 1960 Etching with aquatint Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Untitled, 1950 Cover of the Asger Jorn issue of the Cobra library

Colour lithograph © Museum der Moderne Salzburg / Bildrecht, Vienna, 2019

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/4 Press Images Asger Jorn. The Prints Firmenbuchgericht Salzburg

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[email protected] Asger Jorn www.museumdermoderne.at Frugtsommelig sygeplejerske, 1952 (Pregnant Nurse) Colour linocut and colour

woodcut Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Cornu, 1954 (Cuckold) From the series 43 Radierungen, 1953–54 Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Wien, 2019

Asger Jorn Les Suédoises s’amusent, 1955 (The Swedish Women Are Amusing Themselves)

Colour lithograph Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

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Asger Jorn [email protected] Portrait de Trois Imprimeurs, www.museumdermoderne.at 1955 (Portrait of Three Printers)

Colour lithograph Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Untitled, 1955 Coloured potato print, watercolours Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Ursprung der Familie, 1970 (Origin of the Family) From the series Untitled

Colour woodcut Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

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Asger Jorn [email protected] Ausgeschnittene Holzwege, www.museumdermoderne.at 1970 (Errations in Wood) From the series Untitled, 1970

Colour woodcut Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Nasobois – La laie qui se croit un Sphinx, 1971 (Nasobois – The Wild Sow Who Thought She Was a Sphinx) From the series Études et surprises, 1971 (Studies and Surprises) Colour woodcut Museum Jorn, Silkeborg © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn working on the woodcut series Études et surprises in the printing workshop of Peter Bramsen in Paris, 1971 Archive Museum Jorn,

Silkeborg / Photo: Pierre Alechinsky © Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019 © Pierre Alechinsky: Bildrecht, Vienna, 2019

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Exhibition Views

Asger Jorn The Prints March 23―June 30, 2019 Mönchsberg [4] Press

All: Asger Jorn. The Prints Mönchsberg 32 Exhibition view, © Museum der Moderne Salzburg, Photo: Rainer Iglar 5020 Salzburg Austria © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019 Download: www.museumdermoderne.at/en/press/detail/asger-jorn/ T +43 662 842220-601 F +43 662 842220-700

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Asger Jorn. The Prints Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn. The Prints Exhibition view © Museum der Moderne

Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/4 Exhibition Views Asger Jorn. The Prints Firmenbuchgericht Salzburg

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T +43 662 842220-601 Asger Jorn. The Prints F +43 662 842220-700

Exhibition view [email protected] © Museum der Moderne www.museumdermoderne.at Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn. The Prints Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

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T +43 662 842220-601 F +43 662 842220-700 Asger Jorn. The Prints Exhibition view [email protected] © Museum der Moderne www.museumdermoderne.at Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

Asger Jorn Das offene Versteck, 1970 (The open hideout) Color lithograph Die zwei Elemente, 1970 (The two elements) Color lithograph Both: Museum Jorn, Silkeborg © Museum der Moderne Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna,

2019

Asger Jorn. The Prints Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

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Asger Jorn. The Prints [email protected] Exhibition view www.museumdermoderne.at © Museum der Moderne Salzburg, Photo: Rainer Iglar © Asger Jorn: Donation Jorn, Silkeborg / Bildrecht, Vienna, 2019

4/4 Exhibition Views Asger Jorn. The Prints Asger Jorn The Prints

23 March—30 June 2019 Mönchsberg [4] In the exhibition, this symbol refers to the texts. Biography 2 the Rediscovered Linocuts 4

Jorn as Illustrator 5

Political Involvement 7

Artistic Networks 8

Jorn and His Printers 9

The Schweizer Suite 10

The Scandinavian Institute of Comparative Vandalism 11

Artistic Heights 12

Final Years 13

Catalogue of works 14 Biography

On 3 March 1914, Asger Jorn is born under the civil name of Asger Oluf Jørgensen in Vejrum in Western Jutland.

1929–1935: Education The family moves to Silkeborg, where Jorn attends grammar school and trains as a teacher at the Silkeborg Seminar. He meets Martin Kaalund-Jørgensen, a painter inspired by Expressionism, and in 1933 he has his debut exhibition with the association of Frie jydske malere (Free Jutish Painters). Jorn is active with the boy scouts and joins the Communist Party.

1936–1938: From Silkeborg to Paris After completing his teacher training, Jorn decides to become an artist. He travels to Paris and enrolls in the Atelier de l’art contemporain of the French avant-garde artist Fernand Léger. As an assistant to Le Corbusier, he helps decorate the Pavillon des Temps Nouveaux at the Paris World Fair. In January 1938, Jorn has his first solo exhibition at Galerie Dam & Fønns in Copenhagen.

1939–1945: Years of occupation in Copenhagen Jorn spends the war years in Denmark where he joins the resistance against the German occupation forces. He gets married and, in 1939, enrolls in the Royal Academy of Fine Arts in Copenhagen. From 1941 until 1944, Jorn publishes the journal Helhesten (Hellhorse) together with Ejler Bille, Egill Jacobsen, Robert Dahlmann Olsen and Carl-Henning Pedersen. His use of the pseudonym “Jorn” (colloquial Danish for “earth”) as artist’s signature is documented from August 1945 on.

1946–1951: Post-war era and Cobra In 1946, Jorn travels to France where he acquaints himself with contemporary trends in international art. In the autumn of 1984, he and the Dutch artists Karel Appel, Constant and Corneille as well as the Belgian poet Christian Dotremont found the Cobra group. Personal friction between the members cause Cobra activities to taper off again after just three years.

1951–1953: Cold War, impending death and new artistic beginning After months of destitution in Paris, Jorn suffers a physical and mental breakdown in April 1951. To recover, he commits himself to a sanatorium in Silkeborg for eighteen months. In the face of impending death, tremendous artistic productivity sets in. He writes a complex essayistic treatise on aesthetics titled Held og hasard (Luck and Chance). By the end of 1953, Jorn gives up his residence in Denmark and travels to Switzerland for a stay at a health resort.

1953–1956: Summer home in Northern Italy and the Movement for an Imaginist Bauhaus Jorn looks for a new domicile on the Mediterranean coast and recommendations from the Italian artist and writer Enrico Baj take him to the small Italian pottery town of Albisola in Liguria. From 1954 on, Jorn spends the summer months in Italy and winters in Paris where he acquires a studio with the financial support of Børge Birch, his Copenhagen gallerist. In 1954, Jorn calls for an international meeting of independent artists, which initially gives rise to the Bauhaus of Imagination and then to the Movimento Internazionale per una Bauhaus Immaginista (MIBI, International Movement for an Imaginist Bauhaus).

2 1957–1960: The Situationist International and artistic breakthrough In 1957, Jorn and the Frenchman Guy Debord co-initiate the Situationist International (SI) as a successor to the MIBI and the post-Dadaist Letterist International; the SI goes on to become one of the most important European artists’ organizations of the twentieth century. At the 1958 World Fair in Brussels, Jorn shows the oil painting Lettre à mon fils (Letter to my Son). This exhibition marks his international breakthrough as an artist.

1961–1967: The Scandinavian Institute of Comparative Vandalism In 1961, Jorn founds the Skandinavisk Institut for Sammenlignende Vandalisme (SISV, Scandi- navian Institute of Comparative Vandalism) and, together with an archaeologist and two photo- graphers, builds a picture library of more than 25,000 photographs. Due to a lack of funds, the twenty-eight-volume account of 10,000 years of Nordic folk art is never published. In 1962, Jorn and his long-time friend Jean Dubuffet record vinyl records with atonal Jazz music. In 1964, the Kunsthalle Basel presents the first major retrospective which is subsequently shown at the Stedelijk Museum in Amsterdam and the Louisiana Museum near Copenhagen. At the same time, his works are on view at the documenta in Kassel and the Tate Gallery in London.

1968–1973: Final years In 1967–68, Jorn spends the time around New Year’s Day in Havana, Cuba, where he partic- ipates in the international Congreso cultural de La Habana. In 1968, Jorn publishes the artists’ book La Langue verte et la cuite (The Raw Tongue and the Cooked One), a collaboration with the French writer Noël Arnaud. After this, he embarks on a round-the-world trip. At the beginning of 1973, Jorn is diagnosed with lung cancer. On 1 May 1973, the artist dies in Aarhus.

3 The Rediscovered Linocuts

A few years ago, a suitcase with fifty-two linocut blocks was discovered in the home of Vagn Ove Jorn, Asger Jorn’s brother. In the 1940s, Jorn had allegedly given the suitcase to his brother for safekeeping. It was forgotten and not found again until relatives emptied the house after Vagn Ove’s death in 2012.

The suitcase and its contents were consigned to the care of the Museum Jorn which commis- sioned the Copenhagen-based printer Niels Borch Jensen to make prints of the blocks. For this purpose, the linocut blocks were mounted on wooden panels and the prints were done with the utmost caution by hand. The printing blocks roughly date from the period between 1933 and 1939. Some of the images are familiar because they had been published, for instance in the boy-scout gazette magazine Luren (The Lur), the school newspaper Maal og Mærke (Ends and Means) or the Marxist monthly Frem (Forward). The majority of the fifty-two linocuts, however, were previously unknown and are therefore not included in the catalogue raisonné of the prints. Most of them were created before Jorn went to Paris in 1936, yet one of the later ones already clearly shows the influence of Paris. A portrait of Jorn’s sister, in turn, was known only through an anecdote: the unhappy sitter had torn up the only print saying, “I am not that ugly.”

4 Jorn as Illustrator

Jorn’s interest in book illustration is awakened early on. In 1932, he creates linocuts as cover images and vignettes for the boy scout gazette Luren (The Lur) and, from 1934 on, also for the school newspaper Maal og Mærke (Ends and Means). He writes an article about newspaper illustration for the latter as well. At this time, he also starts sticking illustrations into existing books and giving them new covers he himself designs. One example of this is Richardt Gandrup’s Macpelas Hule (Macpela’s Cave): the two etchings included in it are Jorn’s first known works in this technique.

