|
 Museum Jorn holds the collections that were developed by Asger Jorn from the early 1950s until his death in 1973, since when they have doubled in extent. Jorn’s generous gift is one of the two largest donations of art ever made in Denmark. In consequence, the museum is not only home to the most comprehensive collection of Jorn’s own works but also holds thousands of paintings, sculptures and works on paper by other artists – members of Cobra and older international artists who inspired Jorn or were kindred artistic spirits including, among others, Max Ernst, Francis Picabia, Fernand Leger and Man Ray.
Jorn’s vision was to document surrealism and the development of spontaneous- abstract art in Europe. Moreover, he wanted to secure public access to the collection. With his generous gift Jorn placed Silkeborg firmly on the map of the international art world.
In 1982 Museum Jorn moved, under the name of Silkeborg Kunstmuseum, into its present building. Following minor refurbishment works and a change of name the museum reopened in 2010 as Museum Jorn, Silkeborg.
Reinterpreting the permanent collection
For the first time since its opening in 1982, the museum’s extensive collection of Jorn’s own works is displayed in a new, priority-ordered hanging.
The new fit-out makes it possible to display more of the museum’s extensive Jorn collection. A new basement gallery will from now on host major exhibitions of the museum’s own collections, including selections from the 13,000 or so drawings and graphic works on paper that Museum Jorn has among its holdings. This gallery will also be used for the loan shows that will supplement the museum’s programme of changing exhibitions.
In addition, one of the museum’s permanent collection spaces are now dedicated to Jorn’s ceramic works, which include sculptures, dishes, vases and reliefs. Jorn’s work in ceramics began in earnest in Silkeborg in the 1950s and was further pursued in Italy, where his most outstanding work in this medium, the large relief sculpture in Aarhus Statsgymnasium (a sixth form college), was made.
Collaborative efforts
Jorn was a founder member of several international art associations and an active member of groups such as Høst-gruppen, Surréalisme-Révolutionnaire, Spiralen, Cobra (Copenhagen – Brussels – Amsterdam), The International Movement for an Imaginist Bauhaus and Situationist International.
The museum has a large number of works by the artists of these important groups, including collaborative works and other material documenting Jorn’s role as a prime mover in setting up networks and as a catalyst for the development of European experimental art in the second half of the 20th century.
Cobra-forum
In the Cobra-forum visitors can immerse themselves in select parts of the museum’s extensive archive mate- rial which is digitised and displayed on an ongoing ba- sis. Here it is possible to explore archive boxes, browse through digital versions of rare objects such as Jorn’s sketch books or seek more information on one of the available computers. The Cobra-forum cinema shows a range of films relating to the collections. Cobra-forum receives support from Kulturregion Østjysk Vækstbånd (the relevant regional cultural planning initiative) and the Ministry of Culture.
Museum Jorn is now equipped to appeal to a broader public while at the same time making opportunities for a deeper engagement with Jorn’s oeuvre and Jorn scholarship available to all. Visitors to the museum are now greeted by an introduction space that sets Jorn’s art and life in context.
This raft of fresh initiatives are part of Museum Jorn’s strategy for realizing Jorn’s visions for the museum, and for spreading awareness of and interest in Asger Jorn – widely regarded as the greatest visual artist Denmark has produced in the past hundred years.
|
1864 ( Nordfriesland wurde ein Teil Preußens ) genau da begann der Niebüller Pastor Friedrich August Feddersen (1838 -1909) damit, systematisch friesische "Altertümer" zu sammeln. 
In zwei Schüben wanderten Friesen aus dem Süden nach Nordfriesland ein. Im achten Jahrhundert besiedelten sie vor allem die Inseln Helgoland, Sylt, Föhr, Amrum und vermutlich Teile Eiderstedts. Die Marsch wurde in einer zweiten Auswanderungswelle um die Jahrtausendwende in Besitz genommen. Nach mehreren Sturmfluten siedelten Friesen auch auf der Geest an.
