• Asger Jorn

    Fundació Antoni Tàpies
    Aragó 255
    February 12–April 21, 2002

    Musée d'Art Moderne et Contemporain
    1, Place Hans Jean Arp
    October 19, 2001–January 13, 2002

    Most people equate the Situationist International with Guy Debord, but there was another protagonist in this radical anti-art movement, Danish painter Asger Jorn. In the first French survey of the artist’s work, curators Paul Hervé Parsy and Laurent Gervereau present Jorn not only as the catalyst of the COBRA collective (1948–51), but also as an intellectual force for the nascent Situationists. With some 100 works, the show features paintings, sculptures, drawings, etchings, collages, photographs, and books. And while the ghost of Debord is no doubt still excoriating “sub-Leninist impostors,” Jorn’s oeuvre poses an interesting question: Why did Debord et al. lack all perspective on art?

  • Hans-Peter Feldmann, untitled, n.d.

    Hans-Peter Feldmann, untitled, n.d.

    Hans-Peter Feldmann

    Fundació Antoni Tàpies
    Aragó 255
    November 22, 2001–January 27, 2002

    Museum Ludwig
    May 29–August 11, 2002

    Centre National de la Photographie
    Hôtel Salomon de Rothschild 11 rue Berryer
    February 20–May 13, 2002

    Hans-Peter Feldmann’s artistic bio commences with his decision to abandon painting in 1968; photographs, he stated, were “entirely sufficient” to convey the idea of his art. Out of a conceptual preoccupation with reproducible images came a trove of mass-media artifacts, amateur photos, and the artist’s own shots, all of which he categorizes and processes in booklets, posters, journals, and photographic series. This survey is intended as an overview of the transition from Feldmann’s approach in the ’70s—he is frequently touted as a forerunner of appropriation art—to the “social and political reality of the nineties.”