A retrospective exhibition featuring documentary videos of the artist's provocative performances
A critical exploration of Nitsch's ritualistic performances, with visual documentation
Slought is pleased to announce "Blood Orgies: Hermann Nitsch in America," a special conversation with Viennese Actionist Hermann Nitsch at the Austrian Cultural Forum in New York on Thursday, April 10, 2008 from 7:30-9:30pm.
Hermann Nitsch will briefly speak about the reception of his work in America, in relation to its intensity and immediacy, at 7:30pm in the auditorium; he will be introduced by editor Aaron Levy and contributors Jean-Michel Rabaté and Osvaldo Romberg of the Slought, as well as Andreas Stadler of the Austrian Cultural Forum.
A 14 minute screening of Hermann Nitsch's "Das Orgien Mysterien Theater: Die Aktionen, 1962-2003" will immediately follow, as well as a public conversation with Hermann Nitsch and Aaron Levy. A wine reception and book celebration will conclude the evening, with the artist and contributors to the publication present.
Hermann Nitsch (born 1938) is an Austrian performance artist and a forerunner of Wiener Aktionismus (Viennese Actionism, or Performance art). Nitsch is known for his ritualistic performance actions, often combining fake crucifixion with the disemboweling of lambs and other animals. In the late 50s Hermann Nitsch developed the concept of the "Orgien Mysterien Theater" (Theatre of Orgies and Mysteries) a total work of art appealing to all senses, celebratory and life-affirming. Drawing on religion, philosophy and psychology, he has composed numerous theoretical writings, compositions and scores to accompany over 100 realized action performances between the years of 1962 and 1998. In 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at Schloss Prinzendorf, his castle in Austria.
In the late 50s Hermann Nitsch developed the concept of the "Orgien Mysterien Theater" (Theatre of Orgies and Mysteries) a total work of art appealing to all senses, celebratory and life-affirming. Nitsch describes his Theatre: "...with regard to both the tragic aspect of suffering and instants of extreme ecstasy and affirmation of life, art needs to have a sense of sacred solemnity. [...] We propagated a very aggressive type of art, not a cozy art but an art that displayed tremendous power and intensity."