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

5 Mar 2019 – 13 Apr 2019

Regular hours

10:00 – 18:00
10:00 – 18:00
10:00 – 18:00
10:00 – 18:00
10:00 – 18:00

Cost of entry

free admission

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Petzel Gallery

New York
New York, United States


Travel Information

  • DIRECTIONS: via subway take C or E train to 14th Street at 8th Avenue, walk 4 blocks uptown to 18th street and 2 Avenues west towards 10th Avenue. The gallery is between 10th and 9th Avenues.
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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


Petzel is pleased to announce Strategic Vandalism: The Legacy of Asger Jorn’s Modifications Paintings. Situated in the context of the first thrift store paintings altered by Danish artist Asger Jorn, this group show of over 30 prominent international artists investigates multifarious appropriation methods spanning from the mid-1960s to the flourishing techniques of the 1980s, up to the present day.

But flashback to 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.

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Asger Jorn


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