Manifest

March 1963

The seismograph (pleasure-generating) of sensual excitation is an essential content of contemporary art productions. The ANALYTICAL actions of the o.m. theatre reach a conscious-making “naturalism” of the psychic. Deep-lying psychic layers, which have hibitionism necessary. It should not be shied away from presenting one’s own psychopathological situation. It is in many respects an amplification and typing of a general human disposition to affliction, to collective neurosis expressing itself mythically.
Through formal conscious-making the artist self-divesting himself in the creative process fulfils for himself and his fellow humans a cathartic function. Art may not and cannot conceal. The whole realm of life must accumulate in it. There is no longer any thematic. My “theme” is the intensity of my excitation, the “UPSURGE OF LUST”, the pro-CREATION ecstasy converting itself into art. Everything in my art that looks like thematic or tendency is creative blasphemy, informal associating.
My inability could be called not being intensive enough, to have cultivated too little pleasure with my art, to have liberated too little FERVOUR. I can watch how the ability mounts in me to excite myself more and more. Through this there arises almost organically a possibility to bond oneself more intensively to existence. My sensitising efforts are an instinctive growing into being. Through informal seismography I want to sound out my subtlest psychic, sensual, spontaneous realities and beyond this reveal my type-like relationship, also already structured in the physiological and collective-psychic, to a specific kind of human reaction and feeling, whose representative I can more or less distinctively be.
Under the various kinds of experience manifested through the religions within mankind, as well as the various kinds of abreactions, life-mastering and sublimation methods, a correlative simplifying view recognises for the present moment a primary distinction between asiatic meditative sublimating (Buddha, Lao Tse) and the european grappling with being characterised by rapid, hectic, excessive abreaction (Dionysus, tragedy, cross).
Everything about me deep into the physiological is gripped by the european, dionysian, excessive drive-releasing structure of abreaction. All of my intensity levels, my predisposition conditioned within me to hectic masochistic sacrificial gratifications are released in the performance action. Living this out through my actions, their cathartic impact, their immediate abreaction character fills the deep-seated unconscious need for imitatio experiences of mythical sadomasochistic situations and substitutes them indirectly.
Abreactions can be completed through the analytical informal path of art without the filtration through mythic experience templates, inviting unconscious identification. These intensities, which “metamorphose” into the seismograph plotting the result of the action, render the latent causes of all mythic excesses visible.
My painting is part of the (epic) o.m. theatre, visually derived from the picture surface of the fundamental excess, and is directly connected to the intensely sensual excitations which I have when seeing a smashed egg lying on the street
lacerated fruit flesh
cotton wool dipped in urine
white bread soaked with wine
tea roses chewed and bitten (wet with saliva)
a white cloth splattered with wine and water
raw flesh and entrails and when smelling incense and vinegar. The emotional excitations aroused when the lamb is dismembered are the origin and never-attained model of my painting.
Goals striven for by the o.m. theatre and thus by my painting:
1. painting can develop into a painted liturgy, to a liturgical path of meditation which prompts an affirmation of life.
2. through the o.m. theatre a pivotal resurrection feast is to be created for our existence in the here and now.
3. the descent into the perverse, the unappetising takes place in the sense of a healing conscious realisation.