The darkness of this world (16) 6

Today we have posted essay number 16, The Orgiasts (One), in the series by Jillian Becker titled The Darkness of This World (Part 3). (Find it under Pages in our margin.)

Here is part of it.


The Orgiasts (One)

Peter Weibel (1944- ): Riot as Art

Otto Mühl (1925-2013): Crime as Art

When the tumult and the shouting of the “sixty-eighters” died down in Western Europe, and the terrorists were dealt with by the law courts, and the shallow ideas of the New Left had crystallized into an orthodoxy as “political correctness”, the shocking of the bourgeois – the chief impetus of the movement – was carried on for years in “Action Art”.

In Austria, which claimed to be its home, the political dimension of Action Art (Aktionismus) was inspired by the satirical “happenings” which anarchist groups performed as part of the sixty-eight fun-revolutionary protests.

Though at first the movement was just as dedicated to the defiance and denigration of the civil authorities as the student protests, Austrian Aktionismus actually came to be sponsored for a time by the state. By the late 1970s, exhibitions of Action Art were funded by the government, and even opened ceremoniously by ministers of culture. The artists were celebrities: acclaimed by the media, honored in the universities, given awards and generous grants. Many Austrians were proud of them.

But at the start, when the artists first performed their obscene acts, and painfully assaulted their audiences, they were arrested. Even then they were not held for long. There was an outcry from the progressive intelligentsia: “This is ART. Couldn’t the official barbarians understand that?” The official barbarians hung their heads in shame. This was an age when almost anything was allowed to ART. Criminal violence it may be, but it may not count as crime when it was ART.

In the summer of 1968, a group of Austrian Actionists toured Germany – Munich, Essen, Cologne – with a repertoire of performances in support of the student rebellion. They appeared in sports-halls and amphitheaters “before audiences of 2,000 and more”. They built a water cannon “with extra strong pressure” to turn on to the audience. One of them, Peter Weibel, explained to me (some years later):”The idea of the gathering was rebelling for Vietnam, and the audience had come to demonstrate that they were in solidarity with the Vietnamese who were suffering from American aggression. We believed that solidarity only counts if you are suffering too. But there the audience was,  just sitting and not suffering at all. They were there to protest for Vietnam, but they were eating, drinking, doing nothing but waiting to be entertained, exhibiting the typical schizophrenic condition of this society. So we turned water on them.”

The audience did not accept the assault passively, not even for the sake of Art or Vietnam. They threw bottles back at the artists, and then the artists whipped them.

But first I hurt myself. I worked with fire. Before turning the water on them or whipping them I burnt my own arm. I put chemicals on my skin and set fire to it. This was to show that I earned the right to make them suffer by suffering myself. It was saying to them, ‘Look, I’m in pain so I have the right to be taken seriously.’ In Cologne I had to go to hospital afterwards, and there they didn’t believe me that this was an art action. They called the police and the police thought I had been experimenting with explosives. But my intention was to make rituals. No masochism was intended. While I was burning I was smiling all the time, to say, ‘Look, you can trust me, I won’t lose my nerve.’

He had to work hard on his whipping technique because, he said, “I used a very long whip and I couldn’t make it move fast enough at first, and people in the audience used to catch hold of it and pull me towards them, or jerk it out of my hands, until I learnt how to do it properly so that I cut their faces before they could do anything. The end was always a riot. The police came to stop it, we were arrested, and then we were fined. But that was part of the Action. ‘WAR, ART, RIOT’ the show was called. It was a campaign. Like a military campaign, only with Art.

In that same momentous summer, one of the founders of the Action Art movement, Otto Mühl, along with other Actionists, put on a performance in the auditorium of the University of Vienna titled ART AND REVOLUTION. They announced that it was for the victims of the Vietnam war. Mühl described it to me as “pissing, shitting, beating, and masturbating while singing hymns”. He and the other artists were arrested and imprisoned.

By the later 1970s, Mühl had stopped giving public performances, preferring to concentrate on “self-expression psychoanalysis and therapy through sexual activity and all other natural functions”. His theories on psychotherapy, he said, were “derived from those of Wilhelm Reich – and also of course from Sigmund Freud, our Viennese Urvater of psychoanalysis.”

