Audio file 132-2

[continues from 132-1] Wonga continues with his thoughts on CoBrA as a counter to ideological movements of the time (mentions McCarthy witchhunts)

The McCarthy witch hunts refer to American Senator Joseph McCarthy's persecution of those he felt were communist infiltrators.

Wonga criticises CoBrA for not addressing colonialism (unlike Carl Kjersmeier); [tape stopped and restarted] Wonga speaks of modern art's debt to African art, but that the artists were not interested in African society; He compares this to the CoBrA artists' similar interest in Viking art, failing to retain the historical spiritual heritage

[tape stopped and restarted] Wonga recounts the CoBrA collaboration painting the house but Ejler Bille and they were not there which speaks of a generational gap; [tape stopped and restarted] Wonga speaks of collaboration between the CoBrA artists [tape stopped and starts multiple times]

Various members of CoBrA painted a house at Bregneröd, 20 km from Copenhagen, in 1949 and Eric Nyholm's house in 1949.

Wonga compares CoBrA to American Pop artists; Wonga interprets Antonin Artaud as a rejection of the American way of life (mentions Paul La Cour) before continuing on Asger Jorn and Christian Dotremont

Pop art was a movement that uses everyday imagery to challenge traditional art. The American version, with artists like Andy Warhol and Roy Lichtenstein, focused on images from mass consumer markets

[tape stopped and restarted] Wonga on why CoBrA ends (mentions Pierre Alechinsky); Wonga mentions a letter from Jorn to Ernest and Sonja when they were living in Oigny-en-valois; [tape stopped and restarted] Wonga continues on CoBrA artists who go on to find individual success

Cobra would be a short-lived movement, active between 1948 to 1951.

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