Blutorgel (8 results)

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condition: gut. Sprache: deutsch Heftroman 1.Aufl..

Condition: sehr gut. Sprache: deutsch Heftroman 3.Aufl..

Condition: sehr gut. Sprache: deutsch Heftroman 2.Aufl..

Condition: sehr gut. Sprache: deutsch Heftroman 1.Aufl..

Condition: Gut. 8°, Broschur, je Heft 66 Seiten, Gebrauchsspuren an Einband und Block, Block sauber und fest, kleinere Lesespuren am Einband und Block, minimale Eintragungen im Nachsatz 1 Heft kleiner Fleck durch ehamligen Preisaufkleber auf Cover 10 x Hefte Band 236, 188, 198, 204, 137, 139, 140, 142, 145, 146 Sprache: Deutsch Gewicht in Gramm: 300. …

24,5 : 69 cm. Two folded leaves with some illusstrations. One can say that this is the founding document of the Viennese Actionism, when Otto Muehl, Hermann Nitsch and Alfred Frohner let to mure themselves in a cellar in Viennese's 21st district and stayed there for three days. The documentation of this 'Action' was The Blood Organ, a multi-day performance in 1962 by the Viennese actionists Adolf Frohner, Otto Muehl and Hermann Nitsch, which was very controversial as performance art. A manifesto of the same name was published for the art campaign. It had its premiere in 1962 in a three-part campaign, with the three artists being imprisoned in Muehl's basement studio at Perinetgasse No. 1 in Vienna-Brigittenau on June 1, 1962. In the second part, Frohner made object assemblies in the basement, Muehl made junk sculptures and Nitsch made a bulk painting. In the third and most important part, on June 4, 1962, the artists and their works that had previously been walled up were uncovered by the public as they were being walled up; In combination with the presentation of the previously created pouring painting by Nitsch (blood organ painting: 9 × 2 m, blood, dispersion, mud chalk on jute) the artists carried out a crucifixion, disembowelment and tearing apart of a dead lamb. The slaughtered and skinned lamb was crucified head down and nailed into an arch, the innards placed on a table and doused with blood and hot water. The central element of the campaign is also some white fabrics that reinforce the contrast of the colors. Originally coming from the Happening and Fluxus, actions like these by the Viennese Actionists, who were acting quite isolated at the time, were summarized under the term "Orgy-Mystery Theater". It was a conscious aim of the artists to move away from action painting, such as: B. Frohner practiced developing an action theater that was understood as political theater, whereby sadomasochistic or exhibitionist elements could certainly irritate the Austrian audience at the time.…

The manifesto Die Blutorgel (The Blood Organ) was published in late May 1962 by Adolf Frohner, Otto Muehl and Hermann Nitsch together with the psychoanalyst Josef Dvorak. It remains the first printed document published by the Vienna Actionists. The broadsheet contains Nitsch?s explanation of the concept behind the Orgies Mysteries Theater, and Muehl?s text ?Der M.-Apparat?, a self-ironic consideration of his artistic approach. It also includes Frohner?s essay ?Der Schrei der Kunst?, and Dvorak?s text ?Blutorgelei als Daseinsgestaltung? (Blood Organing as Existential Design), written under the pseudonym Frtiz Graf. All these texts are preceded by the announcement of the forthcoming four-day ?Blutorgel? action which was to take place the following month at Muehl?s studio. On June 1 1962, the front entrance to Muehl?s basement studio on Perinetgasse in Vienna was bricked up and the windows were blacked; only a back entrance remained accessible. Screened off from the public and supplied with debris delivered to the basement, Adolf Frohner and Otto Muehl worked on sculptures. Meanwhile Nitsch created a nine-metre-long drip-and-pour painting. On the final day he acquired the carcass of a lamb, and for the first time Nitsch substituted blood for paint in one of his actions. Visitors on this final day could enter through the re-opened door to view the works. The Blutorgel broadsheet, presented here, is composed of two double-sided pages in an extreme horizontal format. They were originally distributed rolled up at the re-opening or ?unbricking? of the studio?s door on June 4. The manifesto?s graphic layout was determined by Adolf Frohner, although the print?s original design was embellished by the other artists: Nitsch doused it with paint, and Muehl wiped his paint-smeared hand on it, all of which is reproduced on the printed broadsheet. (Rare. WorldCat lists 2 copies at MoMA New York, and University of Chicago). [Ref. Vienna Actionism. Art and Upheaval in 1960s? Vienna. Museum Moderner Kunst Stiftung Ludwig Wien, pp. 43-49]. Two horizontal sheets each (24.5 x 60.3 cm), printed double-sided. Folded.…