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Maurizio Anzeri
Asger Jorn
Ever since Maurizio Anzeri was roundly acknowledged as the star (here and here) of Paris Photo last November, his embroidered portraits have hung in a stasis awaiting the key association which my visual memory was willing upon them.
It only took six months, but the penny of association dropped: Asger Jorn‘s Defigurations (1962). Both artists appropriate existing images with humour, a touch of spite and avian motifs.
As Jorn used flea-market paintings and vintage subjects, so Anzeri picks up vernacular photographs and family portraits. Given their choice of materials you might think that they hold some reverence for the original object, and yet their surface interventions are violent, in most cases obliterating recognisable features.
Maurizio Anzeri
Asger Jorn
Maurizio Anzeri
Asger Jorn
Prison Photography 