Examples of using Brus in English and their translations into German
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Murid wedok in training sugih stimulated with brus….
The introduction to Günter Brus and Alfons Schilling and their informal paintings in 1961 greatly influenced his work.
Artists featured in the exhibition include Günter Brus, G.R.A. M.
Günter Brus, Der Mensch kann Leben retten, zerstört ihn nicht, 1989, Mixed technique on paper, placarded on canvas, 176 x 167 cm, Private collection Photo: UMJ/N.
The Belvedere 21 presents a pictorial and literary collaboration between Günter Brus and Dominik Steiger.
People also translate
In 2004 the first call went out to establish a centre of excellence for Brus at the Neue Galerie; at least the 24-part pictorial poem Friedrich von Schlegel.
Günter Brus and Rudolf Schwarzkogler went a step further, incorporating the injury of their own bodies into their work by not only painting them but literally tearing them to pieces.
It is published in an edition of 28,with each copy signed personally by Brus and including an original drawing by the author. The price is EUR 700.
Günter Brus and Peter Weibel, together with Otto Mühl and Hermann Nitsch, participated in the legendary"Destruction in Art Symposium"(DIAS) in 1966 in London, which was organized by Gustav Metzger.
Situated within a renovated iron foundry on what might just be Copenhagen's hippest street, find Brus: an eclectic bar with an onsite brewery and a backdrop of oak barrels.
Günter Brus painted his body and subjected it to mauling; Rudolf Schwarzkogler bandaged his models; Otto Muehl tied them up; Hermann Nitsch established a complete art form of his own using rituals involving blood and slaughter.
Apart from Schwarzkogler's closest circle of friends, such as Mühl,Nitsch and Brus, there were three photographers present who documented the proceedings- Ludwig Hoffenreich, Walter Kindler and Siegfried Klein Kasaq.
Belonging to the most important contemporaries of the group are Marc Adrian, Kurt Kren, Ernst Jandl, Dieter Roth, Dominik Steiger,followed by the actionists Günter Brus, Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler.
Courtesy of Leopold Museum Egon Schiele(1890-1918), Gunter Brus(* 1938) and Thomas Palme(* 1967)- three enfants terribles of their respective generations- have broadened the conventional concept of art with their works.
Friedrichshof Art Collection provides a basic insight into the history and development of Viennese Actionism andfeatures key works by G nter Brus, Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler and Alfons Schilling from the 1960s.
Oswald Oberhuber& Imma Rasinger, Günter& Ana Brus, Hermann& Rita Nitsch, Peter Kubelka& Luise Cibulka, Peter Weibel& Susanne Widl, Erwin Wurm& Elise Mougin are just some examples from this now extensive series of portraits.
He held his actions for the camera only, there wasno dramaturgically structured course of events, as was the case with Mühl, Brus and Nitsch who acted in front of spectators and often got the audience involved in the process.
The graphics section, where in combination with sculptural drawings many of the smaller sculptures are to be found, is dominated by Austria's leading draughtsmen in the period commencing in 1945 such as Absolon and Moldovan,Hradil and Fleck, Brus and Pichler.
In 1971, for example,VALIE EXPORT invited some of her protagonists including Günter Brus, Robert Filliou, Birgit and Wilhelm Hein, Arnulf Rainer and Carolee Schneemann to participate in a book project entitled‘Acta Occidentia Scientia.
Günter Brus, who nowadays calls himself a‘poet of the picture', became part of the Austrian art history by means of two prominent actionist performances: His body painted white and parted in two halves by a black line, he promenaded downtown Vienna in 1965.
The exhibition»Open Store: Viennese Actionism« at the Staatsgalerie Stuttgart provides an insight into the artistic output andcritical reception of the inhomogeneous group of Viennese Actionists around Günter Brus, Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler and of the artists associated with them such as Kurt Kren or Valie Export.
The long fostered wish of the Neue Galerie Graz, to establish its own Brus Museum for the internationally renowned Styrian artist Günter Brus- the"BRUSEUM- was realised in 2008 thanks to a major collection acquisition initiated by Dr. Kurt Flecker.
This position has not had any equivalent in the Austrian history of art since 1945, but has found resemblance in a series of like-minded approaches, ranging from Padhi Frieberger, the material sculptures created in the early days of Viennese Actionism, to the objects of Curt Stenverts and, of course, canalso be found in the works of Gelatin, Günter Brus and Christian Eisenberger.
The Vienna Actionism of Günter Brus, Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler is one of Austrian art's most important contributions to the international neo-avant-gardes of the 1960s, which employed intermedial, processual, and performative gestures of expansion, and thus permanently changed our concepts of art.
As an international competence center for Vienna Actionism mumok not only holdssignificant works by the Viennese actionists Günter Brus, Otto Mühl, Hermann Nitsch, and Rudolf Schwarzkogler, but also contemporary documentary materials and numerous recordings, notebooks, action photos, sketches, and correspondence.
Works by Günter Brus, Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler, the scandal artists of the 1960s, are compared and contrasted with pieces by their equally controversial colleagues working at the dawn of the twentieth century-from Gustav Klimt to Richard Gerstl, Oskar Kokoschka and Koloman Moser, to Anton Romako, Max Oppenheimer, and Egon Schiele.
Around five decades earlier, the Vienna Actionists made the human body the material of their art, integrating it into their actions in a wide variety of ways:Günter Brus subjected his body to"trials" that tested the limits of what it could bear; Otto Mueh l foreground the organic and orgiastic aspect; Rudolf Schwarzkogler and Hermann Nitsch emphasized the power of ritual.
Actions by Günter Brus, Hermann Nitsch, Otto Muehl, and Rudolf Schwarzkogler were contrasted with works by significant international practitioners of performance art, with works by Marina Abramovic, Joseph Beuys, Chris Burden, Jon Grigorescu, Shigeko Kubota, Paul McCarthy, Ana Mendieta, Bruce Nauman, Yoko Ono, Gina Pane, Neša Paripovic, Ewa Partum, Carolee Schneemann, and VALIE EXPORT.