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The Imaginist Bauhaus 10 THE IMAGINIST BAUHAUS 10. DESEMBER 2016 – 26. FEBRUAR 2017 MUNCHMUSEET I BEVEGELSE – KUNSTHALL OSLO The Imaginist Bauhaus The Imaginist Bauhaus Pierre Alechinsky, Karel Appel, Pierre Alechinsky, Karel Appel, Enrico Baj, Corneille, Constant, Enrico Baj, Corneille, Constant, Lucio Fontana, Asger Jorn, Lucio Fontana, Asger Jorn, Roberto Matta, Giuseppe Roberto Matta, Giuseppe Pinot-Gallizio, Piero Simondo, Pinot-Gallizio, Piero Simondo, Soshana, Ettore Sottsass. Soshana, Ettore Sottsass. The International Movement for The International Movement for an Imaginist Bauhaus involved an Imaginist Bauhaus (IMIB) var some of Europe's most celebra- en gruppe kunstnere som fikk ted modern artists, and was key enorm betydning for utviklingen to the development of radical art av den radikale kunst scenen i in Eu rope. This exhibition brings etterkrigstidens Europa. I utstillin- together important but rarely-seen gen presenteres sentrale, sjeldent works by this short-lived group whose influence on the develop- utstilte verk av kunstnere som fort- ment of art is still felt today. satt har en betydelig innflytelse i samtidskunsten. The IMIB was first proposed by the Danish artist Asger Jorn in IMIB ble initiert av den danske 1953, offi cially founded in 1955, kunstneren Asger Jorn i 1953 og and dissolved late in 1957, when offisielt stiftet i 1955. I 1957 fusjoner- it merged with the Lettrist Inter- te bevegelsen med Den Lettristiske national to form the Situationist Internasjonale for å danne Den International. The Movement was founded as a laboratory to explore Situasjonistiske Internasjonale. Canica Kunstsamling/Canica Art Collection Art Canica Kunstsamling/Canica Asger Jorn, Den gyldne fugl og dens venner/The Golden Bird and Its Friends, 1957. Olje på lerret/Oil on canvas 2 THE IMAGINIST BAUHAUS Collection Amos Schueller Museo Casa Mollino Soshana & Giuseppe Pinot Gallizio, To antiloper/ Ettore Sottsass, Fondo di marino, 1953. Blandet Two Antelopes, 1959. Olje på lerret/Oil on canvas teknikk/ Mixed media Bevegelsen ble etablert som the role of art in a modern, industri- et laboratorium for å utforske al society - its ideals were freedom kunstens rolle i et moderne, in- and experimentation and, though dustrielt samfunn. Idealene var it lasted only a few short years, frihet og eksperi mentering. Grup- its influence was profound. The group was international but based pen var internasjonal og hadde its operations in Alba in Nor thern hovedsete i Alba i Nord-Italia. Italy, after Jorn was invited there by Dit ble Jorn invitert av Baj og the Nuclearists Baj and Dangelo. Dangelo – to kunstnerne som Asger Jorn produced his major mo- var med å danne Movimento d’ numental work, the Aarhus relief, arte nuclare, eller kunst for atom­ during this period (and transported alderen. I løpet av årene i Italia it by train from Italy to Denmark). lagde Jorn sitt monumentale verk The Dutch artist Constant first de- Aarhus relief, en keramisk frise på veloped his radical ideas about ar- 27 meter, som han senere fraktet chitecture as part of the Movement - ideas which continue to inform med tog til Danmark. Den neder- and inspire contemporary archite- landske kunstneren Constant var cts around the world. The legen- medlem av gruppen og utviklet dary Italian artist Lucio Fontana sine bane brytende ideer om arki- was involved, as were many of the tektur. Den legendariske, italien- former CoBrA painters including ske kunstneren Lucio Fontana var Alechinsky, Appel and Corneille, medlem, det samme var mange and the Chilean surrealist Roberto av de tidligere CoBrA-malerne, Matta. Giuseppe Pinot-Gallizio slik som Alechinsky, Appel, was a central figure. He invented Industrial Painting at his Experi- Corneille og den chilenske surrea- mental Laboratory in Alba, which listen Roberto Matta. Italienske was also the Movement's effec- Giuseppe Pinot-Gallizio var en tive base - and the idea of In- sentral figur i gruppen. Hans dustrial Painting has influenced Eksperimentelle laboratorium ble countless contemporary artists bevegelsens base. Gallizio utviklet from Andy Warhol through to the THE IMAGINIST BAUHAUS 3 Asger Jorn, Det stor relief på Aarhus Statsgymnasium (detalj)/The Large Relief at Aarhus Statsgymnasium (detail), 1959. Keramikk/ceramic konseptet Det industrielle maleri- young Norwegian painter Fredrik et, en idé som har påvirket utallige Værslev. Gallizio also collaborated kunstnere, fra Andy Warhol til with the Austrian artist Soshana den unge norske maleren Fredrik Afroyim, who signed herself sim- Værslev. Ettore Sottsass var også ply Soshana. Ettore Sottsass was also a member of the IMIB at the medlem av gruppen i begynnelsen very start of his career, before he av sin karriere, før han ble verden- found fame in his own right as a skjent som keramiker og industri- ceramicist and industrial designer. designer. The original Bauhaus school of Den opprinnelige Bauhaus-sko- art and design was founded by len for arkitektur og form- Walter Gropius in Weimar in 1919. givning ble grunnlagt av Walter The school moved to Dessau in Gropius i Weimar i 