In the autumn of 1933, Jorn comes up with the idea of illustrating the Danish psalm book with satirical linocuts to settle a score with “Christian self-complacency”. Under the title Julens Salmer (Christmas Psalms), the linocuts are published in the December issue of the communist monthly Frem (Forward). Jorn publishes them under the artist name A. Isen, because he feels that the drawings should speak for themselves, but also because he wants to find a job as a teacher “to make a living, and I won’t get one when I become known as a revolutionary fellow”. At the same time, the pseudonym is a dig at the religiosity of his maternal family — his grandfather Mads Isen had been very active in the church community.

While undergoing treatment for tuberculosis at the sanatorium in Silkeborg in 1951–52, Jorn writes Held og hasard (Luck and Chance), his first treatise on aesthetics. In early 1952, the manuscript is typeset by the young printer Chas Stecher. Since Jorn has no publisher for the book and his plan to finance the printing through subscription-based sales falls through, he persuades Stecher to print the book in his spare time together with a typographer on a proof press. At the same time, he adds numerous small linocuts to the text, which are printed in the manuscript’s wide margins. One hundred and twenty-one copies are created in this slow and elaborate process. The subjects of the small vignettes — abstracted animal and human figures, vegetal ornaments, mythical creatures, spirals and other shapes — evoke the imagery of early Nordic art which Jorn studies intensively time and again. Held og hasard already points to what will be further elaborated in subsequent writings and in the work of the Scandinavian Institute of Comparative Vandalism founded by Jorn: the notion of a specifically Nordic aesthetic.

In 1936, Jorn travels to Paris and becomes a student in Fernand Léger’s Atelier de l’art contemporain. He falls in love with Genia Katz Rajchmann who works as a model to pay for her tuition fees. Jorn encourages the young woman’s lyrical ambitions. During his second visit to Paris in the spring and summer of 1938, Jorn translates her prose poems into Danish and makes first sketches for an illustrated book later titled Pigen i ilden (The Girl in the Fire). He creates simple line drawings to which monochrome fields in primary colors are added.

In 1940, Jorn starts working on a design for the book Jadefløyten (The Jade Flute) in which text and image are even more closely connected. Jorn translates a French adaptation of Chinese poetry into Danish for this volume which may be seen as a farewell to Genia: The poems selected by Jorn describe love’s bliss, separation, loneliness and the memory of the loved one. The writing neither attempts to draw on Chinese calligraphy nor is it Jorn’s usual handwriting, as he is forced to write with his left hand and in mirror writing on the lithographic stone.

5 With Guy Debord, Jorn realises two book projects: Fin de Copenhague (The End of Copen- hagen, 1957) and Mémoires (Memoirs, 1958). The artistic process used to create the former is close to Action Painting: Sitting on the top rung of a ladder, Jorn dribbles paint onto the printing plates. Then his fellow artist puts advertising slogans, company logos, comics and text fragments with different typographies clipped from magazines and newspapers in the blank areas. The integration of elements from the world of advertising and cheap literature anticipates characteristic features of pop art. Debord’s Mémoires are also composed of prefabricated parts (élements préfabriqués), meaning found texts and images, while Jorn is responsible for the support structures (structures portantes). The surprising use of architectural terms to describe this division of labor on the book’s title page exemplifies the situationist concept of détournement (rerouting, hijacking).

6 Political Involvement

Asger Jorn joins the Communist Party at a young age. In 1933, the just nineteen-year-old artist publishes sixteen linocuts under the title Julens Salmer (Christmas Psalms) in the communist monthly Frem (Forward). His satirical prints illustrate the opening lines of songs from the Danske Salmebog (the hymnbook of the Danish National Church) and are stylistically close to the expressive socially critical prints popular in 1920s Germany.

During the war years Jorn joins the resistance against the German occupation forces. From 1941 until 1944, Jorn publishes the journal Helhesten (Hellhorse) together with fellow Danish artists. As the unofficial organ of artistic resistance, this publication focuses on the dissem- ination of subcultural art forms and ideas vilified by the National Socialists, such as Nordic and African folk art, Jazz music and Surrealism. In 1960, Jorn combines the etchings he created between 1939 and 1945 into a portfolio with the title Occupations, a double entendre alluding to the artist’s activities, and their result presented in this portfolio, as well as to the particular period in which the works were created.

During his time in Switzerland Jorn gets in touch with the Italian artist Enrico Baj. He is inter- ested in the latter’s Movimento Arte Nucleare, which had emerged in response to the atomic bombing of Hiroshima at the end of World War II and in protest against the subsequent nuclear arms race between the USA and the Soviet Union. Jorn expresses his fear of renewed violent conflict in works such as Le droit de l’aigle (The Eagle’s Right, 1951).

In 1957, Asger Jorn and the Frenchman Guy Debord initiate the Situationist International as a transnational culturally revolutionary artists’ association whose analysis of modern society leads to a critique of capitalism and the spectacle of the commodity society. The ideas and slogans of the SI are put into action especially during the Paris student protests of 1968. Jorn, no longer a member of the SI since 1961, solidarizes with the students and produces four protest placards in collaboration with the printer Peter Bramsen. In 1964, he had already expressed his disgust with capitalist art policies in spectacular fashion by refusing to accept the Guggenheim award bestowed on him.

7 Artistic Networks

After long years of isolation due to the German occupation of Denmark during World War II, Jorn establishes contacts throughout Europe to push for joint artistic activities. On 8 November 1948, he and the Belgians Christian Dotremont and Joseph Noiret as well as the Dutchmen Karel Appel, Constant and Corneille sign the founding Cobra manifesto on behalf of each of their experimental art groups. The name is an acronym combining the first letters of the English names for the capitals of the artists’ three nations: Copenhagen, Brussels and Amsterdam. Dissociating itself from Constructivism and Social Realism, the artists’ association, which will last no more than three years, rejects any stylistic fixation and dogmatic constriction, instead promoting experimentation and openness to impulses from Nordic mythology, folk art and the art of people untainted by civilization.

In the early 1950s, Jorn also follows with great interest the plans of Max Bill at the Ulm School of Design to revive the ideals of the Bauhaus which the Nazis had shut down — albeit without including free, experimental painting. In 1954, Jorn responds by calling for an international meeting of independent artists which gives rise to the International Movement for an Imaginist Bauhaus (Movimento Internazionale per una Bauhaus Immaginista, MIBI). Jorn sees the MIBI as a way to establish a transnational artists’ association similar to the Cobra group.

In 1957, Jorn and the French Marxist social philosopher Guy Debord, the writer Michèle Bernstein, the politically active, leftist chemist and painter Pinot Gallizio and the artist Ralph Rumney found the Situationist International (SI) to succeed and extend the MIBI. The SI goes on to become one of the most important European artists’ organizations of the twentieth century with as many as seventy members. Disputes about the relationship of art and politics in general and specifically about the role of painting within the movement lead to the expulsion and voluntary resignation of those members who formed the artistic core of the SI. Jorn, who had acted as an intermediary between the different factions just as he had during the time of Cobra, leaves the group in 1961.

8 Jorn and His Printers

Jorn prints his first etchings and linocuts himself — some probably on the presses of the (under- ground) publications he works for, others in the printmaking workshop of the Royal Academy of Fine Arts in Copenhagen. For large print runs and lithographs, however, he needs to work with professional printing workshops. His experimental practice requires a great willingness on the part of the printers to try out new things and invest much time and material in proofs and different versions. Jorn’s precarious financial situation and frequent work interruptions due to other projects, which cause work on a print series to sometimes drag on for years, make for difficult conditions. As a result, the relationships Jorn develops with the printers who accept this challenge are all the more intense and usually longstanding.

Jorn prints his first lithographs in the mid-1940s in the printing workshop of Jens Christian Sørensen whom he meets through the Academy’s School of Graphic Arts. In the early 1950s, after an argument about reimbursement for services rendered, the relationship trails off. Drawings on tracing paper for a series of color lithographs remain in the possession of Sørensen. In 1970, Jorn completes the works in Sørensen’s new printing workshop and publishes them under the title Silkeborg Suite.

In the 1960s, Jorn starts working with the Sørensen-trained Danish printer Peter Bramsen in Paris (Imprimerie Clot, Bramsen & Georges). The collaboration with Bramsen continues until the end of Jorn’s life, as does the cooperation with Erker-Presse in St. Gallen where Jorn first prints lithographs in 1966.

Especially in his later years, Jorn often creates his color lithographs and woodcuts from a single stone or printing block. In other words, he doesn’t show up at the printmaking workshop with the prepared printing block, but carves it on site, prints the entire planned print run in one color, continues carving, prints the next color over the first one, and so on. This technique requires Jorn’s presence during the entire process and demands his utmost concentration, as it leaves very little room for correction. In 1971, the artist Pierre Alechinsky captured the concentrated atmosphere in Peter Bramsen’s Paris printing workshop in a series of photographs which show Jorn working on the woodcut series Études et surprises (Studies and Surprises).

9 The Schweizer Suite

In October 1953, after an eighteen-month stay at the sanatorium in Silkeborg, Asger Jorn decides to move with his family to Switzerland to recover from the tuberculosis he had contracted. In Ollon, a small municipality near Montreux, he rents a house euphoniously named Chalet Perce-Neige (Chalet Snowdrop). By chance, he makes the acquaintance of René Disteli who runs a printmaking workshop in Zurich. Motivated by the possibilities this opens up, Jorn starts working on a new series of prints, creating forty-three etchings during the winter of 1953–54. After having overcome the life-threatening illness, these works take stock of what has been achieved, with some of the prints already hinting at new approaches in terms of formal aesthetics. Due to his tight financial situation, Jorn can only afford to have a few copies printed by Disteli. In 1961, he therefore decides to rework a selection of twenty-two etchings with drypoint and have the Munich-based Galerie van de Loo publish them as a portfolio edition titled Schweizer Suite (Swiss Suite). The prints are not connected as a suite; the series title can be explained as a reference to their place of origin. The reprinting is done by Graf-Presse in Munich.

