Günter Brus: Quotes about painting

“Self-painting is a further development of the art of painting. The surface of an image has lost its function as the sole means of conveying expression. It was taken back to its roots, to the wall, to the object, to the living being, to the human body. By using my body as a means of conveying expression, the result created is a happening captured by a camera as it progresses, and an experience which viewers can share.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 140 (1985)

Art , Painting

“It′s always seemed odd to me that people don′t paint with both hands. I mean, if I′m technically so shackled that I can′t paint with my hair, stomach or bottom, what about my other hand? You′ve got to live in painting. All-round painting… Indefinable space-at least indefinable in traditional terms-that′s what I require of my paintings. There must be absolutely no central focus… There can be no progress until that damned centre has been eliminated… My paintings are sublimated stamping, screaming and hissing-I try to translate a process experienced physically into a physically visible one.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 106 (1960)

People , Painting

“Creative children do not paint. They mess around. If they have to draw, creative children always end up being the ridiculous kind of child, who produces childern′s drawings Creative children wipe spinach round their gobs, that′s all. Any thing more that these crappy daubnings is the result of education-and before long we′re on a level with Paul Klee.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 51 (Ibid., p. 45.)

Children , Education , Drawing , Painting

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 208 (1993)

Art , Departure , Drawing , Painting

“Being covered in white paint, you demonstrate behaviour intended to create a public nuisance, which did in fact cause offence to members of the public, and created a breach of the peace and public order.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 14 (Cit.after LockerWiener Aktionismus.Der zertrümmerte Spiegel.Wien1960-1971,op.cit., p. 299.)

Peace , Painting

“I covered the walls of both basement rooms with Milino, a cheap substitute for canvas, stretched string backwards and forwards across the rooms and attached widths of packing-paper to them, so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time, as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition.””

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 114 (1985)

Idea , Time , Help , Painting

“Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked, swapped over, turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor, he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman, and avails himself of a fool′s privileges, which is probably not without significance for sensible people. Old art forms seek to reconstruct reality, total actions unfold within reality itself. Total actions are direct occurrences(direct art), not the repetition of an occurrence, a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.”

Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 166 (1966/1972)

People , Food , Fools , Art

“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