Günter Brus idézet

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Günter Brus

Születési dátum: 27. szeptember 1938

Günter Brus osztrák képzőművész, író.

Idézetek Günter Brus

„You become an artist to upset your family.“

—  Günter Brus

Forrás: Nervous Stillness on the Horizon (2006), P. 51 (Gunter Brus.Nach uns die Malflut!Pheoretische Poesien.Klagenfurt:Ritter Verlag,2003, p. 135)

„Color will play no part in the art of future.“

—  Günter Brus

Forrás: Nervous Stillness on the Horizon (2006), P. 20

„My picture-poems are linguistic margins on visual atolls.“

—  Günter Brus

Forrás: Nervous Stillness on the Horizon (2006), P. 250 (2003)

„As a boy, I was extremely shy, certainly as a result of my upbringing. I was an expert blusher, and some of my harsh actions may echo this shyness by way of compensation.“

—  Günter Brus

Forrás: Nervous Stillness on the Horizon (2006), P. 51 (Gunter Brus in conversation with Johanna Schwanberg,graz,16 April 1997,in connection with an interview for the Spectrum section of the newspaper Die Presse, published in the issue of 26 April 1997 under the title Ich war Spezialist im Erroten, p. III.)

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„Analogously to Arnulf Rainer′s ‘overpaintings’, and extending thse with my own actionistic resources, the artist′s head should be in the picture, should become one with the picture, and disappear in it.“

—  Günter Brus

Forrás: Nervous Stillness on the Horizon (2006), P. 12 (Gunter Brus inDie Schastrommel.Organ der österreichischen Exilregierung.Bolzano:ed. Gunter Brus,June 1972,no.8a, p. 57.)

„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

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

„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.
Forrás: Nervous Stillness on the Horizon (2006), P. 120 (1985)

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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