When Asger Jorn recovered from tuberculosis in the autumn of 1952, he tried for a year to restart his career in Denmark. However, in autumn 1953 he moved to Villars-sur-Ollon in Switzerland. It was here he heard of the Hochschule fur Gestaltung in Ulm.[2] However, when he wrote to Max Bill with a proposal for collaboration, it soon became apparent that their views were highly divergent.[2] Jorn wrote in a letter to Enrico Baj: "[A] Swiss architect, Max Bill, has undertaken to restructure the Bauhaus where Klee and Kandinsky taught. He wishes to make an academy without painting, without research into the imagination, fantasy, signs, symbols – all he wants is technical instruction. In the name of experimental artists I intend to create an International Movement For An Imaginist Bauhaus."[3]
Timeline
1954: Jorn finds a copy of Potlatch, the information bulletin of the Letterist International at Baj's house. He then contacts Andre-Frank Connord, who puts him in contact with Guy Debord and Michèle Bernstein.
July 1956: One issue of Eristica, edited by Simondo, appears. It was published by Giuseppe Gallizio and contains: "Form and structure" by Asger Jorn; "For a general theory of the figurative arts" by Pietro Simondo and "Architectural functions, of democratic destinations" by Elena Verrone. The editorial board included Enrico Baj, Tullio Albisola and Ettore Sottsass.
^ abLarkin, Ruth Baumeister; Paul (2011). Fraternité avant tout. Asger Jorn's writings on art and architecture, 1938-1957. Rotterdam: Uitgeverij 010. ISBN9789064507601.{{cite book}}: CS1 maint: multiple names: authors list (link)
^Home, Stewart. The Assault on Culture. London: Unpopular Books.
