Relevant bibliographies by topics / Viennese Actionism

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Academic literature on the topic 'Viennese Actionism'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Viennese Actionism"

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Widrich, Mechtild. "The Informative Public of Performance: A Study of Viennese Actionism, 1965–1970." TDR/The Drama Review 57, no. 1 (March 2013): 137–51. http://dx.doi.org/10.1162/dram_a_00239.

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The reputedly “direct art” of Viennese Actionism, including Günter Brus's Vienna Walk and the Picture Compendium of Viennese Actionism compiled by Peter Weibel and VALIE EXPORT, constitutes an “informative” audience for later readers, with documents setting the stage for an imaginative engagement with still-unknown spectators.
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Schopp, Caroline Lillian. "On Failing to Perform: Kunst und Revolution, Vienna 1968." October 170 (October 2019): 95–119. http://dx.doi.org/10.1162/octo_a_00372.

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Nineteen sixty eight's Kunst und Revolution (Art and Revolution) has long been seen as an artistic and a political failure, marking the dissolution of the student left in Vienna and the premature end of so-called “Viennese Actionism.” This essay argues, however, that the failure of Kunst und Revolution was precisely the point: It exhibited a crisis of Austrian impotence that had long since been underway. Rather than considering the event to have been discredited for its ineffective political activism or misguided artistic “Actionism,” one is better off seeing it as an instance of what the author calls “in-action.” Through its failure to perform, Kunst und Revolution provoked the escalatory attentions of the police, the press, and the public. By attending to the mediatization of the event and the central role of the police, this essay argues that Kunst und Revolution, and in particular the performances of Günter Brus and Anna Brus, staged an institutional critique of Austria's most venerable national symbols: the university, the courts of justice, the tradition of the fine arts, and the Viennese family home.
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Wilke, Sabine. "Performing States-Of-In-Between: Dogs, Parrots, and Other Humans in Recent Austrian Performances." Literatur für Leser 40, no. 3 (January 1, 2017): 295–310. http://dx.doi.org/10.3726/lfl032017k_295.

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Every late spring since 1951, the Wiener Festwochen bring performers from around the world to Vienna for an opportunity to share recent developments in performance styles and present them to a Viennese public that seems to be increasingly open to experimentation. These festival weeks solidify a specific form of Viennese self-understanding and self-representation as a culture that is rooted in performance. This essay seeks to link two recent Austrian performances—one of them was part of the Wiener Festwochen in 2016, the other was staged in downtown Linz during the past few years—to this Austrian and specifically Viennese culture of performance by reading them as contemporary articulations of a tradition of radical performance art that can be traced back to the Viennese Actionism of the sixties and later feminist articulations in the seventies and eighties. They play on the dramatic effect of these actions, specifically their joy in cruelty, chaos, and orgiastic intoxication, by staging regressions and thus making visible what has been dammed up and repressed in contemporary society.1 Just as their historical models, these two performances merge the performing and the fine arts and they highlight provocative, controversial, and, at times, violent content. But they do it in an interspecies context that adds an entire layer of complexity to the project of societal and cultural critique.
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Hinderliter, Beth. "Citizen Brus Examines His Body: Actionism and Activism in Vienna, 1968." October 147 (January 2014): 78–94. http://dx.doi.org/10.1162/octo_a_00167.

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The question “Is nonviolence a possibility?” was a lightning rod of disorder in the 1960s as leftist groups became militarized, claiming counter-violence as the most effective vehicle of self-preservation. Numerous publications, whether advocating counter-violence as self-destruction or as self-preservation, from Konrad Lorenz's On Aggression (1963) to the collection The Dialectics of Liberation (which appeared in 1968 and featured essays by Herbert Marcuse, R.D. Laing, and Stokely Carmichael), spoke to the problem of venting human aggression and thereby ending our “mass suicide.” Artistic use of violence at the 1966 Destruction in Art Symposium in London, where Viennese Actionists as well as members of the Fluxus group gathered to stage performances of their works such as Ten Rounds for Cassius Clay, questioned the sublimation of violence or its aggravation via aesthetic strategies. In suggesting that nonviolence in an oppressive society was the equivalent of self-destruction, Actionists participated in a broader discussion of the character of violence being conducted by a number of activist groups at this time. It dismissed self-defense in favor of revolutionary violence. The Actionists politicized self-destruction as a means of routing bourgeois individualism and its internalization of repressive aspects of the state apparatus, forming group-subjects as in Wehrertüchtigung [Toughening Up the Army] from 1967, which had performers parodying the training exercises of army soldiers and reveling in corporal abjection. In this sense, the political capacities of Actionism can be seen not just in its partnering with student-activist groups to offer “teach-ins,” as at 1968's “Art and Revolution” (a manifestation of performance and actions co-organized by the Viennese Actionists and a student group at the University of Vienna); they are more widely manifest in the Direct Art performances of the mid-1960s and in Günter Brus's Body Analysis actions, which question the relationship between the materiality of the human body and the political identity of the citizen subject. Here, violence applied to the body as material seeks to overturn the originary violence that is the basis of state power and to render visible the internalization of repressive social forces.
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Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).

