Günter Brus Quotes

In fact,my art generally nauseated me. Often,when I wanted to set down a poem on an uncontaminated piece of paper,I′d start feeling sick and I did actually throw up in front of many drawings. I tremble all over in front of each picture-poem and before every action I would swallow a jar of pressed vine vermin. Time and again I strove for a kind of non-art,and time and again I failed,like a chimpanzee wanting to throw away a banana without peeling it. My disgust at producing art naturally atracted collectors,and ocassionaly photographers.

It′s always seemed odd to me that people don′t paint with both hands. I mean, if I′m technically so shackled that I can′t paint with my hair, stomach or bottom, what about my other hand? You′ve got to live in painting. All-round painting... Indefinable space-at least indefinable in traditional terms-that′s what I require of my paintings. There must be absolutely no central focus... There can be no progress until that damned centre has been eliminated... My paintings are sublimated stamping,screaming and hissing-I try to translate a process experienced physically into a physically visible one.

P. 14 (Cit.after LockerWiener Aktionismus.Der zertrümmerte Spiegel.Wien1960-1971,op.cit., p. 299.)

Color will play no part in the art of future.

You become an artist to upset your family.

Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together,white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room,my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body,which for a long time remained in a catatonic position,with the soles of both my feet stuck as it were to the wall.[...] I had planned to do some bodypainting for the second part of the performance.[...] At first I poured black paint over the white objects,I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers,which ended by one of them leaving the room in a rage.[...] My unease increased,as I became aware of the defects in my “score”-and should this not have any,the mistakes in the way I was translating it into actions. Recognising this,I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises,and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel”. Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.

I hate people,who force their way through at traffic accidents to see blood. They...rape and dismember virgins,and have orgies.

Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked,swapped over,turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor,he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman,and avails himself of a fool′s privileges,which is probably not without significance for sensible people. Old art forms seek to reconstruct reality,total actions unfold within reality itself. Total actions are direct occurrences(direct art),not the repetition of an occurrence,a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.

Writing without making mistakes is like vomiting hot air.

I want to cover all areas that can be depicted visually. This ranges from fairytales to attempts to enter the abstract and view oneself as a social outcast or someone struggling to stay alive.

I think my actions,like those of my associates,were possible in this form only in vienna. Our heritage was the vienna secession and Austrian expression,and that,along with the violent disapproval of our work,explains not only its frequently overwrought and aggressive character,but also its radical psychological insights.

For me,the Bild-Dichtung[image-poem] is the ideal form,because the drawing process is constantly being interrupted or contrasted by the writing. And since I always have something to say when I am writing,the effort has a balancing effect. Drawing and writing are wonderful complements.

Art is created in a state of delirium. Anyting else is the restoration of monuments. Collectors are artist that do not have a home. they have to make one for themselves.

Poetry is when words are robbed of their attributed truth.

The seven dwarfs were devastated when an eighth joined them one morning before they went to work. He went straight into their house,took little plates and cutlery out of his waistcoat,grabbed the mining tools and was the first dwarf to set off for work. Caught off-guard by his cheeky but honest manner,the others followed,angry because he was showing them the way along the path they took every day and surprised when they found he had turned into dark grotto into a glass palace with Snow White hewn in gold. For these established prospectors it was terrible to behold the intruder appropriating for himself the right to mine the virgin goldmine.