Otto Mühl had founded two communes: one in Vienna, and one on a farm, Friedrichshof, in the Burgenland near the border with Hungary (which was then, and for another two decades, under an oppressive Communist regime obedient to the Kremlin). He named the country commune “The European Center of the Action-Analysis (AA) Organization of Conscious Life-Praxis”. Followers of his movement formed “branches” in Berlin, Hamburg, Kiel, Bremen, Oslo, Geneva, and Paris. At the start of his campaign Mühl visualized a “world commune organization, a global society made up of communes”, all of them following the pattern set at Friedrichshof, for the better health and happiness of mankind. In 1976, membership of his organization peaked at a little over 500.

Central to Mühl’s “praxis” was Selbstdarstellung, or “SD”, meaning self-expression, carried out in groups under a Self-Expression Leader whose aim was “to exorcise the small-family person” – der Kleinfamilienmensch – from the communard-patient. The process, Mühl maintained, was “Action Analytical Art”. His Selbstdarsteller had to become a performance artist. Before an audience of fellow communard-patients, he/she “wanders through childhood and corrects the damage that was done” to him/her. “The audience will be deeply moved when the patient recreates the scenes of his childhood damage, lets himself fall into a birth-experience and demonstrates the meaning of health as a new-born baby. From the re-enacted birth-experience – often accompanied by an enactment of ‘the killing of Mummy and Daddy’ – the final self emerges in the Selbstdarstellung, which is also called ‘dissolving the genital armoring’.” Beyond that, he’d explain, “lies not only cure but true liberation”; that is to say, an ability to experience “psychophysical orgasm” by which the patient/artist is liberated to enjoy “full sexual and social freedom”. The person has “found his/her identity in orgasm”.

What actually happened in the performance ending with a rebirth? What was Otto Mühl’s work as an artist-therapist? Simply sexual activity in public. “Free sexuality is an integral part of commune-society. The exclusive two-person relationship is a sickness of the small-family person” Mühl told me. (He also, in an unguarded moment, confided to me that he was “surprised to find that many of the male patient-artists developed impotence in the course of the treatment”.)

Although the achievement of personal liberation from authority was one of the chief aims of the therapy, the commune had strict rules. Both men and women, for instance, had to have their heads shorn of all hair and to dress in uniform trousers with a flap in front “to facilitate work” – namely, copulation-masturbation-therapy. The enterprise was dedicated to the defiance and destruction of “authoritarianism”, and the method was regulated in a sternly authoritarian manner.

It was a life-style of enforced asceticism, combined with extreme libertinism. All bodily functions were on display; the bathrooms and toilets had no doors. No member was allowed privacy, or money, or any personal property. “The commune rejects commercial and profit thinking.” On joining, a member made over all his property and wealth to the organization, including real estate and income from any source, even student grants. Members were discouraged from making contact with their “small family” (more commonly called, in English, the “nuclear family”) or anyone in the outside world, because “society predetermines their emotional misery, as if the world were ruled by an evil spirit”.

The communal life itself, according to Mühl, was “an art form”. So was every performance of “direct art actions”, which consisted of persons – often, if not always, drugged – performing sexual activities before the rest of the assembled group, “with objects, animals, excreta” and fellow communards of either sex and every imaginable erotic desire. Photographs of the actions were taken, collected, edited, and published in professionally printed and bound volumes.

Children were admitted to the Mühl communes with their mothers. Some were born in them. “Children”, Mühl said, “grow up in the commune without sexual repression, so they will be healthy and socially well adjusted. The sexual activity of the parent is not concealed because nobody is made to feel that it’s forbidden.”

But adjusted to what society? …

The practice of any conventional form of art was discouraged (though Mühl himself painted in a private studio standing apart from the main buildings of the commune). “It is enough that the commune life is itself an art-form,” he said.