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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
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Pytko, Mateusz. "Slices of art. Viennese actionists and Werner Schwab’s negations." Tekstualia 2, no. 49 (June 12, 2017): 99–114. http://dx.doi.org/10.5604/01.3001.0013.3124.

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The article raises questions about the possibility of negation of art on the example of Viennese Actionism’s body performance and Werner Schwab’s conception of theatre. It puts emphasis on the problems of the political meaning of the abjectal usage of the body (actionists) and language (Schwab) in contrast to the fascist dryness represented by Heinrich Gross. It additionally demonstrates the similarity between the brutal performances of the Viennese Actionists and Werner Schwab’s affective imaginarium.
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7

Krewani, Angela. "Urban Hacking and Its “Media Origins”." Digital Culture & Society 3, no. 1 (July 26, 2017): 139–46. http://dx.doi.org/10.14361/dcs-2017-0109.

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Abstract This essay traces the genealogy of urban and mobile media hacking. It is argued that the forerunners of urban hacking were artists active within the Fluxus scene and Viennes Actionism. Their artistic practices can be seen as precursors for more recent interventions in public and particular urban spaces which have been described as “urban hacking.” These developments appear genealogically and are also related to a turn towards individual media production: the introduction of the Portapak video camera brought about grassroots media activism and influenced the institutionalisation of public television.
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Knežević, Adrian. "Prva secesija u dalmatinskoj Narodnoj stranci 1873. godine." Miscellanea Hadriatica et Mediterranea 6, no. 1 (January 20, 2020): 167–204. http://dx.doi.org/10.15291/misc.2914.

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This paper deals with secession in the Dalmatian People’s Party that took place in 1873, after the Dalmatian Representatives to the Imperial Council endorsed the law that introduced direct elections for the Council. The People’s Party strongly condemned their actions, attacking them for being deceived by the promises of the Viennese government and betraying people’s honesty. Representatives believed that their actions served to protect Dalmatia from the negative reaction of the Government and to enable Dalmatia’s development by support of the same government. The conflict within the party peaked when Representatives seceded from the party centre and established the Mainstream Folk Party, called Zemljačka (Eng.: Compatriotic) after its publication Zemljak after which they were nicknamed “Zemljaci” (Eng.: Compatriots). A fierce controversy ensued between Zemljak and Narodni list, a newspaper of the People’s Party centrepiece. It analyses the period until the first direct elections to the Imperial Council held in late 1873 in which both sides achieved weaker than expected outcome. The paper analyses discourse of both sides in this conflict and tries to determine what ideological positions they came from and their position on the opposing side.
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FRENCH, LORELY. "The concept of baxt in the bilingual short-story collection glücksmacher - e baxt romani by Samuel Mago and Károly Mágó." Romani Studies 30, no. 2 (December 1, 2020): 217–41. http://dx.doi.org/10.3828/rs.2020.11.

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This article presents a close reading of the Romani characters and their actions in five stories by Viennese Romani writer and activist Samuel Mago and in two stories by his brother, Hungarian award-winning journalist Károly Mágó, in their bilingual Romani and German collection glücksmacher - e baxt romani. Brief biographies and an outline of the history of Roma and antiziganism in Austria provide background to textual analysis that focuses on how characters in the stories engender baxt/“Glück,” which means both happiness and luck. This dual meaning has inspired philosophical, psychological, economic, and anthropological studies, but literary scholars have rarely examined the concept in texts by Roma. For the protagonists in the brothers’ stories, happiness and luck become based less on monetary fortunes than on other means to live and survive in dark times of persecution and discrimination. The characters’ decisions unveil perceptions of baxt that rely largely on acquiring food, preserving and passing down family heirlooms, receiving an education, and freeing oneself and one’s family from persecution.
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Österreicher, Doris, and Stefan Sattler. "Maintaining Comfortable Summertime Indoor Temperatures by Means of Passive Design Measures to Mitigate the Urban Heat Island Effect—A Sensitivity Analysis for Residential Buildings in the City of Vienna." Urban Science 2, no. 3 (August 8, 2018): 66. http://dx.doi.org/10.3390/urbansci2030066.

