The exhibition at Kunsthaus Bregenz, organized with Günter Brus and in close collaboration with the BRUSEUM at the Universalmuseum Joanneum in Graz, focuses on the wild and unruly Brus. Beginning in the 1960s, Brus spent a few months on Mallorca together with the artist Alfons Schilling. There they were introduced to the painting of the New York School by American artist Joan Merritt. Inspired by the abstract works, Brus painted works on paper whose cubic forms initially appeared architectural but later condensed into nervous hatchings. Back in Vienna, he began using his brush even more violently, almost like a whip, transforming the picture from a site of creation into a space of restless gestures and psychological defense. Painting became something perceived as an aggressive act, an act of disinhibition, as an expression of twitching inner turmoil and a death impulse that forces its way into a visible form.

The exhibition at Kunsthaus Bregenz, organized with Günter Brus and in close collaboration with the BRUSEUM at the Universalmuseum Joanneum in Graz, focuses on the wild and unruly Brus. Beginning in the 1960s, Brus spent a few months on Mallorca together with the artist Alfons Schilling. There they were introduced to the painting of the New York School by American artist Joan Merritt. Inspired by the abstract works, Brus painted works on paper whose cubic forms initially appeared architectural but later condensed into nervous hatchings. Back in Vienna, he began using his brush even more violently, almost like a whip, transforming the picture from a site of creation into a space of restless gestures and psychological defense. Painting became something perceived as an aggressive act, an act of disinhibition, as an expression of twitching inner turmoil and a death impulse that forces its way into a visible form.

The exhibition at Kunsthaus Bregenz, organized with Günter Brus and in close collaboration with the BRUSEUM at the Universalmuseum Joanneum in Graz, focuses on the wild and unruly Brus. Beginning in the 1960s, Brus spent a few months on Mallorca together with the artist Alfons Schilling. There they were introduced to the painting of the New York School by American artist Joan Merritt. Inspired by the abstract works, Brus painted works on paper whose cubic forms initially appeared architectural but later condensed into nervous hatchings. Back in Vienna, he began using his brush even more violently, almost like a whip, transforming the picture from a site of creation into a space of restless gestures and psychological defense. Painting became something perceived as an aggressive act, an act of disinhibition, as an expression of twitching inner turmoil and a death impulse that forces its way into a visible form.