77/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/84287/fullGünter und Ana Brus2004[Günter Brus, Heidi Harsieber]Heidi HarsieberC-printIn ihren fotografischen Projekten beschäftigt sich Heidi Harsieber vornehmlich mit ihren Gefühlen, sie beobachtet (immer wieder auch sich selbst) und will persönliche Aussagen tätigen. So beschäftigte sie sich fast ein Jahrzehnt lang und nahezu ausschließlich mit gesellschaftlich tabuisierten Themen wie Schmerz, Sex oder Tod. Es ist das menschliche Individuum, dem Harsieber ihre alleinige Aufmerksamkeit schenkt – in all seiner Verletzlichkeit, die die Fotografin in ihrem Schaffen, das einem Panoptikum der Gefühle gleicht, zu veranschaulichen sucht. Harsiebers Werk ist von ihrem unprätentiösen ästhetischen Empfinden geprägt. — Seit 2004 porträtiert Heidi Harsieber Künstler und ihre Partner. Bruno & Christine Gironcoli, Günter & Ana Brus, Hermann & Rita Nitsch, Peter Weibel & Susanne Widl, Erwin Wurm & Elise Mougin sowie Franz West & Tamuna Sirbiladze sind nur einige Beispiele aus der inzwischen zu beachtlichem Umfang angewachsenen Porträtreihe. In der Fotografie ist die Idee der Ablichtung von Künstlern mit ihren Lebenspartnern ab etwa 1900 nachweisbar. Zu den frühesten und zugleich bekanntesten Beispielen zählt etwa die 1908 entstandene Porträtreihe von Gustav Klimt und Emilie Flöge am Attersee. Spätere Ikonen der Fotografie zeigen etwa Salvador Dalí mit seiner Ehefrau Gala, Frida Kahlo und Diego Rivera, Pablo Picasso und Jacqueline sowie John Lennon und Yoko Ono. — Künstler sind es in der Regel gewohnt, sich abbilden zu lassen, ob in Form eines geblitzten Schnappschusses anlässlich einer Ausstellungseröffnung oder im sterilen Studio für eine Reportage in einem Hochglanzmagazin. Nur selten kommt dabei dem Lebenspartner eine tragende Rolle zu. Der Künstler agiert im Bildfeld der Kamera allein und ohne von seinem Ego ablenkender Staffage. So gesehen mag es für den einen oder anderen Lebenspartner durchaus ungewöhnlich sein, sich vor der Kamera auf eine Empfindungsebene zu begeben und intime Einblicke in das von der Öffentlichkeit zumeist verborgene Privatleben preiszugeben. Körperliche Begegnung, kontemplatives Nebeneinander, sinnliches Anlehnen, zärtliche Berührung, nichts bleibt dem Wahrnehmungsempfinden der sensiblen Fotografin verborgen. Und irgendwie schafft sie es dabei, ähnlich wie die Fotografin Eve Arnold in die Aura der porträtierten Menschen einzudringen, ohne diese zu verletzen. Harsieber benötigt weder ein spektakuläres Umfeld noch ein inszeniertes Setting. Ihre Motive posieren nicht. Sie genügen sich selbst und erlauben der Fotografin für einen kurzen Moment einen Blick auf das Wesen ihrer Beziehung. Die für die Künstlerin so charakteristische Sprache der Sinnlichkeit wird in den im Belvedere ausgestellten und in diesem Buch veröffentlichten Beziehungsporträts vor allem um die Dimension der erzählerischen Stille bereichert. Darin ist Heidi Harsieber eine Meisterin. — [aus: Agnes Husslein-Arco, in: Österreichische Galerie Belvedere (Hrsg.), Heidi Harsieber – Einblicke – Künstler und ihre Partner, Wien, 2014, S. 4–5]Photographyhttps://sammlungtest.belvedere.at/objects/62252/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/122457/fullIrrfahrt in den Geheimniskram2002[Günter Brus]Günter BrusMixed Media auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/85404/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/114195/fullDie Drossel 151976[Günter Brus, Hermann Nitsch]Günter BrusDruck auf Papier, 120 SeitenBook arthttps://sammlungtest.belvedere.at/objects/84402/rdf/internal/media/dispatcher/114196/fullDie Drossel 161976[Günter Brus]Günter BrusUmschlag, Siebdruck auf Papier (10 lose Blätter), TextheftBook arthttps://sammlungtest.belvedere.at/objects/84403/rdf/internal/media/dispatcher/114193/fullDie Drossel 131975[Christian Ludwig Attersee, Günter Brus, Maria Lassnig, Arnulf Rainer, Dieter Roth, Otto Muehl, Hermann Nitsch, Gerhard Rühm, Oswald Wiener, Dominik Steiger]Günter BrusDruck auf Papier, 96 SeitenBook arthttps://sammlungtest.belvedere.at/objects/84400/rdf/internal/media/dispatcher/114194/fullDie Drossel 141975[Günter Brus]Günter BrusDruck auf Papier, 32 SeitenBook arthttps://sammlungtest.belvedere.at/objects/84401/rdf/internal/media/dispatcher/114178/fullDie