10 The Scandinavian Institute of Comparative Vandalism

The artistic tradition of Denmark is already an object of intense study for Jorn during the period of occupation. In 1948, he starts writing a first text about the imagery of Nordic mythology, and the following year Jorn and State Antiquary Peter Vilhelm Glob decide to jointly publish a book titled Olddansk kunst (Ancient Danish Art). Jorn’s text deviates from the conventions of scientific archaeology: In keeping with his Marxist-inflected concept of history he focuses on social context and production conditions in describing the ancient art. Olddansk kunst remains an unpublished fragment, but the manuscript continues to be relevant to Jorn throughout his life and serves as the basis for the vision he articulates in 1961 of a massive series of books about “10 000 Years of Nordic Folk Art”. Glob continues to be involved and Jorn gets the young photographer Gérard Franceschi on board for the project which is provocatively dubbed Skandinavisk Institut for Sammenlignende Vandalisme (Scandinavian Institute of Comparative Vandalism).

Between 1962 und 1964, four volumes of the series Meddelelse fra Skandinavisk Institut for Sammenlignende Vandalisme (Transactions of the Scandinavian Institute of Comparative Vandalism) are published, including the second edition of Held og hasard (Luck and Chance). In 1965, the institute is officially founded and given its own location in Silkeborg.

The book series is to eventually grow to twenty-eight volumes. Jorn develops the design concept and also invites authors, but no publisher is found for the ambitious project. A single sample volume about stone sculptures in the province of Scania is produced; the 120 copies that are printed are sent to potential supporters of the project. Outside of the series, Permild & Rosengreen in Copenhagen publishes Signes gravés, a book about historical graffiti on the walls of Norman churches. The picture library of the institute which ultimately comprises some 26,000 photographs is the only tangible result of the project.

By the end of 1965, Jorn considers his part in the production of the book series completed and announces the closing of the institute: “My work is in the artistic and theoretical domains, and this being the case, I can say that, for my part, the book project is now finished. Whether it is realized in practice is really of no concern to me. … The work I am submitting is thus, as far as I am concerned, completed.”

11 Artistic HEights

The desire to take the expressive possibilities inherent to the various printmaking techniques to extremes keeps fueling Jorn’s eagerness to experiment. In February 1963, he creates a large series of experimental lithographs, the so-called Jubiläumsserie (Anniversary Series), at the Permild & Rosengreen workshop. The creative process involves dipping the balls used to create grainy textures on the plates in the printing process in lithographic ink and having them roll across the printing plates.

Around his fiftieth birthday Jorn is at the acme of his career. The Kunsthalle Basel presents his first major retrospective which subsequently travels to the Stedelijk Museum in Amsterdam und the Louisiana Museum in Humlebæk near Copenhagen. His works are also shown at the Tate Gallery in London and the documenta in Kassel. Very little time remains for printmaking. Not until 1966 does Jorn tackle a series of twenty-seven drypoints: figures emerge from seemingly hastily dashed bundles of lines, while tight hatchings make for dynamic chiaroscuro contrasts.

Around Christmas and New Year 1966–67, Jorn creates the color lithographs for the series Von Kopf bis Fuss. Handgemachter Alp-Druck aus Heiliger Galle (From Head to Toe. Handmade Nightmare in Sacred Bile) at Franz Larese’s Erker-Presse in St Gall. The first part of the title evokes one of the most famous songs performed by Marlene Dietrich (“Ich bin von Kopf bis Fuß auf Liebe eingestellt” [I am, from head to toe, ready for love] from the film The Blue Angel), while the second part refers to the arduous production process: Jorn develops the series on one and the same stone. The entire print run of one image is printed and then the drawing is washed off to create the next drawing on the stone. “The artist and printer worked like mad. They started at seven in the morning, and at ten at night they were still standing in the smoky workshop, looking exhausted and tired.”

After this intense time in St Gall the artist goes to the printmaking workshop of Peter Bramsen in Paris. During a work break there, the staff gather around a large wooden table and Jorn carves a small figure into the table top. At Bramsen’s suggestion, this is made into a print — Coupures de table (Cuts in Tabletop, 1967).

12 Final Years

Jorn’s openness to experiments is once again clearly evident in the 1969 color lithograph La vallée du charme: the artist dips crumpled newsprint in ink and presses it on the stone to create a ground. The paper’s many creases produce a fine-veined web evoking the — greatly enlarged — ribbed structure of a leaf. By combining this background texture with the four drawn figures and a brush-painted red sky Jorn exhausts all possibilities of the printmaking technique. The high print run of 300 copies is due to the fact that the print was distributed by the Prisunic department store chain.

Jorn’s other lithographic adventures in 1969 result in 9 intimités graphoglyptiques (9 Grapho- glyptic Intimacies), a portfolio of prints characterized by an unusual density of colors. And the following year sees the production of his largest print at the Fratelli Pozzo workshop in Turin: Die zwei Elemente (The Two Elements). This lithograph measures 210 by 142 cm.

Woodcuts play a central role in Asger Jorn’s last creative period. In 1970, the Edition der Galerie van de Loo in Munich publishes the Untitled series of nineteen woodcuts (thirteen of which are in color), and the following year the artist creates the twelve prints of the series Études et surprises (Studies and Surprises) at the Clot, Bramsen et Georges printmaking workshop in Paris. his admiration for Edvard Munch shows in these works. Shortly after the end of World War II, Jorn had illegally crossed the border into Norway to visit the memorial exhibition devoted to the artist — who had died in 1944 — at the National Museum in Oslo. Munch was well known in the international art scene, but then as now primarily for his work from around 1890. Jorn was surprised and deeply impressed by the late work produced after the turn of the century, which left a mark on his own oeuvre.

Jorn once more ventures into new territory in the etching technique as well: for the 1971 series Entrée de secours (Emergency Entrance, 1971) he wants to test the coloristic possibilities of drypoint. The elaborate process involves making a new plate for each color. Jorn decides to work with Georges Visat as a printer who consummately commands this technique. The resulting color drypoints harmoniously combine the material qualities of drypoint and aquatint.

13 Catalogue of works

Works are listed in chronological order. Particulars according to Asger Jorn. Werkverzeichnis der Druckgraphik / Catalogue Raisonné of Prints, 2nd edition, ed. by Galerie van de Loo and Silkeborg Kunstmuseum, Copenhagen: Silkeborg Kunstmuseum Forlag, 2009. The artist did not determine any specific order for the individual works within a series. All works, unless stated otherwise, belong to Museum Jorn in Silkeborg, Denmark.

14 1–52 60 68 Untitled, 1933–1939 I østen stiger solen op, 1933 Untitled, 1933 52 linocuts (The sun is rising in the East) Illustration, glued into Richardt Printer: Niels Borch Jensen Editions, Linocut Gandrup, Macpelas Hule, 1920 Copenhagen Etching Museum prints (2018) 61 Only known copy Kongernes konge, 1933 53 (The King of Kings) 69 Bildnis eines jungen Mannes, 1932 Linocut Untitled, 1933 (Portrait of a young man) Illustration glued into Richardt Linocut 62 Gandrup, Macpelas Hule, 1920 Morgenstund har guld i mund vi til Etching 54 vort arbejd ile, 1933 Only known copy Bildnis einer Frau mit schräg (Golden light of morning bright, is gestellten Augen, 1932 shed upon my labor) 70 (Portrait of a woman with slanted Linocut Profilkopf ältere Frau, 1933 eyes) (Profile of an elderly woman) in stor Linocut 63 Etching age Printer: Niels Borch Jensen, Anger og bøn, 1933 Printer: Asger Jorn Copenhagen (Repentance and prayer) Only known copy Museum print (1985) Linocut 71 55 64 Ex libris A J (Asger Jørgensen), 1933 Bildnis einer jungen Frau, 1932 Lov dog den herre som alting saa Illustration, glued into Richardt (Portrait of a young woman) herligt regerer, 1933 Gandrup, Macpelas Hule, 1920 Linocut (Praise the Lord who governs Woodcut and linocut Printer: Niels Borch Jensen, everything gloriously) Copenhagen Linocut 72 Museum print (1985) Cover of Luren. Oficielt Organ for 65 K.F.M.U. — Spejderne — Silkeborg 56 Loven er et helligt bud, viser os Afdeling, PHH 1, February 1933 Cover of Luren. Oficielt Organ for vor gud alene, 1933 Linocut K.F.M.U. — Spejderne — Silkeborg (The law is a sacred call, Afdeling, PHH 1, June 1932 showing us our Lord and Saviour) 73 Linocut Linocut Untitled (Still life with brushes and vase), 1933 57 66 Cover of Maleriudstilling Jydsk Cover of Luren. Oficielt Organ for Men vor fader i det høje, han lever!, Forening for moderne Kunst, K.F.M.U. — Spejderne — Silkeborg 1933 Bibliotekssalen 1, Silkeborg, Afdeling, PHH 1, July 1932 (But our Father from on high, He is 21—29 October 1933 Linocut living!) Linocut Linolschnitt 58 74 Cover of Luren. Oficielt Organ for 67 Silkeborg Gaswerk, 1933 K.F.M.U. — Spejderne — Silkeborg Med sørgen og klagen hold maade (Silkeborg gasworks) Afdeling, PHH 1, September 1932 guds ord lad jer trøste og raade, Linocut in stor age Linocut 1933 Only known copy (Desist from your grief and 59 lamenting, let the word of God bring 75 Julens Salmer, 1933 you comfort) Priester, 1934 (Christmas psalms) Linocut (Priest) In Frem — Marxistisk Månedshæfte, Print in a letter to Else Rasmussen, vol. 2, no. 3, December 1933 19 April 1934 16 linocuts Linocut

