Alyce Mahon

Robert Fleck

Axel Heil

Jean-Jacques Lebel

This book is devoted to the artistic work of Jean-Jacques Lebel, the French artist, poet, publisher and political activist.The focus is on the 'happenings' of the 1960s, which are documented in numerous illustrations and analyzed in detail by Dr. Alyce Mahon, an Art historian at the University of Cambridge.Texts by Félix Guattari (1988) and Robert Fleck examine Lebel's signature pictorial method of montrage (from 'montage' and the French montrer, 'to show').

Special Edition Accompanying the Exhibition Jean-Jacques Lebel. Die Höchste Kunst Ist Der Aufstand. The Highest of All the Arts is Insurrection, ZKM Media Museum, July 26- November 09, 2014

Jean-Jacques Lebel. Barricades

Donna Stolz in Transit

Wolfgang Schoppmann

Edited by Axel Heil and Wolfgang Schoppmann. Essay by Jean-Christophe Ammann.

The Olbricht Collection : Some Recent Acquisitions

Most Wanted

Ian MacFadyen

This book presents a wide selection of the artistic output of the writer William S. Burroughs, and shows works that he created during the 1960s with Brion Gysin, Ian Sommerville, and Anthony Balch under the name of 'The Third Mind' as well as 'Collaborations' with other artists such as John Giorno and George Condo.Ian MacFadyen's essay explores the varied connections between literary and experimental visual production which are also traceable in the interview, made by Jean-Jacques Lebel in Paris in 1982, that is published here for the first time in English.The introduction by Axel Heil focuses on 'the future of the past' researching the influence of Burroughs

William S. Burroughs/Cut

Roberto Ohrt

A comprehensive catalogue of the exhibition Strategic Vandalism: The Legacy of Asger Jorn’s Modifications Paintings on view at Petzel Gallery in New York from March 5th to April 13th, 2019. With texts written and edited by the curators as well as reprinted articles on the subjects of détournement, vandalism, and the relationship between modifications and appropriation art in the late 1970s. If you have old paintings, do not despair. Retain your memories but detourn them so that they correspond with your era. Why reject the old, if one can modernize it? —Asger Jorn Published on the occasion of the exhibition Strategic Vandalism: The Legacy of Asger Jorn’s Modifications Paintings at Petzel Gallery in New York (March 5 – April 13, 2019) – this historical group show of over 30 prominent international artists investigates multifarious appropriation methods situated in the context of the first thrift store paintings altered by Danish artist Asger Jorn. Spanning from the mid-1960s to the flourishing techniques of the 1980s, up to the present day. In Paris, 1959, Asger Jorn exhibits a group of paintings at the prominent Galerie Rive Gauche. Not only has he re-worked these found paintings with his own brush, modifying their respective surfaces, but he also writes a text describing his technique as a recovery of certain iconographic archetypes. Instead of making a mockery of these kitsch paintings, he articulates some of their inherent folk-art values. The exhibition is not well received. However, it has since become legendary. Jorn’s modifications have long been a neglected chapter in the Danish artist’s biography. Yet from today’s perspective these high/low hermaphrodites are recognized by keen-eyed viewers as mirrors reflecting the historicity of modern painting. Such “Modifications” are a painterly version of “détournement,” a Situationist technique, described in 1956 by Guy Debord and Gil Wolman as the systematic revaluation of “prefabricated aesthetic products.” For Jorn, who co-founded and financially supported the Situationist International, the 1959 Galerie Rive Gauche exhibition, showcased his implementation of a fundamental aesthetic critique in which he appropriates a relatively discredited artistic source as “his” own material, then applies his iconography, and his language to that particular prefabricated model. Strategic Vandalism: The Legacy of Asger Jorn’s Modification Paintings features works by Enrico Baj, Marcel Duchamp, Max Ernst, Hans-Peter Feldmann, Vidya Gastaldon, Wade Guyton/Stephen Prina, Rachel Harrison, Ray Johnson, Jacqueline de Jong, Asger Jorn, Mike Kelley, Martin Kippenberger, Per Kirkeby, Lee Krasner, Albert Oehlen, Francis Picabia, Stephen Prina, R.H. Quaytman, Arnulf Rainer, Julian Schnabel, Jim Shaw, Gedi Sibony, Alexis Smith, Daniel Spoerri, John Stezaker, Betty Tompkins, and David Wojnarowicz.

Strategic Vandalism: The Legacy of Asger Jorn's Modification Paintings

This book offers a concise overview of the diverse accomplishments of Danish artist Asger Jorn. The book comprises over 75 images of Jorn’s work, each with complete provenance, exhibition and literature history. A comprehensive biography of the artist is also included, along with photographs and other archival material.

The Open Hide

Asger Jorn

Katharina Dohm

Selima Niggl

Hybrid human-animal figures are twisted into bizarre contortions, their expressively distorted bodies approaching each other or intertwining. Even though they are separated by generations and media, the famous Danish avant-garde painter Asger Jorn and the Swedish animation studio Djurberg & Berg have much in common. Whether it's Jorn brushing paint onto a canvas, or the two media artists breathing life into clay figures with stop-motion technology, the animalistic is one of their means of expression, and postulated truths become blurred. Developed through process, these creatures signify permanent, transformational adaptability. They point out phenomenon in our world that cannot be rationalized: desire, freedom, wildness, urges-the infinite wealth of domesticated emotions take on imaginative form here. This catalogue unites the visual worlds of Jorn and Djurberg & Berg to show the differences and the commonalities of their work as a constant of human existence.Hybrid human-animal figures are twisted into bizarre contortions, their expressively distorted bodies approaching each other or intertwining. Even though they are separated by generations and media, the famous Danish avant-garde painter Asger Jorn and the Swedish animation studio Djurberg & Berg have much in common. Whether it's Jorn brushing paint onto a canvas, or the two media artists breathing life into clay figures with stop-motion technology, the animalistic is one of their means of expression, and postulated truths become blurred. Developed through process, these creatures signify permanent, transformational adaptability. They point out phenomenon in our world that cannot be rationalized: desire, freedom, wildness, urges-the infinite wealth of domesticated emotions take on imaginative form here. This catalogue unites the visual worlds of Jorn and Djurberg & Berg to show the differences and the commonalities of their work as a constant of human existence.

Nathalie Djurberg and Hans Berg/Asger Jorn

Mondjäger (Bilingual Edition)

Maike Schmidt

Whereas, around 1954, the Danish painter Asger Jorn (1914–1973) worked exclusively with collages, ten years later he made a complete about-face: From 1964 to 1969, he created a series of décollages. For these works, he removed already existing material instead of adding this, removing layers of up to 20 posters at a time from public billboards. With technical finesse and great skill, he arranged various fragments and stabilized the results, over which, in some cases, he then painted or drew. With the current publication, both the collages and décollages are now brought to public attention.00Exhibition: Kunsthalle Emden, Germany (25.10.2014-18.1.2015).

Axel Heil

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