<?xml version="1.0" encoding="UTF-8"?>
<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>/internal/media/dispatcher/7141/full</value></field><field label="Title" name="title"><value>Self-Painting I</value></field><field label="Date" name="displayDate"><value>1964</value></field><field label="Dimensions" name="dimensions"><value>Darstellungsmaße: 48,8 × 39 cm</value></field><field label="Medium" name="medium"><value>Fotografie auf Karton aufgeklebt</value></field><field label="Inventory number" name="invno"><value>8169/14</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>Günter Brus is regarded as an exponent of Viennese Actionism. “Self-Painting I” reenvisions the self-portrait in an effort to break free from the classical panel painting. Brus divides the action into the segments “Hand-Painting,” “Head-Painting,” and “Total Head-Painting.” A live audience watches as he demonstrates the possibilities of painting on his own body. The series of photographs shows a painted arm variously interacting with nails, razor blades, scissors, and a saw. The sharp-edged utensils inflict figurative wounds on the body, suggesting a process that is presumably no less painful. Sketches indicate how the action will continue: a black scar-like line will split the artist’s skull, face, and body.</value></field><field label="Genre" name="classification"><value>Photography</value></field><field label="Id" name="id"><value>10204687</value></field><field label="Source ID" name="sourceId"><value>98361</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-98361/manifest</value></field></object>