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Full Description
A novel approach to performance art and its history that revisits Viennese Actionism, one of the most controversial episodes of the 1960s.
Viennese Actionism represents a notorious case within art history, often cited but little studied, especially in the United States. By carefully looking at the unsettling performances that define this movement, Caroline Lillian Schopp offers a vital corrective to the narrative. Schopp observes that contrary to the reception of their graphic violence, many performances explore passivity, vulnerability, and dependence in gestures of "in-action." Viennese Actionism registers hesitations about the liberatory ethos of the 1960s, amplified by Austria's marginalized postwar social and artistic culture. In dialogue with feminist theory, In-action assembles a vocabulary for performance art without the standards of self-assertion, emancipation, and expressive action that continue to inform how art and politics are understood today.
Decentering the traditional focus on the male protagonists of Viennese Actionism—Günter Brus, Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler—Schopp draws attention to women who performed with them, including Anna Brus, Hanel Koeck, and Ingrid Wiener. Doing so brings into view how these performances scrutinize intimate relationships like marriages, partnerships, and friendships, as well as the conventions of traditional artistic media such as painting and tapestry.
Contents
Introduction Performance Art Histories: Mistaking Rudolf Schwarzkogler
"Individual Mythology" · Aktionen/In-action · The Action Paradigm · Feminist Actionism · Ordinary Action · In-action—Missing, In-sincere, Wedding · Chapters of In-action
1 Objections: Hanel Koeck's Insult, Anna Brus's Disinclination
The Insulting of Hanel Koeck · Anna Brus's Look, or, St. Anna · Anthropometries · Transfusion · Maternal Disinclination
2 Incident: On Failing to Perform, Vienna 1968
Rumors, Records, Mediatizations · Media Shitstorm · The Crisis of Austrian Impotence · The Hateful and the Ugly: Politics, Aesthetics, and the Police · The Domestic Kunst und Revolution
3 In-action: Günter Brus's Bad Form
From Painting to Performance—"And to Be Sure, Not in the Sense of Pollock" · Obstruction: Painting in a Labyrinthine Space, Self-Painting, Self-Dismemberment · Bad Form—Figuration After Formlessness · Picasso's Impasse
4 Weaving: Ingrid Wiener's Tapestry Collaborations
Two Artists (Two Feminists) Weaving Gobelins · Textiling Feminism · Napkin-cum-Gobelin · Extimate Collaborations · Correspondence Tapestry
Acknowledgments
Notes
Index
