31/internal/media/dispatcher/115619/fullMädchen mit Taube2018[Sophia Süßmilch]Sophia SüßmilchAcrylic on canvasPaintinghttps://sammlungtest.belvedere.at/objects/84535/rdf/internal/media/dispatcher/124265/fullBrus betrachtet einen Rainer2008[Günter Brus, Günter Brus, Arnulf Rainer]Günter BrusMischtechnik auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85195/rdf/internal/media/dispatcher/122457/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85404/rdf/internal/media/dispatcher/122454/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85401/rdf/internal/media/dispatcher/122455/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85402/rdf/internal/media/dispatcher/122456/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85403/rdf/internal/media/dispatcher/122458/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85405/rdf/internal/media/dispatcher/122459/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85406/rdf/internal/media/dispatcher/122460/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85407/rdf/internal/media/dispatcher/122461/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85408/rdf/internal/media/dispatcher/122462/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85409/rdf/internal/media/dispatcher/122463/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85410/rdf/internal/media/dispatcher/122464/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85411/rdf/internal/media/dispatcher/122478/fullAktion mit Diana1967/2005[Günter Brus, Kurt Krenn]Günter BrusSilbergelatine auf Baryt, 13 Abzüge in Editionsbox The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/85196/rdf/internal/media/dispatcher/122482/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86040/rdf/internal/media/dispatcher/122485/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86041/rdf/internal/media/dispatcher/122514/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86042/rdf/internal/media/dispatcher/122515/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86043/rdf/internal/media/dispatcher/122516/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86044/rdf/internal/media/dispatcher/122617/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86045/rdf/internal/media/dispatcher/122618/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86046/rdf/internal/media/dispatcher/122619/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86047/rdf/internal/media/dispatcher/122620/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86048/rdf/internal/media/dispatcher/122621/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86049/rdf/internal/media/dispatcher/122658/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86050/rdf/internal/media/dispatcher/122659/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86051/rdf/internal/media/dispatcher/122622/fullAction with Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf Baryt The radical artistic movement known as Viennese Actionism emerged in the early 1960s in a social climate that was still strongly shaped by the Church and continuities from the Nazi era. Günter Brus, one of its central figures, approached working with the human body as an expansion of the traditional concepts of art and painting. In Action with Diana, Brus engages in a performative interaction with his six-month-old daughter. Painted in white from head to toe, he stages himself in an equally white room, where Diana lies on a cushion on the floor. He imitates the child’s behavior as a symbolic reversal of roles and an attempt to connect with the new human being. This personally significant and deeply moving action was documented in photographs by filmmaker Kurt Kren. It deliberately sought to dissolve the boundary between private sphere and public artistic production.Photographyhttps://sammlungtest.belvedere.at/objects/86052/rdf/internal/media/dispatcher/27786/fullPortfolio Ana I1964/2004[Günter Brus, Siegfried Klein]Günter Brus12 black-and-white photographsPhotographyhttps://sammlungtest.belvedere.at/objects/11988/rdf/internal/media/dispatcher/27823/fullPortfolio Ana IV1964/2004[Günter Brus, Siegfried Klein]Günter Brus12 black-and-white photographsPhotographyhttps://sammlungtest.belvedere.at/objects/11991/rdf/internal/media/dispatcher/27798/fullPortfolio Ana II1964/2004[Günter Brus, Siegfried Klein]Günter Brus12 black-and-white photographsPhotographyhttps://sammlungtest.belvedere.at/objects/11989/rdf/internal/media/dispatcher/27811/fullPortfolio Ana III1964/2004[Günter Brus, Siegfried Klein]Günter Brus12 black-and-white photographsPhotographyhttps://sammlungtest.belvedere.at/objects/11990/rdf