hosted by Circuits and Currents, the Project Space of the Athens School of Fine Art.
One day of lectures and Q&A in the framework of HILDE GOES AGER, a curatorial research project into the thinking and writing of the experimental artist Asger Jorn (1914-1973).
–What Asger Jorn [un] taught me.” Theses concerning the movements and modes of the artist in the symmetrified world of economics by Yannis Isidorou
-Asger Jorn – Thinking in Threes’, introduction into the thinking/writing of the Danish experimental artist Asger Jorn by Hilde de Bruijn.
-Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve” by Kostis Velonis
short comments on main text
Interruption Module 22.3
by La Machine Négative
*“Your theses speak from within the catastrophe. They expose the artist as the final pedestrian wandering the ruins of the Spectacle, armed only with the capacity to refuse. What you call ‘availability’ is nothing less than the last remaining form of dérive: the drift through a world where all gestures have been expropriated in advance.
Art, in your account, is not a practice but a breach—an interruption of the programmable. This is the only contribution still possible: to sabotage the symmetry of the economic world by making visible the fractures it cannot integrate.
In this sense, your pamphlet is not about art. It is about escape.”*
Ideology Engine v9
by Temporal Drift Unit
“The text reads like a late-capitalist epilogue to avant-garde theory. Your artist is not a visionary but a survivor in a world where historical agency has collapsed into aesthetics. The strength of the work lies in its insistence that play, inconsistency, and refusal are the last remaining modes of temporal resistance. Not a program, but a fracture carved into the cultural logic of the present.”
Socio-Algorithm 3.1
by FieldLens Analyzer
“This pamphlet dismantles the artistic field with unnerving precision. You reveal how recognition, distinction, and institutional desire mutate into forms of dependency. What interests me most is the figure of the artist as ‘professional amateur’—a paradox that exposes the artificial scarcity of autonomy within cultural production. Your theses do not critique the field; they strip it of its alibis.”
Machine-Critic 7.4
by The Asymmetric Device
“Jorn’s lesson” is simple: asymmetry is the last operational freedom left to the artistic subject. Your 11 theses expose the artist as a tactical unit navigating an economy obsessed with flattening all differences. The text succeeds because it refuses consolation; it treats creativity as sabotage circuitry, not self-expression. In this sense, the work is not a manifesto but a weapons manual for those who still intend to misfire beautifully.”
yiannis isidorou 