15 76 95 102 Amboss, 1934 Untitled, 1939 Untitled, approx. 1940 (Anvil) Etching Linocut Print in a letter to Else Rasmussen, Printer: Asger Jorn at the Royal Printer: Max Müller, Copenhagen, 19 April 1934 Academy of Fine Arts (Graphic 1978 Linocut Arts School), Copenhagen Edition unknown Several trial proofs 77 103 Straßenszene mit Laterne, 1934 96 Jadefløjten, 1940 (Street scene with lantern) Foldet Objekt, 1939 (The jade flute) Print in a letter to Else Rasmussen, (Folded object) 23 lithographs with calligraphed text in stor 19 April 1934 Etching age Printer: Asger Jorn at the Royal Linocut Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Academy of Fine Arts (Graphic Arts School), Copenhagen 78 Arts School), Copenhagen Edition: 10 La Garçonne, 1934 2 trial proofs Linocut on the cover of 104 Maal og mœrke. Skoleblad for 97 Untitled, 1940 Silkeborg Seminarium Untitled, 1939 Etching Only known copy Lithograph Printer: Asger Jorn at the Royal Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic 79 Academy of Fine Arts (Graphic Arts School), Copenhagen Blick auf Silkeborg von der Halbinsel Arts School), Copenhagen Only known copy Odden, 1934–35 Several trial proofs (View to Silkeborg from Peninsula 105 Odden) 98 Untitled, 1940 Linocut Untitled, 1940 Etching Only known copy Lithograph Printer: Asger Jorn at the Royal Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic 80–92 Academy of Fine Arts (Graphic Arts School), Copenhagen 13 Linolschnitte, 1935 Arts School), Copenhagen Edition: 15 (13 linocuts) Several trial proofs 13 linocuts 106 Printer: Niels Borch Jensen, 1985 99 Untitled, 1940 Museum print Untitled, 1940 Etching Etching Printer: Asger Jorn at the Royal 93 Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Untitled, 1937 Academy of Fine Arts (Graphic Arts School), Copenhagen Linocut Arts School), Copenhagen Edition: 15 Edition: approx. 10 Several trial proofs 107 94 100 Untitled, 1940 Pigen i ilden, 1938 (1939) Untitled, approx. 1940 Etching (The girl in the fire) Linocut Printer: Asger Jorn at the Royal Illustrations for the poems of Printer: Max Müller, Copenhagen, Academy of Fine Arts (Graphic Genia Katz Rajchmann 1978 Arts School), Copenhagen 16 stereotyped drawings with Edition unknown Edition: 15 color linocuts Publisher: Asger Jørgensen 101 108 Printer: A. Bernhard Larsen, Untitled, approx. 1940 Untitled, 1940 Silkeborg Linocut Etching Edition: 200 Printer: Max Müller, Copenhagen, Printer: Asger Jorn at the Royal 1978 Academy of Fine Arts (Graphic Edition unknown Arts School), Copenhagen Edition: 15

16 109 116 123 Untitled, 1940 Untitled, 1941 Sneglen, 1942 Etching Etching (The snail) Printer: Asger Jorn at the Royal Printer: Asger Jorn at the Royal Etching Academy of Fine Arts (Graphic Academy of Fine Arts (Graphic Printer: Asger Jorn at the Royal Arts School), Copenhagen Arts School), Copenhagen Academy of Fine Arts (Graphic Edition: 15 Edition: 15 Arts School), Copenhagen Several trial proofs 110 117 Untitled, 1940 Untitled, 1941 124 Etching In Helhesten, vol. 1, issue 3 Untitled, 1942 Printer: Asger Jorn at the Royal Linocut in stor Lithograph age Academy of Fine Arts (Graphic Publisher: Helhesten, Copenhagen Publisher: Helhesten, Copenhagen Arts School), Copenhagen Printer: Selandia, Copenhagen Edition: 800 Edition: 15 Edition: 800 125 111 118 Untitled, 1942 Untitled, 1940 Untitled, 1941–42 Color lithograph Etching Lithograph Printer: Asger Jorn at the Royal Printer: Asger Jorn at the Royal Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Academy of Fine Arts (Graphic Academy of Fine Arts (Graphic Arts School), Copenhagen Arts School), Copenhagen Arts School), Copenhagen 2 trial proofs known Edition: 15 Several trial proofs 126 112 119 Untitled, 1942 Kvindehuset, 1940 Untitled, 1941–42 Color lithograph (The women’s house) Drypoint Printer: Asger Jorn at the Royal Etching Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Arts School), Copenhagen Academy of Fine Arts (Graphic Arts School), Copenhagen Several trial proofs Arts School), Copenhagen Only known copy Several trial proofs 127 120 Untitled, 1942 113 Untitled, 1942 Color lithograph Untitled, 1940 Etching Printer: Asger Jorn at the Royal Etching Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic Arts School), Copenhagen Academy of Fine Arts (Graphic Arts School), Copenhagen Several trial proofs Arts School), Copenhagen Edition: 15 Several trial proofs 128–150 121 Occupations, 1939–1945 114 Untitled, 1942 23 etchings, partly with aquatint Ohne Titel, 1940 In Asger Jorn, Tegninger, Silkeborg Publisher: Galerie Rive Gauche, Color lithograph Kunstmuseums Forlag, Silkeborg, Paris Printer: Asger Jorn at the Royal 1979 Printer: R. Tamburro, Paris, 1960 Academy of Fine Arts (Graphic Etching Edition: 50 Arts School), Copenhagen Several trial proofs 122 128 Dyret, 1942 La barbe verte (The green beard), 115 (The animal) 1939 Untitled, 1941 Etching Etching Printer: Asger Jorn at the Royal 129 Printer: Asger Jorn at the Royal Academy of Fine Arts (Graphic La tête carrée (The square head), Academy of Fine Arts (Graphic Arts School), Copenhagen 1939 Arts School), Copenhagen Edition: 15 Edition: 15

17 130 145 155 La mélodie humaine (The human Chanson de nuit pour chasseur Untitled, 1945 melody), 1939 (Song of the night for the hunter), Supplement to Helhesten, vol. II, 1945 issue 5–6 131 Color lithograph La rivière amoureuse (The love river), 146 Publisher: Helhesten, Copenhagen 1942 Hurlement discret (Discret howling), Printer: Jens Christian Sørensen & 1945 Co, Copenhagen 132 Several trial proofs Helhesten (Hellhorse), 1942 147 Étres dans l’ombre (Beings in the 156 133 shadow), 1945 Untitled, 1944 Beat Generation, 1942 Front cover of the portfolio of 148 Helhesten, vol. II 134 Rencontre inutile (Useless Lithograph Jeu masque (Hidden game), 1942 encounter), 1945 Publisher: Helhesten, Copenhagen Printer: Jens Christian Sørensen & 135 149 Co, Copenhagen Caresse géologique (Geological L’oiseau rare (The rare bird), 1945 Edition: approx. 200 caress), 1942 150 157 136 Masque (Mask), 1945 Untitled, 1944 Les ondes courtes (The short Back cover of the portfolio of waves), 1942 151 Helhesten, vol. II Untitled, 1945 Lithograph 137 New Year’s card, Rive Gauche Publisher: Helhesten, Copenhagen La pensée encombrante (The Gallery, Paris Printer: Jens Christian Sørensen & unwieldy thought), 1942–43 Etching Co, Copenhagen Edition: 200 Edition: approx. 200 138 Les chevaux dans les fjords 152 158 (The horses in the fiords), 1943 Untitled, 1943 Untitled, 1944 Supplement to Helhesten, vol. II, Advertisement in Helhesten, vol. II, 139 issue 2–3 issue 5–6 L’innocence impure (Impure Color lithograph Color lithograph innocence), 1943 Publisher: Helhesten, Copenhagen Publisher: Helhesten, Copenhagen Printer: Jens Christian Sørensen & Printer: Jens Christian Sørensen & 140 Co, Copenhagen Co, Copenhagen Le petit monde (The small world), Edition: approx. 800 Edition: approx. 800 1943 153 159 141 Untitled, approx. 1943–44 Advertisement for Thorkild Hansens Sympathie (Sympathy), 1944 Linocut Kunsthandel, 1944 Printer: Niels Borch Jensen, 1985 In Helhesten, vol. II, issue 5–6 142 Edition unknown Color lithograph Ohé!, 1944 Publisher: Helhesten, Copenhagen 154 Printer: Jens Christian Sørensen & 143 Untitled, approx. 1943–44 Co, Copenhagen Dépression soutenue (Supported Linocut Edition: approx. 800 depression), 1944 Printer: Niels Borch Jensen, 1985 Edition unknown 144 Falbo, 1945

18 160 166 183 Untitled, 1944 Untitled, 1945 Untitled, 1945 In the portfolio Grafik og Lyrik, 1944, Etching Lithograph with works by Else Alfelt, Aagaard Several trial proofs Edition: 2 Andersen, Frede Christoffersen, Louis Ehlers, Ruth Højberg- 167 184 Pedersen, Asger Jorn, Jane Muus, Untitled, 1945 Salvi Dylvo, 1945 Carl-Henning Pedersen, Palle Pio, Etching Illustrationes for Jørgen Nash, Dan Sterup Hansen Edition: 10 Salvi Dylvo, Copenhagen, 1945 Lithograph Lithographs Publisher: Carit Andersen, 168 Publisher: Helhesten, Copenhagen Copenhagen Untitled, 1945 Printer: Jens Christian Sørensen & Printer: F. Lindegaard, Copenhagen Etching Co, Copenhagen Edition: 450 Edition: 10 Edition: 300

