Text by Kerry Gaertner Gerbracht; courtesy Art in America

The sexual, violent and scatological performances of the Vienna Actionists, a group of artists whose operations began in the 1960s, are among the art world’s most notorious. Members Günter Brus, Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler were active among the ruins of the Austrian capital after World War II, tapping into their city’s deep psychoanalytic and artistic avant-garde roots—the city was also home to Sigmund Freud, Egon Schiele and the Vienna Secession artists.

Dissatisfied with the limits of painting and photography, the Actionists sought a medium by which to convey their political and psychic condition, a mission which led to the performative use of their own bodies. While they never abandoned traditional mediums, they pushed the limits of performance—they often employed blood and feces; pain and sexuality were recurrent themes. The group’s works grew out of Austrian circumstances but parallel the works of contemporaries including the French Situationists, the Japanese Gutai, Fluxus and international Happenings.

“Rite Of Passage: The Early Years of Vienna Actionism, 1960-1966,” an exhibition of paintings, collages and photographs, will be on view at Hauser & Wirth’s Upper East Side location (Sept. 9-Oct. 25). The show’s curator, Hubert Klocker, director of Sammlung Friedrichshof, in Zurndorf, Austria, spoke with A.i.A. by phone last week about postwar Vienna and the Actionists’ critique of abstract painting.

 The Actionists worked separately; they were not joined as any sort of collective. What is the unifying theme of this exhibition?

 When we talk about the Actionists, it’s important that we talk about a group situation in the ‘60s that started to become more and more political as the decade continued, especially in combination with other contemporaneous developments both in Europe and all over the world. What the four main Viennese Actionists—Nitsch, Brus, Muehl and Schwarzkogler—had in common in the first half of the decade was their critical reaction to the Parisian manner of abstract painting.

 Why did they find abstract painting inadequate?

 They found that it would not allow them to put across what they really wanted to express. They wanted to put their finger on certain issues, such as Austrian postwar political developments. It was not an iconoclastic movement, however. They always stuck with painting and the object. When they started to do performance, they still thought about the picture and the icon. They tried to use photography in order to create new kinds of images, and contributed quite early on to staged photography.

 How aware were the Actionists of their New York contemporaries, namely the Abstract Expressionists and Pop artists?

 They were aware to a certain degree. There was the presentation of the New York School at the second Documenta (1959) and at the Venice Biennale (1960). Brus rode a bike to Venice to see Franz Kline’s paintings at the U.S. Pavilion.

 He rode his bike from Vienna to Venice?

 He had no money. Vienna was shattered and the artists did not have many possibilities. There had been information coming in from Paris in the late '40s and early '50s. The Surrealists had been in Vienna, and there had been some underground clubs. At the time there was Galerie nächst St. Stephan, which did not exhibit New York artists but did show Yves Klein and Piero Manzoni and others like them.

 Was the Actionists’ use of violence a sort of penance for Austria’s enmeshment with the Third Reich?

As youths they all had been confronted with the war. Muehl was a little bit older and he actually had to go to war in the last two years. They talk about healing, thinking about psychoanalysis, psychophysical experiences, freeing themselves. Of course, that’s only one part of the picture. They all connected strongly with the art of early 20th-century Vienna.

 Vienna at the turn of the century was an international art hub, home to Gustav Klimt, Oskar Kokoschka, the Wiener Werkstaette and the Vienna Secession. With the two World Wars, it was almost as if it froze and had its reawakening in the '60s.

The late avant-garde in Austria connected with the early-20th-century modernist situation. Only now can it be seen more clearly how they relate to each other. That’s an interesting aspect of this show. There are highly aesthetic, highly expressionist, very strong formal works in this exhibition and I try to make the situation in Austria clear—this was a kind of a late avant-garde.

There is a striking kinship between our movement and Margaret Sanger’s early efforts. She, like we, saw the horrifying conditions of ghetto life. Like we, she knew that all of society is poisoned by cancerous slums. Like we, she was a direct actionist — a nonviolent resister… She launched a movement which is obeying a higher law to preserve human life under humane conditions. Margaret Sanger had to commit what was then called a crime in order to enrich humanity, and today we honor her courage and vision; for without them there would have been no beginning.
—  ​The Reverend Martin Luther King, Jr.  when accepting Planned Parenthood’s prestigious Margaret Sanger Award 1966.

Excerpted from Chapter 6 of the book Deep Green Resistance: Strategy to Save The Planet

“The strategies and tactics we choose must be part of a grander strategy. This is not the same as movement-building; taking down civilization does not require a majority or a single coherent movement. A grand strategy is necessarily diverse and decentralized, and will include many kinds of actionists. If those in power seek Full-Spectrum Dominance, then we need Full-Spectrum Resistance.

"Effective action often requires a high degree of risk or personal sac­rifice, so the absence of a plausible grand strategy discourages many genuinely radical people from acting. Why should I take risks with my own safety for symbolic or useless acts? One purpose of this book is to identify plausible strategies for winning.”

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Art intervention is an interaction with a previously existing artwork, audience or venue/space. It has the auspice of conceptual art and is commonly a form of performance art. It is associated with the Viennese Actionists, the Dada movement and Neo-Dadaists. It has also been made much use of by the Stuckists to affect perceptions of other artwork which they oppose, and as a protest against an…

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