1962B: Viennese Actionism

In Vienna, a group of artists including Gunter Brus, Otto Muhl, and Hermann Nitsch come together to form Viennese Actionism. he formation of the Wiener Aktionsgruppe (Viennese opaque to the artists, since they either ignored or disregarded all Actionists group) follows what seems to have been the inex earlier historical transformations of the interrelationships between orable course of all postwar artistic activities, facing, on the painterly space and social space (for example, the work of El Tone hand, the ruined conditions of the European avant-garde, ... Lissitzkyand that of the Soviet avant-garde in general). either obliterated or destroyed by fascism and totalitarianism, Paradoxically, in spite of the Viennese histrionics about the and on the other hand the overwhelming promises of the Ameri- absolute originality of their inventions, the actual works produced can neo-avant-garde, in its emergence during the period of in the period prior to the development of the Viennese Actionist European reconstruction. In Vienna-as elsewhere-the seem- movement are in many instances similar to slightly earlier work co Ol v. ingly universal impact of, in Allan Kaprow's words, 'The Legacy by American artists: the paintings by Brus and Adolf Frohner 0 ofJackson Pollock" became central (either by the direct encounter (born 1934) exacerbate the desublimatory'eff ects of the somatic co.!.. Ol with his work, or via its highly misread mediations in the paintings • graphemes of Cy Twombly in the late fifties, and Miihl's and co • of Georges Mathieu [born 1931] and Yves Klein, who exhibited Nitsch's Materialbilder (Material Pictures) uncannily resemble in Vienna to great acclaim in the late fifties). Other European (if not repeat) the funk and neo-Dada assemblages by artists such as artists such as Manalo Millares (1926-72) and Alberto Burri • Jasper Johns, Robert Rauschenberg, Bruce Conner, or Allan • ( 1915-95) (strangely enough Lucio Fontana was never mentioned) Kaprow. Clearly, the Viennese Actionists misread Pollock's latent, were equally cited by the. Viennese Actionists as providing license yet inexorable spectacularization of painting as a celebratory legiti· for the destruction of the canvas and the spatialization of the mation of art's return to ritual (which Pollock's own rhetoric had painterly process. fueled).The Viennese writer and theoretician Oswald Wiener (born 1935)-a fo unding member of the Wiener Gruppe who subse· quently became to some extent the aesthetic and theoretical The desecration of painting as ritual mastermind of the Viennese Actionists-had already declared in his The first steps for the evacuation, if not outright destruction, of Cool Manifesto in 1954 that artistic production would have to move easel painting, its traditional fo rmats, materials, and processes, were away from objects, to fo cus on the work of art as an event structure. taken by the Viennese artists Gunter Brus (born 1938), Otto Miihl Thus, Wiener anticipates the prophecy of Kaprow's essay "The (born 1925), and Hermann Nitsch (born 1938) around 1960. From Legacy of Jackson Pollock" (written in 1956, published in 1958), then on, painting would be fo rced to regress to infantile smearing stating that "not only will these bold creators show us, as if fo r the (Brus), to aleatory processes of application (as in the staining and first time, the world we have always had about us but ignored, but pouring of the Schuttbilder [Pouring Paintings] by Nitsch), or to the they will disclose entirely unheard of happenings and events." actual defacement of the surface in the tearing and cutting of paint With the example of Pollock established, American artists began ing's support, the shift from relief to object (Miihl), making it to engage painting's performance structure-with its implications evident that the canvas itself had become one surface among other of action and duration-as early as 1952 (for example when John surfaces, merely an object littered with other objects. Cage enacted his protohappening Theatre Piece No. 1 with Robert As a second step, the Viennese recognized the necessity of Rauschenberg, Mary Caroline Richards, Merce Cunningham, and noncompositionality to the decentering of perspectival order. • others at Black Mountain College). This was followed in 1959 by They deployed the principles of permutations as well as (predomi- the first such work to use the term "happening" (coined by its nantly violent) chance operations. The third, and possibly most maker): Allan Kaprow's 18 Happenings in 6 Parts at the Reuben important, step was their push fo r painting's inevitable expansion Gallery in New York. It is important to acknowledge immediately into public space, theatrical if not social. Yet the perceptual para- the specificdifferences between