MIXED MEDIA (IV)

About the Body

EXHIBITION Apr 28 — Aug 31, 2018

GÜNTER BRUS, OTTO MUEHL & HERMANN NITSCH

Brus: 'Ana', 1964; 'Selbstverstümmelung', 1965; 'Schwarzkogler, 4. Aktion', 1965;
Muehl: 'Leda mit dem Schwan', 1964;
Nitsch: 'frühe Aktionen', 1962-1967
, 1964–1967

7 films, originally 8 and 16 mm, transferred to DVD

© 2018 Guenter Brus / Otto Muel 2018 & Hermann Nitsch 2018, VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925-2013)

from 'Oh Tannenbaum, Materialaktion Nr. 15 / Oh Christmas Tree, Material Action No. 15', Photos: Marc Adrian, 1964

10 gelatin silver prints, printed 2007

63,5 x 44 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925-2013)

from 'Oh Tannenbaum, Materialaktion Nr. 15 / Oh Christmas Tree, Material Action No. 15', Photos: Marc Adrian, 1964

10 gelatin silver prints, printed 2007

63,5 x 44 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925-2013)

from 'Oh Tannenbaum, Materialaktion Nr. 15 / Oh Christmas Tree, Material Action No. 15'; Photos: Marc Adrian, 1964

10 gelatin silver prints, printed 2007

63,5 x 44 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925-2013)

from 'Oh Tannenbaum, Materialaktion Nr. 15 / Oh Christmas Tree, Material Action No. 15'; Photos: Marc Adrian, 1964

10 gelatin silver prints, printed 2007

63,5 x 44 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925-2013)

from 'Materialaktionen / Material Actions 1965-1967'; Photos: Ludwig Hoffenreich, 1965-1967

12 cibachrome prints from the original transparency, printed 1980

30x 30 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER (1940–1969)

6. Aktion, "o.T.", Frühjahr 1966 / 6. Action, "o.T.", Spring 1966; Photo: Michael Epp, 1966

gelatin silver print, printed ca. 1966

29,5 x 24 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER (1940–1969)

4. Aktion, Sommer 1965 / 4. Action, Summer 1965; Photo: Ludwig Hoffenreich, 1965

80 gelatin silver contact prints

49,5 x 59,7 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER (1940–1969)

3. Aktion, "o.T.", Sommer 1965 / 3. Action, "o.T.", Summer 1965; Photo: Ludwig Hoffenreich, 1965

gelatin silver print, printed ca. 1965

29,5 x 24 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER (1940–1969)

2. Aktion "o.T.", Sommer 1965 / 2. Action "o.T", Summer 1965; Photo: Ludwig Hoffenreich, 1965

gelatin silver print, printed ca. 1965

23 x 17,5 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

OTTO MUEHL (1925–2013)

from 'Materialaktionen / Material Actions 1964-1967'; Photos: Ludwig Hoffenreich, 1964–1967

30 x 30 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

LÁSZLÓ MOHOLY-NAGY (1895-1946)

In Gottes Gehörgang / In God´s Ear Canal, 1923

photomontage on paper

48,2 x 33,2 cm

© Hattula Moholy-Nagy; VG Bild-Kunst, Bonn 2016 / Courtesy Kicken Berlin

HANNAH HÖCH (1889–1978)

Über dem Wasser / Over the Water, 1943 - 1946

collage of paper and offset prints on cardboard

22,8 x 21,8 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

OTTO MUEHL (1925–2013)

Materialaktion Nr. 25, Das Ohr / Material Action No. 25, The Ear, 1966 - 1971

Cibachrome print, printed ca. 1966-1971

30,1 x 29,9 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

HERMANN NITSCH (*1938)

Relikt von der Malfläche am Schüttboden / Relic of Painting and Pouring Ground, 2001

collage

45 x 42 cm

© 2018 Hermann Nitsch / VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

HERMANN NITSCH (*1938)

45. Aktion, Studio Morra, Neapel / 45. Action, Studio Morra, Naples, 1974

photo canvas

78,2 x 115 cm

© 2018 Hermann Nitsch / VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

GUSTAV KLIMT (1862-1918)

Aufgestützt kniender Akt nach links / Kneeling Nude Facing Left, Resting on Armchair, 1904

black chalk on Japan paper

34,6 x 54,7 cm

© Public Domain / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER (1940–1969)

6. Aktion, "o.T.", 1966 / 6. Action, "o.T.", 1966; Photo: Michael Epp, 1966

gelatin silver print, printed ca. 1970

75 x 96 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

RUDOLF KOPPITZ (1884-1936)