Schastrommel 81973[Günter Brus]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84394/rdf/internal/media/dispatcher/114191/fullDie Schastrommel 91973[Günter Brus]Günter BrusDruck auf Papier, 326 Seiten, 2 lose beiliegende gefaltete TafelnBook arthttps://sammlungtest.belvedere.at/objects/84398/rdf/internal/media/dispatcher/114192/fullDie Schastrommel 101973[Günter Brus]Günter BrusDruck auf Papier, 52 SeitenBook arthttps://sammlungtest.belvedere.at/objects/84399/rdf/internal/media/dispatcher/114176/fullDie Schastrommel 61972[Günter Brus, Dieter Roth, Hermann Nitsch, Georg Baselitz, Antonius Höckelmann]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84392/rdf/internal/media/dispatcher/114177/fullDie Schastrommel 71972[Günter Brus, Peter Weibel, Dominik Steiger, VALIE EXPORT, Kurt Krenn]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84393/rdf/internal/media/dispatcher/114179/fullDie Schastrommel 8a1972[Günter Brus]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84395/rdf/internal/media/dispatcher/114189/fullDie Schastrommel 8b1972[Günter Brus]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84396/rdf/internal/media/dispatcher/114190/fullDie Schastrommel 8c1972[Günter Brus]Günter BrusDruck auf PapierBook arthttps://sammlungtest.belvedere.at/objects/84397/rdf/internal/media/dispatcher/114175/fullDie Schastrommel 31970[Günter Brus, Rudolf Schwarzkogler, Otto Muehl, Hermann Nitsch, Peter Gorsen, Gerhard Rühm, Oswald Wiener, Otmar Bauer, Ludwig Gosewitz]Günter BrusPapier, gebundenBook arthttps://sammlungtest.belvedere.at/objects/84391/rdf/internal/media/dispatcher/114174/fullDie Schastrommel1969[Günter Brus, Hermann Nitsch, Gerhard Rühm, Otmar Bauer]Günter BrusPapier (Faksimile), geheftetBook arthttps://sammlungtest.belvedere.at/objects/84390/rdf/internal/media/dispatcher/96939/full15 Schwarzweiß-Fotografien vom Direct Art Festival, 9. November 1967 im Festsaal des Gewerkschaftshauses Treitlstr. 3 (Porrhaus), Wien1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter Brus15 SchwarzweißfotosOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time. Work equipmenthttps://sammlungtest.belvedere.at/objects/74636/rdf/internal/media/dispatcher/157958/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74637/rdf/internal/media/dispatcher/157959/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74638/rdf/internal/media/dispatcher/157960/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74639/rdf/internal/media/dispatcher/157961/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74640/rdf/internal/media/dispatcher/157962/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74641/rdf/internal/media/dispatcher/157963/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74642/rdf/internal/media/dispatcher/157964/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74643/rdf/internal/media/dispatcher/157965/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74644/rdf/internal/media/dispatcher/157966/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74645/rdf/internal/media/dispatcher/157967/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74646/rdf/internal/media/dispatcher/157968/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74647/rdf/internal/media/dispatcher/157969/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74648/rdf/internal/media/dispatcher/157970/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74649/rdf/internal/media/dispatcher/157971/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74650/rdf/internal/media/dispatcher/157972/fullDirect Art Festival, November 9, 1967 in the Ballroom of the Labor Union's Building at Treitlstr. 