In 1968, Asger Jorn painted on almost every interior surface of the Archive of the Revolutions, in Havana. These paintings are a physical expression of the artist’s theories about the interaction between art and architecture; theories that break with the idea of art as a commodity or a museum object.
That the frescoes even exist today is a miracle. They are, however, at risk and in danger of being destroyed by moisture and poor storage. With the aid of 3D scanning, we can today not only make the murals accessible to the public but also create virtual reproductions of the spatial context they are a part of – and ensure they are preserved for posterity.
The project is an artistic research experiment that investigates how we can not only use technology to solve a physical problem, but also how, by utilising the technical potential of interaction, we can communicate the art and Asger Jorn’s approach to architecture in an entirely new way.
The murals and the rooms they are located in were recorded and documented in their entirety with the aid of 3D laser scanning and photogrammetry. As part of an interactive installation, laser scans of Jorn’s murals and Jorn’s own texts were projected onto textiles suspended in the room. The audience was able to move around inside the installation, and motion-sensitive sensors adjusted the audience’s experience according to the intensity in the room.
The project contributes to spreading knowledge about works of art by Asger Jorn’s that are almost unknown and inaccessible. As in contrast with its site-specific context, the installation can be moved, it is possible to show the works of art to an international audience. Jorn’s frescoes reflect the conditions under which he was working and the experiences former revolutionary Cubans shared with him when he was working.
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