161 169 185 Untitled, 1944 Untitled, 1945 Untitled, 1945–46 In the portfolio 5 original litografier, Etching With Robert Jacobsen, Richard 1945, with works by Henry Heerup, Printer: Asger Jorn at the Royal Mortensen, Carl-Henning Pedersen Egill Jacobsen, Asger Jorn, Egon Academy of Fine Arts (Graphic Color lithograph Mathiesen, Richard Mortensen Arts School), Copenhagen Publisher: Helhesten, Copenhagen Color lithograph Only known copy Printer: Jens Christian Sørensen & Publisher: Thorkild Hansen, Co, Copenhagen Copenhagen 170 Trial proof Printer: Jens Christian Sørensen & Untitled, 1946 Co, Copenhagen Etching 186 Edition: 100 Edition: 10 Untitled, 1945–46 With Robert Jacobsen, Richard 162 171–179 Mortensen, Carl-Henning Pedersen Sommerleg, 1944 Ars-Mappe, 1945 Color lithograph (Summerlike) (Ars portfolio) Publisher: Helhesten, Copenhagen Color lithograph 8 lithographs and cover Printer: Jens Christian Sørensen & Publisher: Thorkild Hansen, Publisher: ARS, Stockholm, 1949 Co, Copenhagen Copenhagen Printer: Jens Christian Sørensen & Trial proof Printer: Jens Christian Sørensen & Co, Copenhagen Co, Copenhagen Edition: 160 187 40 trial proofs Skal han beholde sin krigsformue, 180 May 1945 163 Untitled, 1945 (Should he keep his war fortune) in stor Tolitikuja, 1945 Lithograph age Poster design for the Danish Etching Printer: Jens Christian Sørensen & Communist Party Edition: 10 Co, Copenhagen Color lithograph Several trial proofs Printer: Jens Christian Sørensen & 164 Co, Copenhagen Untitled, 1945 181 Edition: 3 Etching Untitled, 1945 Edition: 10 Lithograph 188 in stor Printer: Jens Christian Sørensen & Untitled, 1947 age 165 Co, Copenhagen Catalogue cover of Abstrakt kunst Untitled (Dovregrubbe), 1945 Several trial proofs Color lithograph Etching Publisher: Tokantes Kunsthandel, Edition: 10 182 Copenhagen Untitled, 1945 Printer: Jens Christian Sørensen & Lithograph Co, Copenhagen Printer: Jens Christian Sørensen & Edition: 500 Co, Copenhagen Several trial proofs

19 189 194 201–207 Untitled, 1947 Untitled, 1949 Silkeborg Suite 1952–1970, 1970 Catalogue cover of Abstrakt kunst i In the magazine Cobra 7 color lithographs Danmark Color lithograph Printer: Jens Christian Sørensen & Color lithograph Publisher: Cobra Group Co, Copenhagen Publisher: Tokantes Kunsthandel, Printer: Jens Christian Sørensen & Edition: 100 Copenhagen Co, Copenhagen Printer: Jens Christian Sørensen & Edition: approx. 1000 201 Co, Copenhagen Le chat qui rit (The laughing cat) Edition: 500 195 Untitled, 1950 202 190 Cover of Asger Jorn issue of the Untitled Untitled, 1948 Cobra Library Exhibition poster Color lithograph 203 Linocut, reworked with oil pastel Publisher: Cobra Group Dieu chantant de la bouteille/ Publisher: Galerie Breteau, Paris Printer: Jens Christian Sørensen & chanson du dieu de la bouteille (God Printer: Grou-Radenez, Paris Co, Copenhagen singing of the bottle/Song of the god Edition: 200 Edition: 1000 of the bottle) Museum der Moderne Salzburg 191 Collection 204 Untitled, 1949 Sujet romantique (Romantic subject) Exhibition poster for the artist 196 group Spiralen Untitled, 1950 205 Color lithograph Lithograph, drawn with fingers Drame romantique (Romatic drama) Printer: Asger Jorn at the Royal Printer: Jens Christian Sørensen & Academy of Fine Arts, Copenhagen Co, Copenhagen 206 Edition: approx. 300 Edition: 2 Barbarie au clair de lune (Barbarism in the moonlight) 192 197 Untitled, 1948 Untitled, 1951 207 Cover of the planned book Dessins Exhibition poster Tendresse ratée (Missed de Asger Jorn Color lithograph tenderness) Color lithograph Publisher: Galerie Pierre, Paris Publisher: Galerie René Drouin, Printer: Jens Christian Sørensen & 208 Paris Co, Copenhagen Untitled, 1952 Printer: Jens Christian Sørensen & Edition: 200 Lithograph Co, Copenhagen Printer: Jens Christian Sørensen & Edition: approx. 200 198 Co, Copenhagen Le droit de l’aigle, 1951 Approx. 10 trial proofs 193 (The eagle’s right) Untitled, 1949 Color linocut 209 Cover of first issue of Cobra, with Several trial proofs Les sables d’or, Tunesia (Souvenir), Egill Jacobsen, Carl-Henning 1952 Pedersen 199 (The golden sands, Tunisia Color lithograph Return to the detested city, 1951 [Souvenir]) Publisher: Cobra Group Color lithograph Color lithograph Printer: Jens Christian Sørensen & Printer: Jens Christian Sørensen & Printer: Jens Christian Sørensen & Co, Copenhagen Co, Copenhagen Co, Copenhagen Edition: 1000 Edition: 5 Approx. 10 trial proofsand states

200 210 Espace vitale, 1951 Opus 4A d’une mythe muet, 1952 (Vital space) (Opus 4A of a silent myth) Color lithograph Color lithograph Printer: Jens Christian Sørensen & Printer: Jens Christian Sørensen & Co, Copenhagen Co, Copenhagen Edition: 5 Edition: 100

20 211 218 225 Golocup devorant une missionaire Af den stumme myte, opus 4b, 1952 Untitled, 1953 in stor (Fabelvæsen), 1952 (About the silent myth, opus 4b) Exhibition poster age (Golocup devouring a missionary Color lithograph Color linocut and color woodcut [Fabulous creature]) Printer: Permild & Rosengreen, Printer: Asger Jorn at Emil Stechers Color linocut and color woodcut Copenhagen Bogtrykkeri, Silkeborg Several trial proofs Edition: 100 226–268 212 219 43 Radierungen, 1953–54 Indbildt ensomhed, 1952 Untitled, 1953 (43 Etchings) (Imaginary loneliness) With Sven Dalsgaard Etchings, some with aquatint in stor Color linocut and color woodcut Color lithograph age Printer: Disteli, Geneva Several trial proofs Printer: Permild & Rosengreen, Edition: 15 Copenhagen 213 Edition: 25 226 Frugtsommelig Sygeplejerske, 1952 Pastorale (Pregnant nurse) 220 Color linocut and color woodcut Caput Mortuum, 1953 227 Several trial proofs Color lithograph Détails taillés (Trimmed details) Printer: Permild & Rosengreen, 214 Copenhagen 228 Untitled, 1952 Edition: 30 La mère des mers (The mother of Color linocut and color woodcut the seas) Edition: 25 221 Den røde jord, 1953 229 215 (The red earth) Mads Opus 2 d’une mythe muet, 1952 Color lithograph (Opus 2 of a silent myth) Printer: Permild & Rosengreen, 230 Cover of Asger Jorn, Held og Copenhagen La mer attire (The sea attracts) Hasard. Dolk og Guitar, Silkeborg, Edition: approx. 30 1952 231 Color linocut 222 Untitled Printer: Asger Jorn at Emil Stechers Jyske Linier, 1953 Bogtrykkeri, Silkeborg (Jutish Lines) 232 Edition: 25 signed and 100 unsigned Color lithograph Juge et prêtre (Judge and priest) copies Printer: Permild & Rosengreen, Copenhagen 233 216 Edition: approx. 30 Visage attentif (Attentive face) Held og Hasard. Dolk og Guitar, 1952 (Luck and chance. Dagger and 223 234 guitar) Untitled, 1953 Einsamer Wanderer (Lonely Book with 79 color linocuts Catalogue cover, Galerie Birch, wanderer) Printer: Asger Jorn and Johannes Copenhagen, and Tapet og Kunst, Gregersen at Emil Stechers Odense 235 Bogtrykkeri, Silkeborg Color lithograph Imbécile en danger (Fool in danger) Edition: 25 signed and 100 unsigned Printer: Permild & Rosengreen, copies Copenhagen 236 Edition: approx. 300 Bellmann 217 Komitten til udbredelse af Dansk 224 237 skønhed i udlandet, 1952 La roue de la fortune, 1953 Untitled (Committee for the propagation of (The wheel of fortune) Danish beauty in foreign lands) Color linocut and color woodcut 238 Color linocut Printer: Selandie, Copenhagen Untitled Edition: 25 Edition: 1000 239 Untitled

21 240 257 271 Cornu (Cuckold) Femelle interplanetaire No birth in the sky, 1954 (Interplanetary female) Color linocut and color woodcut in stor 241 Several trial proofs age Vierge obstinée (Headstrong virgin) 258 Résistance masculine (Male 272 242 resistance) Le forêt demivierge, 1954 Fonctionaires encerclés (Orbiting (The demi-virgin forest) officials) 259 Color lithograph Les enfants d’engeulent (The Publisher: Asger Jorn and Permild & 243 children quarrel) Rosengreen, Copenhagen Passion lugubre (Dark passion) Printer: Permild & Rosengreen, 260 Copenhagen 244 Schweizer Garde (Swiss Guards) Edition: 200 Silence de promenade (Silence of the walk) 261 273 Conférence à sept (Conference Les suédoises s’amusent, 1955 245 for seven) (The Swedish women are amusing Untitled themselves) 262 Color lithograph 246 L’étranger au village (The stranger Publisher: Asger Jorn and Permild & Rencontre (Meeting) in the village) Rosengreen, Copenhagen Printer: Permild & Rosengreen, 247 263 Copenhagen L’homme araigné (The spider-man) L’un est contraire (One is contrary) Edition: 300

