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拍品專文
This year Denmark celebrates the 100th year Anniversary of Asger Jorn's birth with a major retrospective at the Statens Museum for Kunst. The display ranged from Jorn's political awakening in his youth to the liberation of colour and form during the CoBrA years onwards to his increasingly avant-garde experiments. His art expresses a keen commitment and engagement to Danish culture. Jorn wished to use his art to establish creative communities, to challenge habitual thinking, and open up new ways of seeing and understanding the world.
Jorn believed that art was used as a means to express creativity in order to actively enter and change the world. The artist believed that art was entirely inseparable from social life, and that it should constantly challenge society's ideas and norms in order to create new ways in which we should perceive the world. Jorn's political views were shaped by his belief in Marxism and his early support of the Danish Communist Party in the early 1930s throughout the duration of his life.
Jorn's artistic career was heavily influenced by the works of the Nordic master Edvard Munch (1863-1944). His evocative treatment of the human condition is a trademark visible in Jorn's practice through the span of his life. Jorn's early landscapes and portraits encapsulate a language established by Munch in the first half of the twentieth century shared amongst Nordic artists.
In L'offre et la demande (supply and demand) Jorn captures the human condition and highly personal emotion of the abstract figure being portrayed through the use of a wide palette and expressive, gestural contours. The work retains an uncanny resemblance to Munch's paintings and created a contemporary version of Munch's work by his use of an emblematic range of colours and higher level of abstraction. The surge of colour from the centre of the figure dictates the composition as a whole as it unravels in order to give an expressiveness form and life to the figure; colour therefore achieves the autonomy Jorn long sought for in his career.
In the 1960s Jorn began articulating and incorporating his systematic thoughts and philosophical beliefs into his art. These were transcribed into his paintings through the use of impasto layers of brightly coloured paints which were applied onto the canvas directly from the tubes. The result of such act led to the creation of dense, engrossed paintings, where one is hardly able to distinguish the various characters in the chaotic maelstrom of paints. Here, Jorn's belief in the importance of aesthetic creation is played out to its most extensive scale.
Jorn bewilders the viewer through this chaotic mesh of barely distinguishable and unambiguous shapes and forms. Each recognizable feature in this work was deliberately marred by Jorn before it had the chance to take on a truly visible form; he intentionally depicted the painting in a colossal opacity thus maneuvering the viewer into a corner of incomprehension and mystic wonder.
Jorn claimed that titles of his works were simply tags to distinguish one work from the other: 'I use the titles in a very slapdash way, and at the same time making sure not to be too precise, not to give a painting too precise and unambiguous a meaning' (Jorn, quoted in P. Shield, Comparative Vandalism: Asger Jorn and the artistic attitude to life, Aldershot 1998, p. 67).
The 1960s marked Jorns reputation as an artist in an international spectrum, with innumerous exhibitions held at established museums in Europe and the United States. It was also during this period when Jorn's mastery of colour exceled and became the vital component of his paintings. Colour achieves the autonomy Jorn had sought for throughout his career, the primal element now dictates his compositions. The individual tubes of colours are applied directly onto the canvas in order to create shapes and figures through gestural and expressive movements of elongated brushstrokes. The lines and forms surface and appear to be ever-changing as the swirling mass of amorphous shapes merge into a commotion of seemingly animate form. These organic figures impart an overwhelming sense of emotion and power as they induce a presence upon us; they emerge and disappear into a mist field of painterly colour and form and are held in a state of flux and transition which constantly shifts before the eye of the beholder.
Jorn believed that art was used as a means to express creativity in order to actively enter and change the world. The artist believed that art was entirely inseparable from social life, and that it should constantly challenge society's ideas and norms in order to create new ways in which we should perceive the world. Jorn's political views were shaped by his belief in Marxism and his early support of the Danish Communist Party in the early 1930s throughout the duration of his life.
Jorn's artistic career was heavily influenced by the works of the Nordic master Edvard Munch (1863-1944). His evocative treatment of the human condition is a trademark visible in Jorn's practice through the span of his life. Jorn's early landscapes and portraits encapsulate a language established by Munch in the first half of the twentieth century shared amongst Nordic artists.
In L'offre et la demande (supply and demand) Jorn captures the human condition and highly personal emotion of the abstract figure being portrayed through the use of a wide palette and expressive, gestural contours. The work retains an uncanny resemblance to Munch's paintings and created a contemporary version of Munch's work by his use of an emblematic range of colours and higher level of abstraction. The surge of colour from the centre of the figure dictates the composition as a whole as it unravels in order to give an expressiveness form and life to the figure; colour therefore achieves the autonomy Jorn long sought for in his career.
In the 1960s Jorn began articulating and incorporating his systematic thoughts and philosophical beliefs into his art. These were transcribed into his paintings through the use of impasto layers of brightly coloured paints which were applied onto the canvas directly from the tubes. The result of such act led to the creation of dense, engrossed paintings, where one is hardly able to distinguish the various characters in the chaotic maelstrom of paints. Here, Jorn's belief in the importance of aesthetic creation is played out to its most extensive scale.
Jorn bewilders the viewer through this chaotic mesh of barely distinguishable and unambiguous shapes and forms. Each recognizable feature in this work was deliberately marred by Jorn before it had the chance to take on a truly visible form; he intentionally depicted the painting in a colossal opacity thus maneuvering the viewer into a corner of incomprehension and mystic wonder.
Jorn claimed that titles of his works were simply tags to distinguish one work from the other: 'I use the titles in a very slapdash way, and at the same time making sure not to be too precise, not to give a painting too precise and unambiguous a meaning' (Jorn, quoted in P. Shield, Comparative Vandalism: Asger Jorn and the artistic attitude to life, Aldershot 1998, p. 67).
The 1960s marked Jorns reputation as an artist in an international spectrum, with innumerous exhibitions held at established museums in Europe and the United States. It was also during this period when Jorn's mastery of colour exceled and became the vital component of his paintings. Colour achieves the autonomy Jorn had sought for throughout his career, the primal element now dictates his compositions. The individual tubes of colours are applied directly onto the canvas in order to create shapes and figures through gestural and expressive movements of elongated brushstrokes. The lines and forms surface and appear to be ever-changing as the swirling mass of amorphous shapes merge into a commotion of seemingly animate form. These organic figures impart an overwhelming sense of emotion and power as they induce a presence upon us; they emerge and disappear into a mist field of painterly colour and form and are held in a state of flux and transition which constantly shifts before the eye of the beholder.