3 (Porrhaus), Vienna1967/2016[Günter Brus, Otto Muehl, René Prassé]Günter BrusBlack and white fotoOn November 9, 1967, the Direct Art Festival took place in Vienna, organized by Günter Brus and Otto Muehl and marking the culmination of the activities of the Viennese Actionists. In a sequence of short actions revolving around the human body, social, physical, and sexual conventions and taboos were directly and radically exposed and the authority of church and state challenged. Without the detour of conventional artistic media, the Actionists turned their own bodies into their material. The Actionist artwork is performative, an event in space and time.Action Arthttps://sammlungtest.belvedere.at/objects/74651/rdf/internal/media/dispatcher/122478/fullAktion mit Diana1967/2005[Günter Brus, Kurt Krenn]Günter BrusSilbergelatine auf Baryt, 13 Abzüge in EditionsboxZur "Aktion mit Diana" — Geplant war die Aktion mit einem chromgelben "giftgelben" Kolorit. Darauf sollten Lebensmittel in ihrer natürlichen Farbe arrangiert werden, vor allem Fleisch und Obst (Fruchtfleisch). Die Aktion sollte den Titel "Der zitronengelbe Idiot" tragen. — Ich entschied mich dann für Weiß. Vielleicht wäre die gelbe Fassung noch spektakulärer gewesen. Von dieser existieren noch ca. 5–10 Entwürfe. Sie befinden sich im Besitz einer Privatsammlung. Meine Tochter reagierte auf das völlig weiße Ambiente gelassen und heiter. Kurt Kren fotografierte die Aktion. — [Günter Brus in dem der Edition beigelegten Faltblatt, Graz 2004]Photographyhttps://sammlungtest.belvedere.at/objects/85196/rdf/internal/media/dispatcher/122482/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86040/rdf/internal/media/dispatcher/122485/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86041/rdf/internal/media/dispatcher/122514/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86042/rdf/internal/media/dispatcher/122515/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86043/rdf/internal/media/dispatcher/122516/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86044/rdf/internal/media/dispatcher/122617/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86045/rdf/internal/media/dispatcher/122618/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86046/rdf/internal/media/dispatcher/122619/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86047/rdf/internal/media/dispatcher/122620/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86048/rdf/internal/media/dispatcher/122621/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86049/rdf/internal/media/dispatcher/122658/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86050/rdf/internal/media/dispatcher/122659/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://sammlungtest.belvedere.at/objects/86051/rdf/internal/media/dispatcher/122622/fullAktion mit Diana1967/2005[Günter Brus]Günter BrusSilbergelatine auf BarytPhotographyhttps://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/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/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/7128/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98347/rdf/internal/media/dispatcher/7129/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98349/rdf/internal/media/dispatcher/7130/fullSelf-Painting I1964[Günter Brus]Günter BrusFoto mounted on cardboardGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98350/rdf/internal/media/dispatcher/7131/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98351/rdf/internal/media/dispatcher/7132/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98352/rdf/internal/media/dispatcher/7133/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98353/rdf/internal/media/dispatcher/7134/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98354/rdf/internal/media/dispatcher/7135/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98355/rdf/internal/media/dispatcher/7136/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98356/rdf/internal/media/dispatcher/7137/fullSelf-Painting I1964[Günter Brus]Günter BrusFoto mounted on cardboardGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98357/rdf/internal/media/dispatcher/7138/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98358/rdf/internal/media/dispatcher/7139/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98359/rdf/internal/media/dispatcher/7140/fullSelf-Painting I1964[Günter Brus]Günter BrusFoto mounted on cardboardGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98360/rdf/internal/media/dispatcher/7141/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98361/rdf/internal/media/dispatcher/7142/fullSelf-Painting I1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98362/rdf/internal/media/dispatcher/7143/fullSelf-Painting I - Remark1964[Günter Brus]Günter BrusFotografie auf Karton aufgeklebtGünter 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.Photographyhttps://sammlungtest.belvedere.at/objects/98363/rdf