Günter Brus: Likeness

Günter Brus is Austrian artist. Explore interesting quotes on likeness.
Günter Brus: 62   quotes 0   likes

“Writing without making mistakes is like vomiting hot air.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 261 (2003)

“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.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 238 (2002)

Art , Feeling , Nature , Time

“The pencil-stroke is like cutting into the heart.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 8 (Gunter Brus Werkumkreisung,op.cit, p. 128.)

Heart

“Oswald Wiener had just dropped by. We were watching a football world championship game. Suddenly, in the middle of a game with Germany, the reporter said,“Bertie Vogts slid in like an Irrwisch [Jack-o’-Lantern]”. Eureka! That was the title I was looking for, and Oswald wiener commented,“That fits perfectly-an irrer Wisch””

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 196 (2002)

World , Game , Football

“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.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 135 (2002)

Thinking

“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.””

Günter Brus

Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)

Way , Exercises , Rage , Time