And so, in his theory, was death: “killing people is an element of art to come.”

to make art – you do not need a piano – detergent and jam and urine will do – art may slip into every material and out of every hole – everybody can do art if he can find the pepper – boycott the pigs controlling the mass media – do not buy newspapers or tv-sets or cinema tickets – blast the opera houses – from now on all there is will be presented directly, coitus, torture, medical operations, destruction of people and animals and other objects is the only theater worth seeing – the rest is nonsense! – the inner life will be reduced to bodily acts – religious and political pigs can only be stopped by brutal use of all means – pornography [contrary to other statements] is a suitable means for curing society of genital-panic – the elements of art to me are eating, drinking, shitting and pissing, fucking and killing people. – these are the hot irons of our times – murder as art.” …

  • liz

    This immediately brought to my mind the “Manson family”. I don’t know that Manson was familiar with this movement (I think he must have been), but it mirrors his exactly. He took the idea of “murder as art” to its full realization.
    It’s hard enough to imagine one Charles Manson, much less an entire “movement” full of them. With the aid of “enlightening” drugs, there’s no limit to the depths to which humans can sink.

    • Interesting that Manson came to mind as you read this, liz. One of Mühl’s most notorious Actions was titled “The Death of Sharon Tate”. His patsies would enact the murders of that poor woman and her friends by the Manson gang, revelling especially in the plunging of a dinner fork into her pregnant belly. Like lefties everywhere, they praised Manson because they thought he was an “anti-bourgeois, anti-sexist, anti-racist” rebel like themselves. Later, when they (along with the Left in general) found out that he kept women as his “slaves”, hated black people and hoped to start a race war against them, they dropped him from their pantheon – and “The Death of Sharon Tate” from their repertoire.

      • You’ve inspired me to think about adding this to the footnotes.

      • liz

        That’s interesting. What hypocrites! Priding themselves on being “anti-sexist”, while celebrating the murder of a woman. Or of propagating a “healthy” human life while regressing into animals.
        Credit must go not only to drugs, but to the philosophy they followed.
        They were a great example of what it ultimately results in – complete depravity.

  • Robert Kantor


    I read the article, first thing this morning. Utterly depressing. By 2060, the Muslims will have taken over Europe and we will have said bye-bye to this depravity, along with gay pride parades, abortion on demand, and performance art. Also gone will be free inquiry, material abundance, stable governments, scientific progress—in short, civilization.

    A neighbor of mine has just returned from Cuba. She reports that everyone she spoke to (all government employees no doubt) had ration cards. Ration cards! In an island surrounded by perhaps the best fishing waters in the world and blessed with an abundance of fertile soil, the people haven’t enough to eat. I read this morning that there are 50 percent fewer cattle in Cuba today than there were before Castro. Cattle need grass to survive, but I suppose the embargo has caused this grass to dry up. I also recently read that 1/4 to 1/3 of the food in Cuba comes from the United States in trade deals that no one talks about. The tour that my neighbor took enjoyed plates that were piled high with filet mignon and lobster, delicacies that the average Cuban can only dream about.

    I’ve been to poor places in Mexico and Colombia, and food carts, fruit and vegetable stands, small restaurants, and the like are everywhere. But not in Cuba, the land so beloved by liberals in this country, the land where healthcare and education are free. I have described Cuba as a maximum security prison with a library filled with books written by the warden and his friends and hospitals lacking in basic medicine and even bed sheets. Sunny calls it San Quentin with nice beaches. The Cuban government constantly puts out phony statistics about the wonders its health care system, and the liberals and the Left swallow it whole.

    Why is the Left so enamored of Cuba? You know the answer as well as I do. Cuba is a place where a small group of overlords reign over obedient and frightened masses, who don’t know what’s good for them. That’s why the Pope and the Castros got along so well with one another. Everyone is equal in poverty and subservience, except the king and his court (or the Vatican, the College of Cardinals, and all those archbishops). That’s why the Communist mayor of New York honeymooned in Havana. That’s why when Fidel Castro dies, Obama (who refused to send anyone in his administration to Britain to attend Margaret Thatcher’s funeral) will send a top delegation to Havana.

    • Thanak you for your comment, Robert.

      Yes, the decadence, the filth and the mess, everything that makes the great dung heap freedom builds and on which our great civilization grows, will be gone along with the glories.

      These things I am writing about – the deliberate pursuit of evil, the intense denigration of our civilization, are the very causes of the fall of the West and the triumph of Islam.