Im Schoße der Natur / In the Bosom of Nature, 1923

gelatin silver print, printed ca. 1930s

12,4 x 9,2 cm

© Estate of the Artist / Courtesy Kicken Berlin

EGON SCHIELE (1890-1918)

Mädchen / Girl, n.d.

lithograph on paper

40 x 54 cm

© Public Domain / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

'Ana'; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed 2004

38,1 x 29,7 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

ANNA KOPPITZ (1884-1936)

Kniender Akt / Nude kneeling, ca. 1925

gelatin silver print, printed ca. 1925

13,1 x 13,3 cm

© Nachlass Anna Koppitz / Courtesy Kicken Berlin

EGON SCHIELE (1890-1918)

Kauernde / Girl Crouching, 1914 - 1919

drypoint etching on Massimilianico laid paper

47,7 x 31,5 cm

© Public Domain / Courtesy Kicken Berlin

RUDOLF SCHWARZKOGLER ((1940-1969))

6. Aktion, Photo: Michael Epp, aus der Edition 'Aktionen Wien 1965/66', Galerie Krinzinger / 6. Aktion, Photo: Michael Epp, from the Edition 'Aktionen Wien 1965/66', Galerie Krinzinger, 1966

gelatin silver print, printed 1980

34,5 x 34,7 cm

© The Estate of Rudolf Schwarzkogler / Courtesy Kicken Berlin

EGON SCHIELE (1890-1918)

Liegender Akt, masturbierend / Resting Nude, Masturbating, 1914

pencil on paper

30,5 x 48,3 cm

© Public Domain / Courtesy Kicken Berlin

KURT KREN (1929-1998)

Filmstill aus/from '7/64 Leda und der Schwan/Leda and the Swan' (Materialaktion Nr. 12 von/Material Action No. 12 by Otto Muehl mit/with Ulla Holzbauer, 20. August 1964/August 20, 1964, Atelier Muehl/Studio Muehl, Perinetgasse), 1964

c-print, printed 1997

60,7 x 88,2 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

GUSTAV KLIMT (1862–1918)

Akt mit angewinkeltem linken Bein, Studie für die 'Braut' / Nude with Bent Left Leg, Study for the 'Bride', ca. 1917

pencil on paper

56,5 x 37,2 cm

© Public Domain / Courtesy Kicken Berlin

VÁCLAV ZYKMUNDA (1914-1984)

Akt s cernoskymi maskam/ Nude with African mask, from the cycle 'Akty'/ 'Nudes', 1936-37

silver bromide print, printed ca. 1936-37

29,5 x 23,7 cm

© fotografie Václav Zykmunda

RUDOLF KOPPITZ (1884-1936)

Aktstudie / Nude Study, ca. 1927-30

gelatin silver print, printed ca. 1927-30

13,8 x 6,5 cm

© Estate of the Artist / Courtesy Kicken Berlin

GUSTAV KLIMT (1862-1918)

Liegendes Liebespaar / Lovers, Resting, 1904

pencil on paper

ca. 36,7 x 56,2 cm

© Public Domain / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

'Ana'; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed later

38,9 x 30,3 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

EGON SCHIELE (1890-1918)

Die Kümmernis / The Grievance, 1914

dry point etching

47,7 x 31,1 cm

© Public Domain / Courtesy Kicken Berlin

RUDOLF KOPPITZ (1884–1936)

Verzweiflung / Despair, ca. 1925

gelatin silver print on postcard paper, printed ca. 1930-1936

12,1 x 9,1 cm

© Estate of the Artist / Courtesy Kicken Berlin

WERNER ECKELT (1914–1990)

Untitled (Dancer Marianne Vogelsang), ca. 1935

gelatin silver print, printed ca. 1935

29,4 x 23,6 cm

© Estate of the Artist / Courtesy Kicken Berlin

ANONYMOUS

Valeska Gert - 'Moritat' aus der Dreigroschenoper / Valeska Gert - 'Moritat' from the Three Penny Opera, ca. 1930/31

gelatin silver print, printed ca. 1930/31

17,2 x 14,5 cm

© Estate of the Artist / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

'Silber / Silver'; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed 2004

38,7 x 30,2 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

MAN RAY (1890–1976)

Self Portrait with Half Beard, 1943

gelatin silver print, printed 1960s

18,2 x 12,8 cm

© Man Ray Trust, Paris / VG Bild-Kunst, Bonn 2014 / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

Selbstverstümmelung / Self-mutilation, Photo: Siegfried Klein (Khasaq), 1965

gelatin silver print, printed 2004

37,6 x 29,5 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

VÁCLAV ZYKMUND (1914–1984)

Untitled (Action), 1937

gelatin silver print, printed ca. 1937

18 x 12,8 cm

© fotografie Václava Zykmunda / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

