__Opening: September 7th, 7pm
Duration of the exhibition: September 8 – October 5, 2021
Nitsch and the total work of art
It initially seems important to emphasise that all disciplines of the total work of art—the idea of the orgy mystery theatre, the composition, the score, the drawing, the literary work, the pouring and also the prints—in this broad form on the time of the late 1950s or go back to the early 1960s. (Hermann Nitsch was in his 20s at the time). Contrary to many opinions, the disciplines were all anchored in the artist's overall concept at this time and are not additions to the unique overall philosophy that grew later and the unconditional interweaving of all disciplines for the whole with Nitsch.
Karrer, Michael: The prints of Hermann Nitsch. A documentary journey through time (2010). In: Karrer, Michael (ed.), Hermann Nitsch. The total work of art of the Orgien Mysterien Theater, Verlag der Buchhandlung Walther König, Cologne 2015.
Nitsch himself says:
'I draw constantly to inspire new actions. Because actionism is inevitably subject to limits of realisation, action concepts and scores were created: actionism has expanded in the direction of conceptual art. The question of realisation is not essential for the time being, the design can proliferate freely and break through all borders, the design of action dramas that take place in underground cities specially designed for this purpose and that require a performance of several weeks would be possible. Most of my drawings show floor plans of underground rooms and paths. The space-seeking pencil finds a sensuality that is detached from the project and its realisation, the specific aesthetics of the drawing endeavour begins to intoxicate and seduce the designer.'
—Nitsch 1976.
Christ the Ram God
The ancient Egyptian god with the ram's head was initially the helper of the goddess SATIS, closely associated with the regular return of the seasons and the flooding of the Nile. They were worshiped on Elephantine Island—below the first cataract. Initially depicted exclusively as a ram, i.e. in the form of animals, we find him in the New Kingdom as a ram-headed god in human form. He is now a creator god who created the gods and humans, but also animals and plants, and was able to bring them to life.
He was Neb-Abu ('Lord of Elephantine').
When Nitsch now names the Crucified as the ram god, he is alluding to this ancient Egyptian connection between becoming and passing away: from the natural course of nature, which was initially permeated by the seasons, the ram god rose to divine power and was ultimately the guardian of the laws of life and death—how Christ on the cross leads death into resurrection (FK)
To the Entombment (triptych)
Nitsch, 1995: 'I understand the death of Christ differently. He demonstrates the death of all beings who must die in principle. He demonstrates and lives out the world-conquering, tragic failure, the overcoming of death in a parable. Death is followed by resurrection, which must happen infinite times in the space of eternity and infinity so that the world can transform and change.'.
The last supper
'The design of an underground city based on the image of the last supper for the action drama the destruction and re-emergence of our universe. The uterine darkness of subterranean passages and rooms, the secure life that germinates in the cold earth exerts a great attraction on me,' says Nitsch.
However, as a metaphorical world view, the work goes far beyond an architectural design. With the reference to the Eucharist contained in the title, the artist addresses the desire to experience a harmonising analogy of man and cosmos with the Last Supper.
Karrer, Michael: 'The prints of Hermann Nitsch. A documentary journey through time' (2010). In: Schütt, Jutta (ed.), Hermann Nitsch. Utopias on Paper, Frankfurt am Main 2004, p. 24.
Leviticus
Even as a teenager, Nitsch was fascinated by 'Leviticus', the 3rd book of Moses. The book is like a manual for the rite, collating the 'professional knowledge' of the Temple priesthood.
In 2010, Nitsch was invited by the Israeli publisher Har-El to create a bilingual art book on the sacrificial rites in the Temple of Jerusalem from Leviticus. This invitation resulted in a large-scale graphic project in the format 135 x 189 cm and comprised twelve TERRA GRAPHIE motifs printed on canvas. With the help of this complex printing technique, works were created that are based on his poured pictures, they reflect the pouring style of the unmistakable unique pieces.
Press release courtesy Galerie Krinzinger.
Seilerstätte 16
Vienna, 1010
Austria
www.galerie-krinzinger.at
+43 151 330 06
Tues - Fri, 12pm - 6pm
Sat, 11am - 4pm