Viennese Actionism

Viennese Actionism Collage
Started: Early 1960s
Ended: 1971
I don't attempt to create a beautiful, aesthetic image of people... I accept reality, which is still beautiful and true even when it is ugly.
1 of 11
Adolf Frohner Signature
The aesthetics of the dung heap are the moral means against conformism, materialism and stupidity.
2 of 11
Otto Muehl
In my actions, I started off from an artistic premise, but I see everything less and less in terms of art. What I do would better be described as a kind of opposite pole of society.
3 of 11
Otto Muehl
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 Expressionism, 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.
4 of 11
Gunter Brus
Vienna seemed quite ignorant when it came to art.
5 of 11
Hermann Nitsch
My work agitated the people, and I saw myself in the same league as other great misunderstood artists.
6 of 11
Hermann Nitsch
It is our flesh and blood I work with.
7 of 11
Hermann Nitsch
I never intended to provoke. I always looked for intensity. The intensity in historical art always fascinated me. The tragic plays of antiquity, the Passion of Christ... intense art always had my love. If one of my actions provoked the people at one point, well, so be it. But provocations were never cooked up at the drawing board.
8 of 11
Hermann Nitsch
My body is the intention. My body is the event. My body is the result.
9 of 11
Gunter Brus
'Ritual' might be an acceptable term, if shorn of its overtly religious connotations.For me,breaking taboos became nothing less than a stylistic means. I allowed my body, my self, to be pushed into such extreme situations that certain norms of social behaviour could only appear utterly absurd to me.
10 of 11
Gunter Brus
Art is gushing hot bile on the fields and harvesting the looks of nasty dwarfs.
11 of 11
Gunter Brus

Summary of Viennese Actionism

The term Viennese Actionism refers to a violent, radical, and explicit form of performance art that developed in the Austrian capital during the 1960s. Mainly consisting of four members, the group collaboratively staged, filmed, and photographed graphic performances - or aktions as they called them. They used their work to make taboo-breaking, often illegal, and sometimes repellent statements that expressed violent dissatisfaction with what they saw as the uptight, bourgeois government and society of post-World War II Austria. The Actionists thought Austrians were suppressing memories of the unspeakable atrocities committed by the Nazis in their country, and were trying to force people to face these traumas head-on through their art.

Key Ideas & Accomplishments

Key Artists

Overview of Viennese Actionism

Viennese Actionism Image

At the dawn of the 1960s, Vienna was in a broken state after being ravaged by two world wars, and the city's art scene was not a very large one. Its heyday as a center for the artistic avant-garde before the outbreak of the First World War in 1914 was long over, and artists who had been active during that period such as Gustav Klimt, Egon Schiele, and the artists and designers of the Wiener Werkstatte were long dead. Some of the Actionists, however, would later cite these early-20th-century artists as direct influences in part because they had also rebelled against the status quo and were not afraid to offend. Rudolf Schwarzkogler, for example, was inspired by Schiele's distorted paintings of figures to make his morbid, staged photographs featuring corpse-like bodies.

Important Art and Artists of Viennese Actionism

Gunter Brus: Ana (1964)

Ana (1964)

Artist: Gunter Brus

This 3-minute silent film is the first Aktion by Brus, in collaboration with his wife Anni, and filmed by Kurt Kren. Completed four years after he dropped out of his formal education at a time when he had become more interested in the act of the painting than in the finished product. In choppy, disorienting scenes, the viewer sees various shots of a female nude (his wife) and the face of a male figure (himself), scenes of an interior (possibly studio or house) that include a cluttered table and a bicycle. Paint is smeared and thrown in such a way as to suggest blood (though the film is black and white, so this is an impression as the color of the paint cannot be confirmed) and violence. Compared to some of their later work, this Aktion is fairly benign though the affect on the viewer would have been one of disorientation and shock because of the filming technique and the implied violence/chaos.

Otto Muehl: Piss Aktion (1969)

Piss Aktion (1969)

Artist: Otto Muehl

Muehl first performed his Piss Aktion, in which he stood naked and urinated into fellow actionist Gunter Brus's mouth live on stage, at the Hamburg Film Festival in 1969, and it is remembered for its intentional and extreme violation of society's norms. Piss Aktion is one of the most notorious demonstrations of art merging with life and breaking free of the walls of the art museum - a definition that was advocated by the Actionists and the other performance movements of the '60s and '70s (such as Happenings and Fluxus). In the obscene daring of Piss Aktion, Muehl was moving beyond what he referred to as the more 'bourgeois' Happenings into what he labeled 'direct art', in which he used bodily functions (such as urination) as tools for expressions of intense, pent-up energy and taboo-breaking.

Gunter Brus: Action Number Six: Vienna Walk (1965)

Action Number Six: Vienna Walk (1965)

Artist: Gunter Brus

Vienna Walk was one of Brus's best-known aktions and his first completely public performance. It consisted of the artist walking through the center of Vienna dressed as what he called a 'living painting' with his body painted entirely white with crude black 'stitching' dividing it and his suit into two halves lengthways. It is particularly important to the history of performance art because the photographs that document it - taken by the artist's friends and collaborators - have created such a strong myth around what really happened on the day, and are considered some of the first records of performance art to have become artworks in their own right. Revealing the work to unsuspecting passers-by rather than to viewers who came intentionally to a gallery or performance space for a pre-advertised event also continued the Actionist ethic of liberating art from the traditional gallery or museum, as well as forcing ordinary members of the Austrian public to come face-to-face with highly controversial art they might otherwise have made an effort to avoid. The work paved the way for future artists to perform to an unsuspecting public on the street.

Useful Resources on Viennese Actionism

Content compiled and written by The Art Story Contributors

Edited and published by The Art Story Contributors

"Viennese Actionism Movement Overview and Analysis". [Internet]. .
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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First published on 13 Oct 2015. Updated and modified regularly
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