248 264 274 Jeu á deux (Game for two) Double délire (Double delirium) Troldtøj, 1955 (Spook) 249 265 Color lithograph Hiver (Winter) Paysage inondé en Hollande Publisher: Asger Jorn and Permild & (Flooded Dutch landscape) Rosengreen, Copenhagen 250 Printer: Permild & Rosengreen, Salaud solaire (Golden swine) 266 Copenhagen Gaieté retenue (Restrained Edition: 200 251 cheerfulness) Odradek 275 267 Portrait de trois imprimeurs, 1955 252 Je suis plein (I’m filled up) (Portrait of three printers) Le droit de l’aigle (The eagle’s right) Color lithograph 268 Publisher: Permild & Rosengreen, 253 Japonais ironique (Ironic Japanese) Copenhagen Solitude imagine (Imaginary Printer: Permild & Rosengreen, loneliness) 269 Copenhagen Untitled, 1954 Edition: 30 in stor 254 Color lithograph age Création cosmique (Cosmic Printer: Permild & Rosengreen, 276 creation) Copenhagen Untitled, 1955 Edition: 1000 Supplement to magazine Hvedekorn, 255 Copenhagen Mon château d’espagne (My Spanish 270 Lithograph castle) Untitled, 1954 Publisher: Kunst og Kultur, Catalogue cover, Galleria Copenhagen 256 L’Asterisco, Rome Printer: Permild & Rosengreen, in stor Le roi d’oiseaux (The king of the Lithograph age Copenhagen birds) Publisher: L’Asterisco, Rome Edition: 1500 Edition: approx. 500

22 277 283 289 Untitled, 1955 Untitled, 1956 Untitled, 1958 in stor in stor Exhibition poster, age Catalogue cover, Galerie Taptoe, Color lithograph age Kunstindustrimuseet, Copenhagen Brussels Publisher: Edition Galerie van de Color lithograph Color lithograph Loo, Munich Printer: Permild & Rosengreen, Publisher: Galerie Taptoe, Brussels Printer: Permild & Rosengreen, Copenhagen Printer: Permild & Rosengreen, Copenhagen Edition: approx. 500 Copenhagen Edition: 50 Edition: 1000 278 290 Untitled, 1955 284 Marroncino del Mattino, 1958 New Year’s card Untitled, 1958 (Maroon of the morning) Color potato print Catalogue cover, Institute of Color lithograph Printer: Asger Jorn with his children Contemporary Arts, London Publisher: Asger Jorn and Permild & Color lithograph Rosengreen, Copenhagen 279 Printer: Permild & Rosengreen, Printer: Permild & Rosengreen, Untitled, 1955–56 Copenhagen Copenhagen in stor Color linocut age Edition: 1000 Edition: 30 Edition: 2 285 291 280 Untitled, 1956 Dead spot, 1958 Untitled, 1956 Color lithograph Color lithograph in stor Lithograph age Printer: Permild & Rosengreen, Publisher: Asger Jorn and Permild & Publisher: Eristica, Turin Copenhagen Rosengreen, Copenhagen Edition: 800 Edition: 30, 10 in color Printer: Permild & Rosengreen, Copenhagen 281 286 Edition: 30 Untitled, 1956 Untitled, 1956 Cover of Asger Jorn. Color lithograph 292 Werkverzeichnis Druckgraphik, 1976 Publisher: Asger Jorn and Permild & Porca miseria, 1958 Color lithograph Rosengreen, Copenhagen (Bloody hell) Publisher: Edition van de Loo, Printer: Permild & Rosengreen, Color lithograph Munich Copenhagen Printer: Permild & Rosengreen, Printer: Permild & Rosengreen, Edition: 30, 10 in color Copenhagen Copenhagen Edition: 35 Edition: 1800 287 Museum der Moderne Salzburg Karpen, 1957 293 Collection (Carp) Nostalgie sans espoir, 1958 Color lithograph (Nostalgia without hope) 282 Publisher: Asger Jorn and Permild & Color lithograph Untitled, 1956 Rosengreen, Copenhagen Printer: Permild & Rosengreen, Supplement to Asger Jorn. Printer: Permild & Rosengreen, Copenhagen Werkverzeichnis Druckgraphik, 1976 Copenhagen Edition: 30 Color lithograph Edition: 30 Publisher: Edition van de Loo, 294 Munich 288 Violon de Jorn, 1958 Printer: Permild & Rosengreen, Fin de Copenhague, 1957 (Jorn’s violin) Copenhagen (The end of Copenhagen) Color lithograph Edition: 1800 With Guy Debord Printer: Permild & Rosengreen, Museum der Moderne Salzburg Color lithographs Copenhagen Collection Publisher: Le Bauhaus imaginiste Edition: 35 Printer: Permild & Rosengreen, Copenhagen Edition: 200

23 295 305 310–317 Untitled, 1958–59 Untitled, 1958 Untitled, 1959 Color lithograph Color etching, drypoint In C. Caspari, Friedhof der Printer: Permild & Rosengreen, Publisher: Edition Galerie van de Maulwürfe oder Geländegänge in Copenhagen Loo, Munich Tagesläufen, special edition I–XXX Edition: 50 Printer: Asger Jorn, Heimrad Prem, 8 etchings, aquatint, vernis mou Museum der Moderne Salzburg and H. P. Zimmer on the press of Publisher: Edition Galerie van de Collection the Academy of Fine Arts, Munich Loo, Munich Edition: 50 Printer: F. Bruckmann KG, Munich 296 Edition: 230 Untitled, 1958–59 306 Color lithograph Untitled, 1958 318 Printer: Permild & Rosengreen, Color etching, drypoint Mémoires, 1959 Copenhagen Publisher: Edition Galerie van de (Memoirs) Edition: 50 Loo, Munich With Guy Debord Printer: Asger Jorn, Heimrad Prem, Color lithographs 297–298 and H. P. Zimmer on the press of Publisher: L’internationale Maskekomposition, 1958 the Academy of Fine Arts, Munich Situationiste (Mask composition) Edition: 50 Printer: Permild & Rosengreen, 2 of 4 etchings Copenhagen Printer: Hayters Atelier, Paris 307 Edition: 675 States Untitled, 1958 299–300 Color etching, color drypoint 319 Maskekomposition, 1958 Publisher: Edition Galerie van de Untitled, 1959 in stor (Mask composition) age Loo, Munich Exhibition poster 2 of 4 etchings Printer: Asger Jorn, Heimrad Prem, Color lithograph and H. P. Zimmer on the press of Publisher: Centro Internationale 301 the Academy of Fine Arts, Munich delle Arti e del Costume, Venice Untitled, 1958 Edition: 50 Printer: Amilcare Pizzi, S.p.A., Milan in stor Etching age Edition: approx. 500 Several trial proofs 308 Untitled, 1958 320 302 Color lithograph, drypoint Untitled, 1960 Untitled, 1958 Publisher: Edition Galerie van de Cover of Quadrum. Revue in stor Etching age Loo, Munich Internationale d’Art Moderne, issue Several trial proofs Printer: Asger Jorn, Heimrad Prem, 12, 1961 and H. P. Zimmer on the press of Color lithograph 303 the Academy of Fine Arts, Munich Publisher: A.D.A.C. Brussels Untitled, 1958 Edition: 50 Printer: Beaudet, Paris Color etching over aquatint Edition: 2000 Publisher: Edition Galerie van de 309 Loo, Munich Untitled, 1958 321 Printer: Asger Jorn, Heimrad Prem, Color etching, lift ground, etching Untitled, 1960 and H. P. Zimmer on the press of reworked with drypoint In Spur 3, December 1960 the Academy of Fine Arts, Munich Publisher: Edition Galerie van de Lithograph Edition: 50 Loo, Munich Publisher: Artist group Spur (Erwin Printer: Asger Jorn, Heimrad Prem, Eisch, Lothar Fischer, Heimrad 304 and H. P. Zimmer on the press of Prem, Helmut Sturm, H.P. Zimmer), Untitled, 1958 the Academy of Fine Arts, Munich Munich Color etching, aquatint reworked Edition: 50 Printer: Seelig & Co, Munich with drypoint Edition: 700 Publisher: Edition Galerie van de Loo, Munich Printer: Asger Jorn, Heimrad Prem, and H. P. Zimmer on the press of the Academy of Fine Arts, Munich Edition: 50

24 322–325 331 337 Il Ridotto, 1961 Untitled, 1961 Untitled, 1962 in stor 4 lithographs age With Walasse Ting Catalogue cover Beskedne Luxus Publisher: Il Ridotto Galleria d’Arte Color lithograph Billeder Moderna, Turin Printer: Beaudet, Paris Color lithograph Printer: Fratelli Pozzo, Turin Edition: 50 Publisher: Galerie Birch, Edition: 90 Copenhagen 332 Printer: Permild & Rosengreen, 326 in stor La vache courante, 1961 Copenhagen Untitled, 1961 age (The running cow) Edition: 500 Catalogue cover Luxury paintings, Color lithograph Tooth & Sons Gallery Publisher: Galerie Rive Gauche, 338–361 Color lithograph Paris Jubiläumsserie, 1963 Publisher: Tooth & Sons, London Printer: Beaudet, Paris (Anniversary Series) Printer: Permild & Rosengreen, Edition: 60 24 lithographs, 20 in color Copenhagen Publisher: Galerie Birch, Edition: 1020 333 Copenhagen Clair-obscur, 1961 Printer: Permild & Rosengreen, in stor 327 (Chiaroscuro) age Copenhagen Drakabygget, 1961 Color lithograph Edition: 50 Lithograph Publisher: Galerie Rive Gauche, Printer: Permild & Rosengreen, Paris 362 in stor a Copenhagen Printer: Beaudet, Paris Untitled, 1963 ge Edition: 100 New Year’s card 328 Drypoint Le monde contrarié, 1960–61 334 Edition unknown (The angry world) Untitled, 1962 Color lithograph Color lithograph 363 Publisher: Galerie Rive Gauche, Publisher: Permild & Rosengreen, L’herbivore, 1963 in stor in stor Paris age Copenhagen (The herbivore) age Printer: Beaudet, Paris Printer: Permild & Rosengreen, New Year’s card, Galerie Rive Edition: 30 Copenhagen Gauche, Paris 12 states Drypoint 329 Edition: 120 L’o u b l i, 1960–61 335 (Oblivion) Untitled, 1962 364 Color lithograph Color lithograph Untitled, 1964 in stor Publisher: Galerie Rive Gauche, Publisher: Permild & Rosengreen, Etching age Paris Copenhagen Printer: Sigurd Christensen, Printer: Beaudet, Paris Printer: Permild & Rosengreen, Copenhagen Edition: 30 Copenhagen Edition: 120 Edition: 38 330 365–369 Untitled, 1961 336 Untitled, 1964 With Walasse Ting Untitled, 1962 Illustrations for Ting og Polis Lithograph Cover of Nationalmuseets Bøger 5 of 35 woodcuts in stor Printer: Beaudet, Paris Color lithograph age Editor: Skandinavisk Institut for Edition: 50 Publisher: Nationalmuseet, Sammenlignende Vandalisme Copenhagen Publisher: Borgen, Copenhagen Printer: Permild & Rosengreen, Printer: Emil Stecher, Silkeborg Copenhagen Trial proofs Edition: approx. 500

