shareholder Viennese violence grammar
Diego Vincenti
Violence (and obscene) drama. Meat and word (over) exposed vehicles to be handled with delicacy, between instrument and mere provocation. But if the word has almost been cleared thanks to the narrow dimensions of the medium (think of the difference between television programs), reading a strictly physical / aesthetic opens on complex and diverse reactions. Perhaps only the action gave Viennese these two words, the force of being manifesto, the ability to escape the meanness in the performance of the gesture, the free poietic (not theoretical). Boundaries blurred those in which they moved Hermann Nitsch and friends, in the quiet Vienna between body art and happenings, Fluxus and emerging performative acts. At the time (we are in the sixties), I move the center of the structural and formal representation to the body, it became an aesthetic-political in a consumer society already well underway, low blow to middle-class mentality and in your own household (be ). The game was screaming, no rules, you had to bet heavy. And the choice of the Wiener Aktionismus was dirty (literally ...) hands. Self-mutilation, animal sacrifice, bodily secretions, sex: who wanders the Mumok the Austrian capital, has a chance to see how everything was put back on the scene through the whole. In comparison, the walk to Valie Export in 1968 with his friend Peter Weibel on a leash, seems almost like a college prank (and is indicative of how it was tested the same town indifference to Bologna in 2003). The unacceptability of the common artistic choice is in itself a silent victory of a "drama" istituzionalizzatasi slowly into madness. After the young death "via window" of Rudolf Schwarzkogler, appearances around the shareholding in the neonate OutOff 1976 was one part of the same phagocytosis caused by the provocation - the act becoming part of a scenic circuit and intellectual elite (despite leaks, fainting spells and sleepless nights: Nitsch particular made of lamb intestines and genitals of the model and similar amenities) - the other sign of a drift mystical / idolatrante that while aimed at specific actors in the (non) movement, seem to mark the way for studies to investigate the limit (in) cross. Concept among others at the base of the same shareholders, who had in the "showdown" (physical and psychological) on the last act of performing in proof quality. Heritage rough and difficult, is reflected more in performance in a theater still closely tied to the classical sense. More than a one Yasmeen Godder Rodrigo Garcia, despite Matar para comer and difficult relations with the lobsters. But it is a question of quantity, not quality.
Physiologically elite (and intellectual), the theater suffer poor circulation and thus leads to a rationalization of the use that is ill-adapting to the visual responsiveness of skin contact. The eye is the vehicle of a neighborhood exasperated confusing, painfully kept at a distance from ritualization. Different (but still very few) cases where the language becomes violently obscene, the now rare generosity of the gesture, even when the press shows in these terms. It is perhaps this aspect that has over time become dramatically more peculiar: the violence is now grammar, the only category of obscenity trial of the beholder, to which public and spectators are otherwise (in) different. Sensitive to the provocation, the category of trial collapses miserably in the game play goal of the action / reaction, suddenly slipping (in the minority) to the universal characteristics (Kantian) that originally did not belong. And here we return to the Shareholder. To the dominant culture and petty-bourgeois. But in a city (and country) that still closes exhibitions and censorship programs is extended speech and painful to do in a low voice.
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