1919. I 1925 1925 and Berlin in 1932, but was flyttet skolen til Dessau, deretter finally closed, due to Nazi oppo- sition to its radical ideas, in 1933. videre til Berlin i 1932, før den In 1953, Asger Jorn heard that the ble stengt av Nazistene i 1933 Swiss architect Max Bill planned 4 THE IMAGINIST BAUHAUS Museum Jorn Asger Jorn, Det stor relief på Aarhus Statsgymnasium (detalj)/The Large Relief at Aarhus Statsgymnasium (detail), 1959. Keramikk/ceramic på grunn av dens radikale ideer. to open a 'new Bauhaus' in Ulm. I 1953 fikk Asger Jorn høre om arki- Jorn wrote enthusiastically to Bill, tekten Max Bill sine planer om å hoping to be part of the new pro- starte en ny Bauhaus-skole i Ulm ject, but Bill informed him that the i Tyskland. Han skrev entusias- new school was strictly devoted to design - there would be no pla- tisk til Bill i håp om få å være en ce for 'free artists'. Jorn responded del av prosjektet, men fikk til by proposing the International svar at det ikke ville være plass Movement for an Imaginist Bau- til ”frie kunstnere”. Skolen skulle haus - a movement of 'free artists' utelukkende fokusere på design. devoted to the experimental the- Jorns reaksjon på dette førte til ory and practice that would be opprettelsen av The International excluded from the school in Ulm. Movement for an Imaginist Bau- Jorn, Gallizio and Piero Simondo haus. En bevegelse av ”frie kunst- declared the foundation of an nere” som skulle eksperimentere Experimental Laboratory in Alba in 1955, and in 1956 they organised med en teori og praksis som ikke the First World Congress of Free passet i Ulm-skolens strenge Artists at Alba town hall. Simondo, THE IMAGINIST BAUHAUS 5 Museum Jorn Lucio Fontana, Concetto spaziale, 1955. Blandet teknikk/mixed media rammeverk. Jorn, Gallizio og Piero along with Elena Verrone, also Simondo grunnla Bevegelsen for pub lished a journal called Eristica et Eksperimentelt laboratorium i devoted to the new movement Alba i 1955. I 1956 organiserte de and its ideas. Den første verdenskongressen for While this exhibition concentrates frie kunstnere i Rådhuset i Alba. on painting - and so does not do Simondo og Elena Verrone utga justice to the many important magasinet Eristica hvor bevegel- experiments in ceramics that sens prosjekter ble formidlet. the group undertook - it does attempt to underline the open, Gruppen eksperimenterte mye collaborative nature of the pro- med keramikk, mens denne ut- ject. If Jorn and Gallizio were stillingen fokuserer primært på the central figures, here we see malerier og forsøker å formidle them making works in collabo- den åpne og inkluderende sam- ration with Baj, Simondo, and Soshana, and also working to- arbeidsånden som dominerte i gether. At one point they took gruppen. Mange av maleriene a historical painting, which had som stilles ut ble laget i fellesskap. been shaped to hang over a Jorn og Gallizio laget verk både doorway in Gallizio's home, and sammen, og i samarbeid med Baj, painted over it together; this 6 THE IMAGINIST BAUHAUS Simondo og Soshana. Sammen method of painting on found malte de blant annet over et histo- canvases became a signature risk maleri som hang hjemme hos technique of Jorn's. Gallizio. Slik ”overmaling” skulle senere bli en av Jorns velkjente The IMIB merged with another avant-garde group, the Lettrist teknikker. International, in 1957, to form the Situationist International, but many I 1957 slo IMIB seg sammen med of its members also went on to Den Lettristiske Internasjonale, become internationally acclaimed en annen avant-garde-gruppe, og artists in their own right. dannet den Situasjonistiske Inter- nasjonale. Flere av medlemmene i IMIB brøt ut av gruppen og fikk betydningsfulle karrierer som kunstnere på egen hånd. Archivio Gallizio Archivio Piero Simondo, Uten tittel/Untitled, ca. 1955 THE IMAGINIST BAUHAUS 7 Giuseppe Pinot-gallizio Giuseppe Pinot-gallizio og Det eksperimentelle and the experimental laboratoriet laboratory Pinot-Gallizio grunnla The Experi- In September 1955 Giuseppe mental Laboratory of the Interna- Pinot-Gallizio, together with As- tional Movement for an Imaginist ger Jorn and Piero Simondo, foun- Bauhaus (IMIB) sammen med ded the Experimental Laboratory of the International Movement Asger Jorn og Piero Simondo i for an Imaginist Bauhaus (IMIB) Alba i Italia, september 1955. in Alba. A chemist and pharma- Gallizio var kjemiker og farma søyt cist by profession, as well as an og beskrev seg selv i en utstil- “archeologist, botanist, per fu m- lingstekst som ”arkeolog, bota- ier, partisan, king of the gypsies,” niker, partisan, parfymemaker as he chose to call himself in og kongen av sigøynere.” Galli- the biographical note for one of zio var “vitenskapsmannen” som his first exhibitions, Gallizio was Jorn hadde vært på jakt etter for indeed the “scientist” Jorn had å utvikle programmet for IMIB. been looking for to develop his IMIB program, which encouraged Dette var en gruppe som øn- free experimentation and close sket fri eks perimentering og tett collaboration between artists samarbeid mellom kunstnere og and scientists.
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