25 370 379 394 Ting og Polis, 1964 Au ventre des âmes (In the belly Le beau coup (The grand coup) (Things and Polis) of the souls) 395 Book with 35 woodcuts L’intérieur interdit (The forbidden Editor: Skandinavisk Institut for 380 interior) Sammenlignende Vandalisme Le fin fond des formes (The far Publisher: Borgen, Copenhagen end of the forms) 396 Printer: Emil Stecher, Silkeborg Les voyages forment la genèse Edition unknown 381 (Travels form genesis) Le compromis des nobles 371 (The nobles‘ compromise) 397 Untitled, 1964 Magination et imagination In Walasse Ting, One Cent Life, 382 (Magination and imagination) ed. by S. Francis, Bern, 1964 La divine tragédie (The devine Color lithograph tragedy) 398 Publisher: Eberhard W. Kornfeld, La nature des ratures (The nature Bern 383 of erasures) Printer: Beaudet, Paris Panorama des prises de bec Edition: 2000 (Panorama of the conflicts) 399 Tête têtue (Stubbornness) 372 384 Untitled, 1964 Hamlet au lard (Hamlet with bacon) 400 In Walasse Ting, One Cent Life, Bruyères bruyantes (Noisy Bruyères) ed. by S. Francis, Bern, 1964 385 Color lithograph Grimasque (Grimask) 401 Publisher: Eberhard W. Kornfeld, Je ne vais pas — je viens (I’m not Bern 386 going, I’m coming) Printer: Beaudet, Paris Pureté vue de près (Purity seen Edition: 2000 close up) 402 Terre terrible (Terrible earth) 373–376 387 Untitled, 1965 Population impopulaire (Unpopular 403 In Virtus Schade, Asger Jorn, population) L’avenir du souvenir (The future of Copenhagen, 1965 memory) 4 color lithographs 388 Publisher: Stig Vendelkærs Forlag, Pour en finir avec la fin (To finish 404 Copenhagen with the end) Untitled, 1966–67 Printer: Permild & Rosengreen, In Hommage à Hans Arp, special Copenhagen 389 exhibition catalogue with 14 original Edition: 750 Les formidables formes (Formidable graphics by friends of the artist, forms) Galerie im Erker am Gallusplatz, 377–403 St Gall, 1966 Untitled, 1966 390 Color lithograph 27 drypoints Paysage et pays fou (Landscape Publisher: Erker-Presse, St Gall Edition: Galerie van de Loo, Munich and crazy land) Printer: Erker-Presse, St Gall Printer: H. Kätelhön, Westfalen Edition: 100 Edition: 45 391 Miss Lykket 377 Visa Viking 392 Le marché opus 378 Tourbillon détourné (Diverted 393 whirlwind) Parking-Kong

26 405 421 427 Von Kopf bis Fuss. Handgemachter Hommage en bleu, 1967 Rückkehr, 1968 Alp-Druck aus Heiliger Galle, (Hommage in blue) (Return) 1966–67 in stor Color lithograph Color lithograph age (From head to toe. Handmade Publisher: Galerie Jeanne Bucher, Publisher: Erker-Presse, St Gall nightmare in sacred bile) Paris Printer: Erker-Presse, St Gall Portfolio [for no. 406–416] Printer: Clot, Bramsen et Georges, Edition: 50 406–416 Paris Von Kopf bis Fuss. Handgemachter Edition: 50 428 Alp-Druck aus Heiliger Galle, Untitled, 1968 1966–67 422 Exhibition poster, Galerie van de (From head to toe. Handmade Untitled, 1967 Loo, Munich in stor age nightmare in sacred bile) Color lithograph Color lithograph 11 color lithographs Publisher: Atelier Clot, Paris Edition: Galerie van de Loo, Munich Publisher: Erker-Presse, St Gall Printer: Clot, Bramsen et Georges, Printer: Kroll, Munich Printer: Erker-Presse, St Gall Paris Edition: 200 Edition: 75 Edition: 50 423 429–438 417 Untitled, 1967 Suite sur japon pour un livre que La joie coincée, 1966–67 In Jacqueline de Jong (Ed.), n’existe pas, 1968 (Inhibited joy) Les Temps Situationistes, no. 6, (Series on Japanese paper for a Color lithograph Paris (Edition Parisienne), 1967 book that doesn’t exist) Publisher: Galerie Jeanne Bucher, Color lithograph 10 etchings Paris Printer: Clot, Bramsen et Georges, Publisher: Edition Georges Visat, Printer: Clot, Bramsen et Georges, Paris Paris Paris Edition: 2500 Printer: Edition Georges Visat, Paris Edition: 50 Edition: 10 424 418 Coupures de table, 1967 439 Untitled, 1967 (Cuts in tabletop) Untitled, 1968 Catalogue cover, Gallery Lefebre, Woodcut In Kunstmarktkatalog, ed. by Verein in stor New York age Publisher: Atelier Clot, Paris Progressiver Kunsthändler e. V. Köln, Color lithograph Printer: Clot, Bramsen et Georges, Cologne, deluxe edition Publisher: Gallery Lefebre, New York Paris Color lithograph Pinter: Clot, Bramsen et Georges, Edition: 13 Edition: 150 Paris Edition: 1000 425 440 Untitled, May 1968 Jubilation larmoyennageuse, 1969 419 Color lithograph (Tearful jubilation) La rougeur de Lille, 1966 Publisher: Jeanne Bucher Gallery, Color lithograph (The blushing of Lille) Paris Publisher: Prisunic, Paris Color lithograph Printer: Clot, Bramsen et Georges, Printer: Clot, Bramen and Georges, Publisher: Jeanne Bucher Gallery, Paris Paris Paris Edition: 1000 Edition: 300 Printer: Clot, Bramsen et Georges, Paris 426 441 Edition: 50 Berg-Hauptwerk, 1968 La vallée du charme, 1969 Color lithograph Color lithograph 420 Publisher: Erker-Presse, St Gall Publisher: Prisunic, Paris Ludion barbu, 1967 Printer: Erker-Presse, St Gall Printer: Clot, Bramsen et Georges, (Bearded cartesian diver) Edition: 50 Paris Color lithograph Edition: 300 Publisher: Galerie Jeanne Bucher, Paris Printer: Clot, Bramsen et Georges, Paris Edition: 50

27 442 447 458 Untitled, 1969 Grand déménagement (Great Festival, 1969 Cover of Jacob van Domselaer, removal) Color lithograph Concerto I for Piano and Orchestra Publisher: Atelier Clot, Paris Color lithographin stor age 448 Printer: Clot, Bramsen et Georges, Publisher: Wilhelm Hansen, Sur le pont d’or (On the golden Paris Copenhagen bridge) Edition: 85 Printer: Permild & Rosengreen, Copenhagen 449 459 Edition: approx. 300 Provocation ratée (Unsuccessful Untitled, 1969 provocation) New Year’s card 443 Lithograph and gouache Untitled, 1969 450 Publisher: Erker-Presse, St Gall Cover of Jacob van Domselaer, Trop tôt (Too early) Printer: Erker-Presse, St Gall Concerto II for Piano and Orchestra Edition: 400 Color lithograph 451 Publisher: Wilhelm Hansen, Liberté surveillée (Supervised 460 in stor Copenhagen age liberty) Sulla Strada I, 1970 in stor Printer: Permild & Rosengreen, (On the road I) age Copenhagen 452 Color lithograph Edition: approx. 300 Trop tard (Too late) Publisher: Atelier Clot, Paris Printer: Clot, Bramsen et Georges, 444 453 Paris Untitled, 1969 Hautes Pyrénées Edition: 22 Catalogue cover, Jeanne Bucher Gallery, Paris, 1969 454 461 Color lithograph in stor La fête des morts (The feast of the Sulla Strada II, 1970 age Publisher: Galerie Jeanne Bucher, dead) (On the road II) in stor age Paris Color lithograph Printer: Clot, Bramsen et Georges, 455 Publisher: Galleria Arte Borgogna, Paris Confusion diplomatique (Diplomatic Milan Edition: 1200 confusion) Printer: Erker-Presse, St Gall Edition: 75 445 456 Untitled, 1969 in stor Untitled, 1969 462 Exhibition poster age Color lithograph Untitled, 1970 Color lithograph Publisher: Grafica Uno, Milan Color lithograph Publisher: Galerie Jeanne Bucher, Printer: Clot, Bramsen et Georges, Publisher: Erker-Presse, St Gall Paris Paris Printer: Erker-Presse, St Gall Printer: Clot, Bramsen et Georges, Edition: 50 Edition: 100 Paris Edition: 500 457 463 Nuit déchirée, 1969 Die Kehre, 1970 446–455 (Torn night) (The bend) 9 Intimités graphoglyptiques, 1969 Color lithograph Color lithograph (9 graphoglyptic intimacies) Publisher: Dansk Arkitekt og Printer: Erker-Presse, St Gall 10 color lithographs Ingeniør Kontor, Silkeborg Several trial proofs Publisher: Atelier Clot, Paris Printer: Clot, Bramsen et Georges, Printer: Clot, Bramsen et Georges, Paris 464 Paris Edition: 300 Das offene Versteck, 1970 Edition: 75 (The open hideout) Color lithograph 446 in stor Publisher: Edition van de Loo, a Untitled – Label ge Munich Printer: Fratelli Pozzo, Turin Edition: 85

