So Much Happy Ravings With These Guys · 4:27am Sep 10th, 2022
https://www.nastymagazine.com/art-culture/gunter-brus-the-divided-self/
Gunther Brus focused the attention of his artistic study on the “gesture of painting” by using his body as the subject as well as the object of his works. In his performances we can find as a recurring theme: the mutilation, shown both on the canvas and on the body, hinting at it or performing it through body painting. The use of white paint in particular, implies a form of cleansing or purgation. “In Self-Painting – Self-Mutilation” pictures took by Ludwig Hoffenreich, Brus appears with all the body painted and many sharp objects in his proximity, and while he painted a black line down the center of his face keep adding layers until his expression is totally obscured. These performances aimed to convey the image of a divided body, a body that has almost disappeared that can be read as a splitting of the self, or as a gaping wound, one that was put on very public show in the center of Vienna, tracing a link to the Nazi annexation of Austria to Germany. Brus was greatly critical about the Austrian society and of the narrative of its fascist past. With his art, he reacts with skepticism to the official victim state of his country, putting it on stage with emphasis through the S&M performances, used to achieve some relief from a state of crisis and transgress social and cultural norms. His performances where he urinates, defecates and cuts himself with a razor, bringing to everyone’s eyes his pain, exhibited to the extreme in his last aktion: “Breaking Test” performed in East Berlin in 70, where he cuts himself repeatedly with a ritual tension and surgical precision, as if to prove that the actions are real, in contrast to the symbolic ‘cutting’ seen in previous works.
In this performance Brus offered his body to the audience in a way that evoked the bleeding body of Christ but reversing all his sacred meaning, wearing women’s underwear fetishistically in particular stockings and suspenders. These feminine markers of eroticism have clear sexual connotations, but Brus simply cuts through them before slicing into his own skin. Brus challenged the accepted norms of masculinity, undermining the conventions even further with his display of vulnerability, conflating queer sexuality with pain and violence, leaving the audience to put up with the pain he shared.
https://momus.ca/abjection-without-splendor-gunter-brus-and-transgressions-diminishing-returns/
Stinking, wretched, naked but for socks, smeared with his own thick feculence, the man is arrested by police and order is restored. So ends performance artist Günter Brus’s infamous Kunst und Revolution (Art and Revolution) in 1968. For it, Brus urinates in a glass, covers his body with excrement, masturbates while singing the Austrian national anthem, and finally drinks his own urine, vomiting.
https://www.nitsch-foundation.com/en/the-orgies-mysteries-theatre/
Hermann Nitsch developed the Orgies Mysteries Theatre (O.M.Theatre) in the mid-1950s. All the disciplines (described below) of this total art work with a claim to completeness hark back to the 1950s and ’60s and have always been rooted in an overall concept.
Peter Gorsen remarks that the origins of the O.M. Theatre lie in literary and sensory language. The artist first articulated the idea of his total artwork in verbal poetry. In 1956 – influenced by the Greek tragedies, by Georg Trakl, German Expressionism, French Symbolism, Stephan Georges, James Joyce and the Surrealists – he began writing a drama which was to last six days. Hermann Nitsch conceived “a kind of compressed archetypal drama, aiming to summarise the conflicts and catastrophes of the myths. The Oedipus material was processed in the same way as the Nibelungen-Myth, the Atreides myth, the death of the Sun-hero and the Catastrophe of the Cross.” However, this work remains unfinished. After two years, the artist realised that language did not have sufficient capacity to convey the required profound and convincing emotional intensity, and transferred his level of expression to different areas. He started working with actual substances – such as milk, vinegar, wine, blood or meat, which stimulate the senses of smell, touch and taste; this seemed to him more conducive to the enhancement of sensual impressions.
In the staging of such events, art is liberated from the task of depiction and representation – as was generally striven after in the 20th century, especially in happenings, performances and Actionism during the 1960s. Art transcends the boundary of life and reality – art and life become one. In real time, sensuous reality is experienced. Literary experience is replaced by real-life experience, thus making it possible to dispense with spoken language. Nitsch says that it is not language (linguistic association) that plumbs the depths, but ecstatic sensual experience achieved through ‘Aktionen’, tending towards orgiastic excesses, which will expose what has been repressed.
Totally liberated art and no fucks given.
Somebody out there has got to be the one doing protests of the horse fascism of knighty and Princess Celestia. Maybe there are times where we need to go extreme like Gunther Brus. Enough folks out there apparently think so.
publicdomainpictures.net/pictures/90000/velka/happy-flowers.jpg
That club page we put together might explain it all. Especially this quote stands out as one to chew on. "If I have gained anything by damning myself, it is that I no longer have anything to fear."
Who else is gonna smash your shit and trail blood all over if not for Sid Vicious and GG Allin? Moshing goes along with creating epic metal. I don't know if Corpsegrinder does a bunch of those antics but far be it from me to take away his turn to speak. Except Happy Tree Friends, fuck them.
So that's getting a touch repetitive with apologies, but I don't have much of any deep shit to recommend here. Just trying to do some big think myself on what good art is.
https://www.fimfiction.net/story/36981/120-days-of-blueblood
Is this fic really worth writing on and on all those words? DeathToPonies gives it a better style.
A couple of my jokes are in poor taste but that's the theme of the day. I desired to show a smattering of these dark things since it's worth a glimpse into. But that's not great for my poor old image. On one hand I wanted to clear up my past clumsy attempts at edginess, and on the other, I sure did want to examine more edgy content.
Now all that goes up with what I've began here on FiMfiction, anyhow. But oops, it sort of didn't hit me how much I was going on and on with the sorries over the days as I chiseled away on it. What's more, I presumed some bits were obvious enough for me to go without saying and, well, that ended up not sensitive enough. I guess a piece of me is still out there thinking my role on here and dealing in the worse off emotions such as sadness and being mad for art.
Don't look at me like that. Don't think it. Come on.
I thought I put this already.