the early "happenings" of Kaprow, meters of that spatial expansion initially seem to have remained Dine, and Oldenburg and the performances of the Viennese + 1947a A 1 961 • 1960a • 1959a A 1921 , 1926 • 1953 • 1958, 1959b 464 1962b I Viennese Action ism Actionists, beginning in 1962. While the Americans' "happenings" focus on the clash between the body and tkhnology, the mechani cal and the mass-cultural environment (for instance, Jim Dine's 31 Car Crash, Claes Oldenburg's Photo Death and his installation & The Street) the artists of Viennese Actionism emphasize the return to ritual and theatricality right from the beginning. Furthermore, even in their very first performances, the Viennese Actionists single out the body itself and treat it as an analytic object, as the libidinal site where the intersection between psychosomatic subjectivity and social subjection can be dramatically enacted. There are several reasons for these differences. The first is that the Actionists linked action painting and tachismewith the specifi 3� cally local and regional Austrian Expressio�ist tradition. One of Vienna's fo undational cultural characteristics had been the fusion of Catholicism and patriarchy with a powerful and hierarchical imperial order, a fusion that had been internalized and perpetu ated most within its bourgeois class. From the beginning of the twentieth century, Viennese Expressionism had opposed these power structures and constituted itself within a poignant and lasting dialectic: on the one hand was a hypertrophic cult of the sexual body, touting its compulsions as subversive of the bourgeois regimes of sublimation and repression; on the other hand was a simultaneous loathing of the body and of sexuality as the very structures where social order and repression were most deeply anchored and acted out in compulsive behavior and neurotic suffering. This Expressionist tradition-beginning with Oskar Kokoschka's 1909 play and poster, revealingly titled Murderer, the • Hope of Woman, and with the extraordinary drawings of Egon Schiele and Alfred Kubin-served as one crucial horizon and point of departure for Viennese Actionism. Psychoanalysis and polymorphous perversity The second reason for the cultural divide between the American and Viennese artists is the fact that the Viennese Actionists emerged fro m a culture of psychoanalysis. The rediscovery of the prewar theories of Sigmund Freud and the rearticulation of psychoanalysis in its various strands and deviations from Wilhelm Reich (who would become crucial fo r Miihl) to Carl G. Jung (whose theory of unconscious archetypes was of particular impor tance to Nitsch), are certainly another defining element in Viennese Actionism. Yet the conception of the body in Viennese Actionism is distinctly post-Freudian, since it foregrounds the polymorph perverse origins of the libidinal structure rather than, as Freud had required, conceiving of sexuality as a teleological trajectory in which the subject's earlier and "primitive" stages of instinctual development are surpassed, culminating in a presum ably hegemonic and heterosexual genitality. The new postlinguistic theatricality of the Viennese Actionists originates precisely in a recourse to these partial drives, in an almost programmatic and ostentatious regression to, not to say propagandistic staging 1 • Otto Miihl, Materialaktion, 1965 Photographic documents - of, the primitive phases of sexual development. This particular &1961 • 190Qa Viennese Action ism I 1962b confrontation reminds us of course of a similar conflict between object of neopositivist self-reflexivity but that it should become, Andre Breton's Surrealist psychoanalytic theories and Georges once again, a vessel of ritualistic and transcehdental experience. & Bataille's and Antonin Artaud's derisive critique of Surrealism and Accordingly, Nitsch's titles, such as Stations of the Cross, Wa ll of of Freudian orthodoxy. Yet the Actionists were equally influenced Flagellation, and Triptych of the Blood of the Cross, situate each by Breton's Surrealism (ignoring Bataille) and ofArtaud's ''Theatre work programmatically outside of modernist painting and reclaim of Cruelty." They seem to have worked through both positions in its putative access to the spheres of the sacred, of myth, and of the process of formulating the project of Actionism. liturgical performance. Nitsch would later state in his "Blood Lastly, and perhaps most importantly, the Viennese Actionists Organ Manifesto" in 1962: positioned themselves and their work quite explicitly within the Through my art production (a fo rm of devotion to life) I take sociohistorical framework of postfascist Austria. Thus Otto Miihl, upon myself that which appears to be a negative, perverse and

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