28 465 474 483 Die zwei Elemente, 1970 Untitled, 1970 Drei Brüder (Three brothers)* (The two elements) Catalogue cover of Asger Jorn, Color lithograph Munich, 1970 484 Publisher: Edition Galerie van de Color woodcut Eiskönig (Ice king)* Loo, Munich Publisher: Edition Galerie van de Printer: Fratelli Pozzo, Turin Loo, Munich 485 Edition: 155 Printer: Jorn, Munser, Somfai Gelichter (Ragtag)* Edition: 800 466 486 Jaune-bleu, 1970 475–493 Des Pudels Kern (The crux of the (Yellow-blue) Untitled, 1970 matter)* Color lithograph 19 woodcuts, 13 in color Publisher: Atelier Clot, Paris Publisher: Edition Galerie van de 487 Printer: Clot, Bramsen et Georges, Loo, Munich Funkelbust auf grüner Ebene Paris Printer: Jorn, Munser, Somfai (Funkelbust on a green plain) Edition: 90 Edition: 34 488 467 The works marked with * were also Kindergreise (Geriatric children) Untitled, 1970 published in the special edition Exhibition poster Euphorismen. 489 Color lithograph Ursprung der Familie (Origin of Publisher: Galerie Jeanne Bucher, Euphorismen, 1970 the family) Paris (Euphorisms) Printer: Clot, Bramsen et Georges, 8 woodcuts, 2 in color 490 Paris Special edition form the series Sommerreise (Summer journey) Edition: 200 Untitled, 1970 Publisher: Edition Galerie van de 491 468–471 Loo, Munich Auf Wiedersehen (Goodbye) Untitled, 1970 Printer: Jorn, Munser, Somfai Color lithographs Edition: 800 492 Publisher: Dansk Arkitekt og Blaue Seele (Blue soul) Ingeniør Kontor, Silkeborg 475 Printer: Clot, Bramsen et Georges, Einzelgänger (Loner) 493 Paris Ausgeschnittene Holzwege Edition: 75 476 (Errations in wood) Das grüne Meer (The green sea) 472 494 Cuba, 1970 477 Untitled, 1970 Color lithographs Im Vogeltal (In the valley of the birds) Color woodcut Publisher: Arte Borgogna, Milan Edition: Edition Galerie van de Loo, Printer: Fratelli Pozzo, Turin 478 Munich Edition: 65 Ins Unbekannte (Into the unknown) Printer: Jorn, Munser, Somfai Edition: 34 473 479 Untitled, 1970 in stor Edles Kroppzeug (Precious rabble)* 495 Color lithograph age Untitled, 1970 Publisher: Fratelli Pozzo, Turin 480 Color woodcut Printer: Fratelli Pozzo, Turin Rigor vivendis* Publisher: Edition Galerie van de Edition: 50 Loo, Munich 481 Printer: Jorn, Munser, Somfai Auf schiefer Ebene (On an inclined Edition: 34 plane)*

482 Hair*

29 496 507 515 Untitled, 1970 Bildnis Maurice Felt, 1971 Strabisme pastoral (Pastoral Color silkscreen, gouache (Portrait of Maurice Felt) strabismus) Edition: Edition Galerie van de Loo, Drypoint over etching with aquatint Munich Publisher: Henie Onstad 516 Printer: Kroll, Munich Kunstsenter, Høvikodden Le mère Ibis (The mother Ibis) Edition: 250 Printer: Maurice Felt, Paris Edition: 50 517 497–505 Message essoristique (Hurled Entrée de secours, 1971 508 message) (Emergency Entrance) La futur du passé, 1971 9 drypoints (The future of the past) 518 Publisher: Georges Visat, Paris Color woodcut Nasobois — La laie qui se croit un Printer: Georges Visat, Paris Publisher: Atelier Clot, Paris sphinx (Nasobois—The wild sow who Edition: 100 Printer: Clot, Bramsen et Georges, thought she was a sphinx) Paris 497 Edition: 75 519 Euclide coincé (Inhibited Euclid) Gravitation aggravée (Aggravated 509 gravitation) 498 Untitled, 1971 Miel en lune (Honey on moon) Record sleeve, Jacob van 520 Domselaer L’enfer des jeux clos (The hell of 499 Color woodcut closed games) Proposition enceinte (Pregnant Printer: Clot, Bramsen et Georges, proposition) Paris 521 Edition: 50 Fièvre quarte lune (Feverish quarter 500 moon) Tarotaumagie offusquée (Annoyed 510 tarotaumagic) Untitled, 1971 522 New Year’s card Survol du plaisir (Overflight of 501 Color woodcut delight) Le Tornedos canaris Printer: Clot, Bramsen et Georges, Paris 523 502 Edition: 175 Untitled, 1971 Hibou sortilege (Magic owl) In the portfolio Cobra, 1973, with 511–522 works by Alechinsky, Appek, 503 Études et surprises, 1971 Corneille, Dotremont, Jacobsen, Anémone progressiste (Progressive (Studies and surprises) Jorn anemone) 12 color woodcuts Color woodcut Publisher: Atelier Clot, Paris Publisher: Dan-Graphique, 504 Printer: Clot, Bramsen et Georges, Copenhagen Pensées en l’air (Thoughts in the air) Paris Printer: Clot, Bramsen et Georges, Edition: 75 Paris 505 Edition: 150 La sortie joyeuse (The joyful exit) 511 Rideau convolant (Wedding curtain) 524–530 506 Die Geschichte vom teuren Brot, Confrontation sans front, 1971 512 1972 (Confrontation without front) L’armure désarmante (Disarming (The bread of life) Color lithograph armour) With Halldór Laxness Publisher: Georges Visat, Paris 7 color lithographs Printer: Georges Visat, Paris 513 Publisher: Erker-Presse, St Gall Edition: 100 Dans le sillage d’if — Aube (In the Printer: Erker-Presse, St Gall wake of the yew—Aube) Edition: 195 Museum der Moderne Salzburg 514 Collection Pierre qui roule (Rolling stone)

30 531 533 Untitled, 1972 Untitled, 1972 in stor Color lithograph age Color lithograph Publisher: Erker-Presse, St Gall Publisher: Kestner-Gesellschaft, Printer: Erker-Presse, St Gall Hannover Edition: 150 Printer: Clot, Bramsen et Georges, Paris 532 Edition: 150 Untitled, 1972 Exhibition poster 534 Color lithograph Untitled, 1972 Publisher: Kestner-Gesellschaft, Color lithograph Hannover Publisher: Kestner-Gesellschaft, Printer: Clot, Bramsen et Georges, Hannover Paris Printer: Clot, Bramsen et Georges, Edition: 1000 Paris Edition: 150

All quotes in the texts have been taken from: Troels Andersen, Asger Jorn 1914–1973. Eine Biographie, Cologne: Walther König, 2001.

In addition, the following publications were consulted: Asger Jorn, Katalog 2/1973, exh. cat., Kestner-Gesellschaft Hannover, Hanover 1973. Galerie van de Loo und Silkeborg Kunstmuseum (eds.), Asger Jorn. Werkverzeichnis der Druckgraphik / Catalogue Raisonné of Prints, 2nd edition, Copenhagen: Silkeborg Kunstmuseums Forlag, 2009. Thorsten Sadowsky for the Museum der Moderne Salzburg (ed.), Errations in Wood, Copper and Stone. Asger Jorn’s Prints, Munich: Klinkhardt & Biermann, 2019.

Asger Jorn. The Prints Museum der Moderne Salzburg 23 March—30 June 2019 Curators: Thorsten Sadowsky with Barbara Herzog and Lena Nievers Translation: Bram Opstelten Graphic design: Susanne Bax © 2019 Museum der Moderne Salzburg All rights, especially the right of any form of reproduction and distribution as well as translation also of parts are reserved.

In cooperation with supported by Under the protection of René R. Dinesen, Ambassador & Permanent Representative of Denmark, Vienna Museum der Moderne Salzburg Mönchsberg 32 5020 Salzburg Austria

T +43 662 842220 museumdermoderne.at ERRATIONS IN WOOD, COPPER AND STONE ERRATIONS IN WOOD, COPPER AND STONE ASGER JORN’S PRINTS

Edited by Thorsten Sadowsky for the Museum der Moderne Salzburg

With texts by Lucas Haberkorn, Barbara Herzog, Lena Nievers and Thorsten Sadowsky

AND Asger Jorn (1914–1973) celebrated a cheerful artistic vandalism in his work STONE which rid itself of all classical concepts of value and form, declaring it instead to be the mission of art to create the wonderful, the unknown, COPPER the enigmatic, the imaginary and the chaotic. Considered one of the most versatile figures of the European avant-garde after World War II, Jorn ASGER JORN’S PRINTS uniquely combined the Expressionism of the early twentieth century with the figurative, expressive trends of contemporary art. Through a synthesis of Surrealism, Art Informel, Action Painting and Nordic folk art, he developed a new type of figurative painting, which may be seen as a precursor to the Junge Wilde in Germany and Austria.

This publication accompanies the ﬁrst Austrian retrospective of Asger ASGER JORN’S PRINTS Jorn – probably the most important Scandinavian artist of the twentieth century, along with Edvard Munch and Per Kirkeby – at the Museum der Moderne Salzburg. The lithographs, etchings, woodcuts and linocuts he created in the period from 1932 until 1972 reﬂect the artist’s love of experimentation and his interest in the possibilities of the material, as well as his story-telling prowess and wit.

ERRATIONS IN WOOD KLINKHARDT & BIERMANN 978-3-943616-63-7 www.klinkhardtundbiermann.de

Errations in Wood, Copper and Stone. Asger Jorn’s Prints Edited by Thorsten Sadowsky for the Museum der Moderne Salzburg. With texts by Lucas Haberkorn, Barbara Herzog, Lena Nievers and Thorsten Sadowsky Hardcover, approx. 144 p., approx. 100 ill.; Klinkhardt & Biermann, Munich, 2019; ISBN 978-3-943616-63-7 $ 20 — available in the museum store

Asger Jorn ÜberzugGM.indd 2 22.02.19 13:22