A West German man, mistaken by the police for a left wing terrorist, hides in Vienna with a prostitute and her incestuous teen daughter. They become both a threesome and a happy surrogate family, but nothing lasts forever.
A West German man, mistaken by the police for a left wing terrorist, hides in Vienna with a prostitute and her incestuous teen daughter. They become both a threesome and a happy surrogate family, but nothing lasts forever.
Rosy Selavy arrives in New York, with her chessboard under her arm. occupying Duchamp's place at the Washington Square chess table (where he converses with the composer John Cage) later invites his suitors to a game. Rosy comes in contact with John Cage, with Broadway star Jean Halbert, with French singer Janet Maillard and Soho artist Hannah Wilke, before embarking on a long journey across the country, where she meets Mary Jane Collins , singer of Memphis Blues' stumbles upon a colony of Puritans, meets some hippies in the Far West, being finally raped and murdered on a beach in Los Angeles by psychiatrist Hal James.
Rosy Selavy arrives in New York, with her chessboard under her arm. occupying Duchamp's place at the Washington Square chess table (where he converses with the composer John Cage) later invites his suitors to a game. Rosy comes in contact with John Cage, with Broadway star Jean Halbert, with French singer Janet Maillard and Soho artist Hannah Wilke, before embarking on a long journey across the country, where she meets Mary Jane Collins , singer of Memphis Blues' stumbles upon a colony of Puritans, meets some hippies in the Far West, being finally raped and murdered on a beach in Los Angeles by psychiatrist Hal James.
He ended the period of creating works exclusively using the body as a medium with the “Zerreissprobe” (Breaking Test) in 1970. His 43rd Aktion was the last and at the same time the most radical of his analyses of self-painting and self-mutilation. In it, Günter Brus actually carried out the injury that had previously often only been intimated by cutting along the back of his head with the razor blade in front of the public. Physical pain was thus not only suggested or acted out by the artist but actually experienced.
In “Körperanalyse” (Body Analysis) in 1968, the artist (Günter Brus) urinated in front of an audience, cut his skin with a razor blade, and masturbated to the accompaniment of the Austrian national anthem.
