20/11/2019 Situationist International Online

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Détourned Painting
Asger Jorn
pre-situationist archive
Exhibition catalogue, Rive Gauche Gallery (May 1959)
situationist international archive
Translated by Thomas Y. Levin

post-situationist archive
Intended for the General Public – Reads Effortlessly
situationist chronology
Be modern,
collectors, museums.
protagonists If you have old paintings,
do not despair.
terminology Retain your memories
but détourn them
links so that they correspond with your era.
Why reject the old
news & updates if one can modernize it
with a few strokes of the brush?
site search This casts a bit of contemporaneity
on your old culture.
notes & sources Be up to date,
and distinguished
contact at the same time.
Painting is over.
You might as well finish it off.
Détourn.
Long live painting.

Intended for Connoissuers – Requires Limited Attention

ALL WORKS of art are objects and should be treated as such, but these objects are
not ends in themselves: They are tools with which to influence spectators. The
artistic object, despite its seemingly objectlike character, therefore presents itself as
a link between two subject, the creating and provoking subject on the one hand,
and the receiving subject on the other. The latter does not perceive the work of art
as a pure object, but as the sign of a human presence.

The problem for the artist is not to know if the work of at should be considered as an
object or as a subject, since the two are inseparable. The problem is to capture and
to formulate the desired tension in the work between appearance and sign.

The conception of art implicit in "action painting" reduces art to an act in itself, in
which the object, the work of art, is a mere trace, and in which there is no more
communication with the audience. This is the attitude of the pure creator who does
nothing but fulfill himself through the materials for his own pleasure.

This attitude is irreconcilable with an interest in the object as such, the work of art in
its anonymity, that is, the experience of pleasure in its purity when facing a
sculpture whose country of origin is unknown or whose period is uncertain. here the
object floats freely in space and time. My preoccupation with objectivity and
subjectivity is situated above all between these two poles, or more precisely
between my will and my intelligence. I must admit that as far as the third attitude is
concerned, that of the spectator, it does not concern me much. Whether one
intends it or not, in the end it is to him that everything happens.

The classic and Latin concept has always been accorded a primacy to the object
whereas the oriental concept ascribes everything to the subject. Ever since the
establishment of the internal tension of European culture, the gothic, or northern,
concept attempts to play within the dialectic of the two opposites. Therefore I am
not limited by such a previously made choice.

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The result is that this perspective leads one necessarily to consider all creations
simultaneously as reinvestments, revalorizations of the act of humanity. The object,
reality, or presence takes on value only as an agent of becoming. But it is
impossible to establish a future without a past. The future is made through
relinquishing or sacrificing the past. He who possesses the past of a phenomenon
also possesses the sources of its becoming. Europe will continue to be the source
of modern development. Here, the only problem is to know who should have the
right to the sacrifices and to the relinquishments of this past, that is, who will inherit
the futurist power. I want to rejuvenate European culture. I begin with art. Our past
is full of becoming. One needs only to crack open the shells. Détournement is a
game born out of the capacity for devalorization. Only he who is able to devalorize
can create new values. And only there where there is something to devalorize, that
is, an already established value, can one engage in devalorization. It is up to us to
devalorize or to be devalorized according to our ability to reinvest in our own
culture. There remain only two possibilities for us in Europe: to be sacrificed or to
sacrifice. It is up to you to choose between the historical monument and the act that
merits it.

The Evidence of Premeditation

IN 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal
Helhesten) in which I expressed my love for sofa painting1, and for the last twenty
years I have been preoccupied with the idea of rendering homage to it. Thus I act
with full responsibility and after extensive reflection. Only my current situation has
enabled me to accomplish the expensive task of demonstrating that the preferred
sustenance of painting is painting.

In this exhibition I erect a monument in honor of bad painting. Personally, I like it

better than good painting. But above all, this monument is indispensable, both for
me and for everyone else. It is painting sacrificed. This sort of offering can be done
gently the way doctors do it when they kill their patients with new medicines that
they want to try out. It can also be done in barbaric fashion, in public and with
pomp. This is what I like. I solemnly tip my hat and let the blood of my victims flow
while intoning Baudelaire's hymn to beauty.

Notes

1. There, I wrote:

Those who try to combat the production of painting are the enemies of
today's best art. These forest lakes on colored paper, hanging in gilded
frames in thousands of apartments, are among the most profound artistic
inspirations.

The great masterpieces are nothing but accomplished banalities, and the
deficiency of the majority of banalities is that they are not complete. These
works do not push banality to the limit of its profundity, they fail to explore
the full extent of its consequences; instead they rest on a foundation of
aestheticism and spirituality. What one calls natural is liberated banality,
obviousness.

Nowhere else but in Paris does one find gathered together so many things of
bad taste. This is the very secret which explains why Paris remains the place
where artistic inspiration is alive.

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