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The waste heat generated from the use of air conditioning systems in cities significantly contributes to the urban heat island effect (UHI) during the summer months. Thus, one of the key measures to mitigate this effect is to limit the use of active cooling systems. In the city of Vienna, air conditioning units are common in nonresidential buildings, but have so far been much less installed in residential buildings. This is mainly due to the fact that the Viennese summertime climate is still considered to be relatively comfortable and planning guidelines related to energy efficiency are already strict, resulting in high-quality buildings in regard to thermal performance. However, during the last decade, an increase in summertime temperatures and so called “tropical nights” has been recorded in Vienna and subsequently the postconstruction installation of air conditioning systems in residential buildings has significantly increased. In a study undertaken for the City of Vienna, a series of passive design measures have been simulated with current and future climate scenarios in order to determine the most effective combination of architecturally driven actions to avoid the use of air conditioning systems in residential buildings whilst maintaining comfortable indoor temperatures.
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Dissertations / Theses on the topic "Viennese Actionism"

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.
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Books on the topic "Viennese Actionism"

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Loers, Veit. Viennese Actionism (Viennese actionism). Ritter Verlag Klagenfurt, 1988.

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Klocker, Hubert. Viennese Actionism 2 (Viennese actionism). Ritter Verlag Klagenfurt, 1989.

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Amor Psyche Action-Vienna: The Feminine in Viennese Actionism. Verlag fur Moderne Kunst, 2013.

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1957-, Parcerisas Pilar, Klocker Hubert, Roussel Danièle 1947-, and Centro Andaluz de Arte Contemporáneo (Seville, Spain), eds. Viennese actionism: Günter Brus, Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler. [Sevilla]: Junta de Andalucía, Consejería de Cultura, 2008.

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5

Günter, Brus, Museum Fridericianum, Kunstmuseum Winterthur, and Scottish National Gallery of Modern Art., eds. Von der Aktionsmalerei zum Aktionismus: Wien 1960-1965 = From action painting to actionism : Vienna 1960-1965. Klagenfurt: Ritter, 1988.

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Günter, Brus, Klocker Hubert, Graphische Sammlung Albertina, and Museum Ludwig, eds. Der Zertrümmerte Spiegel: Wien, 1960-1971 : Günter Brus, Otto Mühl, Hermann Nitsch, Rudolf Schwarzkogler. Klagenfurt: Ritter, 1989.

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7

1950-, Martel Richard, ed. Art action, 1958-1998: Happening, fluxus, intermédia, zaj, art corporel/body art, poésie action/action poetry, actionnisme viennois, viennese actionism, performance, art acciʹon, sztuka performance, performans, akciʹo mʺuvészet. Québec: Éditions Intervention, 2001.

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8

Bondallaz, Patrick. « Inter Arma Helvetia » L’action humanitaire suisse pendant la Grande Guerre. Éditions Alphil-Presses universitaires suisses, 2021. http://dx.doi.org/10.33055/alphil.03158.

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Retranchée derrière sa neutralité, la Suisse échappe à la conflagration générale. Isolée sur le plan politique, elle n’est pas pour autant hermétique aux drames humains qui se jouent de l’autre côté de ses frontières. Si la Confédération et le Comité international de la Croix-Rouge prennent des mesures humanitaires pour atténuer les souffrances, la société civile suisse n’est pas en reste. Exhumant des sources inédites, cet ouvrage met en lumière un chapitre méconnu de l’histoire suisse de la Grande Guerre : la mobilisation humanitaire des acteurs privés. Entre 1914 et 1918, la population suisse s’engage avec une vigueur et une spontanéité parfois déconcertantes dans des actions de secours internationales. Par centaines, les bonnes oeuvres helvétiques viennent en aide aux réfugiés, aux prisonniers de guerre, aux familles de disparus, aux internés civils et militaires, aux orphelins, aux mutilés ou encore aux populations des régions occupées menacées par la famine. L’épreuve de la guerre transforme en profondeur les pratiques de la bienfaisance, ouvrant la voie à une véritable massification de la charité. Par son rôle pivot, la neutralité tient une place centrale dans ce vaste mouvement, auquel se mêlent des enjeux relatifs à la cohésion nationale et aux sympathies internationales. En effet, au-delà des considérations de solidarité avec les victimes de la guerre, les activités humanitaires suisses sont aussi investies par les propagandes étrangères et instrumentalisées à des fins diplomatiques.
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Book chapters on the topic "Viennese Actionism"

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Viviani, Nicola. "Iconology and Metaphors in Viennese Actionism." In Interdisciplinary Essays on Cannibalism, 100–117. New York : Routledge, 2021. | Series: Warwick series in the Humanities: Routledge, 2021. http://dx.doi.org/10.4324/9781003002154-10.

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"‘Catholic tastes’: hurting and healing the body in Viennese Actionism in the 1960s." In Performing the Body/Performing the Text, 150–64. Routledge, 2005. http://dx.doi.org/10.4324/9780203983553-15.

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