'Ana'; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed 2004

38,4 x 30 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

WALTER PETERHANS (1897–1960)

Ohne Titel (Karfreitagszauber) / Untitled (Good Friday magic), 1929

gelatin silver print, printed ca. 1929

17,9 x 28,5 cm

© Priv. Collection / Courtesy Kicken Berlin

OTTO MUEHL (1925–2013)

Materialaktion Nr. 25, Das Ohr / Material Action, No. 25, The Ear, 1966–1971

Cibachrome print, tip-mounted under mat, printed ca. 1966-1971

30,1 x 29,8 cm

© VG Bild-Kunst, Bonn 2018 / Courtesy Kicken Berlin

VÁCLAV ZYKMUND (1914–1984)

Untitled (from the cycle 'Action'), 1944

gelatin silver print, printed ca. 1944

18,1 x 23,8 cm

© fotografie Václava Zykmunda / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

‘Silber / Silver’; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed 2004

39,2 x 30 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

GÜNTER BRUS (*1938)

‘Silber / Silver’; Photo: Siegfried Klein (Khasaq), 1964

gelatin silver print, printed 2004

38,1 x 29,6 cm

© 2018 Günter Brus / Courtesy Kicken Berlin

On the occasion of Gallery Weekend Berlin 2018, Kicken Berlin presents a new installment of its exhibition series Mixed Media under the title About the Body. Following explorations of portraiture, abstraction, and architecture, this fourth exhibition also invites photography to enter into productive dialogue with other artistic media. The body as the medium of subjective experience and social protest, as it was employed from the early twentieth century into the 1960s, is the show’s central focus. One of the most radical artistic movements was Viennese Actionism (Wiener Aktionismus) of the 1960s as exemplified by proponents such as Günter Brus, Kurt Kren, Otto Muehl, and Rudolf Schwarzkogler. The Actionists understood their own bodies as the bearers of direct, often drastic statements on political situations and hardened social structures as shaped by the baggage of nationalism in postwar Austria. Immediacy and communal experience were key: the artists consciously disposed of both artistic and social conventions in order to release creative potential. Action and performance redefined traditional artistic media and expanded them into sensuous experience in time and space. “[U]sing truth as an immediate mode of creation,” as Hermann Nitsch wrote in 1964, leads to uncompromising “totalaktion,” or “total action.” His calculated breaks with taboo – public displays of nudity, sexuality, bodily excretions, gestural-spatial painting actions, and even self-mutilation – often resulted in intervention by state law enforcement. Günter Brus, after the 1968 action “Kunst und Revolution” (Art and Revolution), was prosecuted for “disruption of order in a public place and violation of public decency” and thus fled to Berlin. In addition to the body, like in Brus’s work, everyday objects, garbage, mud, paint, and food became objects of ecstatic Materialaktionen (material actions), a radical deconstruction of art historical traditions (Muehl, Nitsch). Brus, Nitsch and Muehl had their roots in Informel abstract painting, which they then transitioned into gestural actions. Rudolf Schwarzkogler, on the other hand, staged himself and his actors without an audience in ritual-filled bodily actions and precisely defined aesthetic spaces. Kurt Kren conceived of his actions cinematically. Viennese Actionism was part of a larger international artistic movement of the twentieth century that tested the boundaries between the individual, society, and artistic form. An early branch traces back to Viennese Modernism at the turn of the century with protagonists such as Egon Schiele and Gustav Klimt, to whom actionists Brus and Muehl vividly responded. With their radical conception of the body and drastic consideration of conditio humana, which left few taboos untouched, the two epochs reveal their similarities in their revolutionary outlooks and contrarian spirits. Further artistic parallels are evident in the subjective fragmentation –and thus alienation– of the body in Dada and New Vision collage practice, such as in Hannah Höch and László Moholy-Nagy collages, which are combined with images by Otto Muehl’s actions. The surreal relationship of body and staging as exemplified in Czech avant-garde artist Václav Zykmund’s action scenes responds to the often grotesque imagery of the corporeal, the distorted and exposed human being. Man Ray’s double-face self-portrait highlights the multifaceted character of Surrealism in the literal sense, which does not deny a witty spirit. From the first decades of the twentieth century on, photographers like Rudolf Koppitz used a rich vocabulary of gestures from movement and dance studies to express a symbolist understanding of man in nature. Again, dance is also a means to render the sculptural, even uncanny aspects of bodily phenomena, such as in manifestations by dancers Valeska Gert or Marianne Vogelsang. Also on display is a digital video screening of short films by Kurt Kren and Günter Brus of several early actions by Günter Brus, Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler.