Herbert Kuhner

The Rituals of Hermann Nitsch

Hermann Nitsch: I could well envision that murder could be a component of a work of art;
the artists accountability would be on another level.Thus, art can consist of a crime.1
Killing was and is beyond all moral judgments.2
And in comparison Hermann Nitsch: I have been everything. I was Napoleon, I was Christ, I
was Nietzsche, I was Schopenhauer, and I will be everything that is to come.3
Otto Mhl about his colleague: Nitsch is a sadist with a mania for approbation, an autistic
alcoholic whos completely narcissistic and a mothers boy who didnt get enough attention.
Rainer is genuinely violent and a sadist. Nitsch torments the participants in his actions;
theyre constantly freezing. He arranges that intentionally. Id like to know how many
became ill, how many caught pneumonia, how many died.4
Nitsch about his colleague: Mhls specialty is minors and sex and my specialty is the
agonizing torture of animals.5
Here is a quote from Profil: Nitsch, who never slaughtered an animal in his life is constantly
referred to as a slaughterer.6
And a quote from the Arbeiter-Zeitung: During a Black Mass the Viennese actionist Gnter
Brus, 36, his wife Anni, 31, Hermann Nitsch, 36, add Karl Heinz Cibulka slaughtered an
Easter lamb in Naples, crucified the animal and smeared themselves with its blood.7
Nitsch: I wouldnt do anything that would harm a hair on an animals head.8 I wouldn't
kill an animal as a work of art, but I wouldn't say that it isn't art.9
Authenticity:
Dieter Schrage, former museum director: The statements by artists quoted by Frau Wladyka
are by no means authentic and can only stem from a deranged brain.10
Gabriele Wladyka: The quotation by Nitsch is from Falter 24-30, 7 No. 30, 1998, p. 18. The
quotation by Mhl is from Andreas Schlothauer: Die Diktatur der freien Sexualitt, p.
122.11
1

Falter 24-30, 7, No. 30, 1998, p. 18.

Paula Devarney: Nitsch - Art of Killing, Caellian, 9. Oct. 1970; Hermann Nitsch: Das rote Tuch - Das
Orgien Mysterien Theater - Im Spiegel der Presse 1960-1988, Freibord, Vienna, 1988, p. 106.
3
Seitenblicke. ORF, June 6, 1995; Zitate, Kronen-Zeitung, June 11, 1995.
4
Andreas Schlothauer, Die Diktatur der freien Sexualitt p. 122.
5
Falter 24-30, 7, No. 30, 1998, p. 18.
6
Gerhard Jaschke, Ed.: Reizwort Nitsch, Sonderzahl, Vienna, 1995, S. 20, Einen Spa, from Profil, Sept.
1988.
7
Gerhard Jaschke, Ed.: Das Rote Tuch: Der Mensch das unappetitliche Vieh, Edition Freibord, Vienna, 1988,
Wiener Aktionisten kreuzigten in Neapel Lamm ausgewiesen, from the Arbeiter-Zeitung, April 13, 1974.
8
Falter 24-30, 7, No. 30, 1998, p. 18.
9
News, No. 18, May 4, 2005, p. 155.
10
Der Standard, Sept. 16, 2007.
11
Der Standard, Sept. 18,2007.
2

Otto Mhl about his colleague: Nitsch is a sadist with a mania for approbation, an autistic
alcoholic whos completely narcissistic and a mothers boy who didnt get enough attention.
Rainer is genuinely violent and a sadist. Nitsch torments the participants in his actions;
theyre constantly freezing. He arranges that intentionally. Id like to know how many
became ill, how many caught pneumonia, how many died.12
Indeed, Otto Mhl was rewarded after his release from prison by having a dramolette
performed at Claus Peymann's Burgtheater on February 12, 1998 with support from Peter
Turrini, Christian Ludwig Attersee and Einar Schleef. An exhibit of Mhl's prison paintings
opened on February 18, 1998 at the Austrian Museum of Applied Art in Vienna.
Claus Peymann emphatically stated that he was justified to place the Burgtheater at Mhls
disposal since Mhl had served his sentence.13 Mhls play Muchl is, among other things, a
travesty of the legal system that had found Mhl guilty of the abuse and rape of minors.
Mhls remorse for his actions: I have no feelings of guilt for what I have done.14
And three years later: I made mistakes in the commune, but definitely not concerning
sexuality.15
Otto Mhls assessment: I have no enemies. Anyone who doesnt love me is a
psychopath.16
Claus and Klaus: Klaus Bachler invited Hermann Nitsch to perform the Temple of
language17 on November 19, 2005.
Nitsch to Peter Huemer: I wanted to write a drama that could indeed be performed....I do not
regret a single word that I wrote in this drama....There is an ideal partitur and I would like to
come close to the ideal partitur, and this will be my first attempt to come close the ideal
partitur for the 6-Day Feast.18
In the Partitur to his 6-Day Feast and The Conquest of Jerusalem, Nitsch describes the
laceration and desecration of women's and children's bodies.19
Here is a quotation from the Partitur: A 7-year old boy is nailed to the wall as if crucified.
His head is beaten and shattered with rectangular stones, his bloody brains come out. The
bloody brain is rinsed and washed with lukewarm sugar-water.20
More from the Partitur:

12

Andreas Schlothauer, Die Diktatur der freien Sexualitt p. 122.

ORF interview, Feb. 1998.
14
Quoted in the ORF-Discussion, Zur Sache, February 15,1998, Otto Mhl an der Burg - Kunst oder
Provokation.
15
Arte Metropolis, Dec. 8, 2001.
16
Otto Mhl Interview, Die Zeit, Feb. 26, 2004, Nr. 10, Hamburg.
17
Herner Feuilleton, Aug. 24, 2005.
18
Berliner Begegnungen, Hermann Nitsch interviewed by Peter Huemer, 3 SAT-ZDF July, 30,1998.
19
Hermann Nitsch: Orgien Mysterien Theater/Orgies Mystery Theater, Mrz Verlag, Darmtadt, 1969; Das
Orgien-Mysterien-Theaters in Schlo Prinzendorf, Vols.1-9, Edition Freibord, Vienna, Die Eroberung von
Jerusalem, Die Drossel, Berlin, 1977.
20
Herman Nitsch: Orgien Mysterien Theater/Orgies Mystery Theater, Mrz Verlag, Darmstadt, 1969, p. 297.
13

cadavers of two year old children, one year old children and newborn children are brought
into the room. Hair is torn from the heads of the cadavers. The lips and the sexual organs are
torn apart. the chests of the small corpses are opened. the moist-bloody innards are torn out.
pieces of flesh are torn from the dead children. hands and feet are ripped out of their sockets.
body parts of the dead children are hurled around the room.21
According to a reliable source, he stated his intention of peeling the skin from children's
corpses as an action. (This makes lampshades come to mind.)
An exculpation: Nitsch remarked that his intent was not to kill the children. He only wants
work with material that is already dead.22
Hermann Nitsch: I could well envision that murder could be a component of a work of art;
the artists accountability would be on another level.Thus, art can consist of a crime.23
Killing was and is beyond all moral judgments.24
A key quotation by Nitsch: I no longer intend to place a humane corset on my work.25
Helmut Butterweck to Herbert Kuhner concerning Nistch & Co.: I would never do what you
are doing. Modern art is part and parcel of the anti-fascistic movement.26
(Back in '72 when Dada Caca Gaga: Duck! The future's upon us was published, Butterweck
said that I had just committed literary suicide. He was right. And since then there has been no
letup.)
If violence under the guise of art has become an integral part of anti-fascism, Ill pass. To
quote from my poem, An Anti-Fascist: with such foes of fascism, / who needs the genuine
article?
Whether it be Nitschs 6-Day Feast, whether it be the work of the Viennese Group in the
Biannual Catalogue that been defamed as child pornography.We guarantee Nitsch the
protection of the state for practicing his profession freely. Dr. Peter Wittmann, Austrian
State Secretary for Culture. 27
Only those with no knowledge of the significance of ritual and corporeality in art and who
have no desire for even a partial understanding can construe the use of religious objects as
desecration and the willful violation of religious feelings. Dr. Rudolf Scholten, former
Austrian Minister of Art.28

21

www.politik-forum.at Political Discussion Platform for Austria.

www.politik-forum.at Political Discussion Platform for Austria, t. u.
23
Falter 24-30, 7, No. 30, 1998, p. 18.
24
Paula Devarney: Nitsch - Art of Killing, Caellian, 9. Oct. 1970; Hermann Nitsch: Das rote Tuch - Das
Orgien Mysterien Theater - Im Spiegel der Presse 1960-1988, Freibord, Vienna, 1988, p. 106.
25
Fritz Billeter, Tages-Anzeiger, Zurich, July 12, 1974, Letter to the editor in Neues Forum, Vienna, Sept./Oct.
1974, p. 4.
26
Helmut Butterweck of Die Furche, a Catholic weekly in Vienna, to Herbert Kuhner in 2000.
27
Kultur-Alarm, News, No. 16, 1999, p. 140.
28
Dr. Rudolf Scholten: Opening Speech, Styrian Autumn, Graz, Oct. 2, 1992.
22

More by Scholten: What is now happening is a linguistic Rostock, which is paving the way
for a pogrom atmosphere.29 (In Rostock in 1992, after the reunification of Germany, neoNazis set fire to a building filled with refugees to the applause of bystanders).
This award is a signal the city supports what you do. Andreas Mailath-Pokorny,
Municipal Cultural Coordinator.30
Nitsch, a central figure of Austrian contemporary art, whose work deals with the basic
questions of mankind. Franz Morak, State Secretary for Culture, October 5th at the
ceremony for the award of the Grand Austrian State Prize of 2005.31
Nitsch is an interesting and fascinating human being. I could converse with him at hours
length. I admire his spirit and acuteness. Bishop Kurt Krenn of St. Plten.32
Nitsch has gone through process a development and has returned to a normal pattern of
behavior. I was irritated by his anti-religious effects and his actionism. I think his artistic
productions are great. Dr. Jrg Haider, chief of the right-wing Freedom Party.33
(Haider, by attacking the actionists, has made them sacrosanct. Was this an about face?)
I admired Nitsch before it was incontestable for a politician. Now that he had directed for
the (State) Opera, implacable condemnation has turned into reverence. Apparently everything
changes when one works for a reputed house. Dr. Franz Vranitzky, former Austrian
Chancellor.34
We have learned from Hermann Nitsch. We have begun to understand him....Now we think
more profoundly. Only the adherents of National Socialism do not understand him. Alfred
Worm, editor-in-chief of News. 35
(Am I included in that category? I reject Nitsch because I understand him.)
The Hermann Nitsch debate has been truncated long ago like the Thomas Bernhard debate,
the (Peter) Turrini debate, the Valie Export debate, and I hope the (Claus) Peymann debate.
Viennese actionism can no longer be the basis for dispute in a civilized state; it has been
canonized for quite some time and has found its place in museums. Today anyone who
opposes actionism simply disqualifies himself. Sigrid Lffler, star literary critic.36
(I guess she means me.)
An analysis by Kerstin Braun during the time that Nitsch enjoyed Otto Mauers support:
Nitsch describes the dissolution of the self as early as 1959 in his rutting game, in which
he uses the elementary substances like blood, raw meat, tearing dead animals and entrails
apart in literary manner, which is consistent as a continuation taschistic intentions as a central
29

Dr. Rudolf Scholton, Minister fr Culture, Die Presse, Sept. 14, 1992.
Andreas Mailath-Pokorny, Municipal Cultural Coordinator, presenting the Golden Honorary Medal of the City
of Vienna to Hermann Nitsch, City Hall Correspondence, February 2, 2005.
31
Austrian Federal Chancellery Internet, October, 10, 2005.
32
Spektrum, ORF, March 2,1989; Neue Kronen Zeitung, March 5, 1989.
33
Dr. Jrg Haider: Ich finde Nitsch groartig, News, 18/95, Vienna, p. 24.
34
Salut fr den Meister, News, 32/95, Vienna.
35
Club 2, ORF, Feb. 7, 1995.
36
Sigrid Lffler: Banausie am Balhausplatz, Profil, No. 39, Sept. 21, 1992, Vienna, p. 11.
30

theme37. Disregarding of all norms of behavior and every rational control, he constantly
wants to chop up the cadavers of slaughtered animals and cut them up and roll himself in
blood, slime and innards, and cover himself in secretions, urine, and excrement.38
Bishop Kapellari: Monsignor Otto Mauer, the unforgotten sponsor of contemporary art of
his time39
Bishop Egon Kapellari: I had a public discussion with Herr Nitsch at the Academy of Fine
Arts in Vienna last year. At that occasion I pointed out to him that his representation of Jesus
Christ in the libretto of The Conquest of Jerusalem was totally unacceptable 40
However, Dr. Kapellaris objections did not dissuade three priests from blessing the new
Nitsch Museum in Mistelbach, Lower Austria.41
Here are excerpts from The Conquest of Jerusalem: after christ has slaughtered a cow, he lies
down on the back of the skinned animal which is still twitching, licks the sexual organ of the
cow and sticks his tongue deep into it.After christ slaughtered a bull, he lies down on the
back of the skinned animal which is still twitching, sucks urine out of the sexual organ of the
bull.and bites the bulls sexual organ.christ lies down on the warm belly of the freshly
slaughtered bull and sucks blood from the wound where the testicales have been severed.
christ slips and falls and no. 38 jumps on him and sticks his tumescent penis in christs anus
and copulates with him.
The nude body of a nine-year-old girl is placed on a church bench; the sexual organ of the
girl is opened and a silver tube is forced in several times. The sexual organ is torn to pieces;
sugared water is poured on the bloody wound; no. 0 sucks out and licks up the sugared blood
that pours out of the sexual organ.42
Peter Weibel in Der Standard: Nitsch appeared wearing the vestments that that a priest uses
for the Mass. (Hanel) Koeck, among other things, was bound to a cross and a dildo was
placed in her vagina. Then Koeck placed it in Nitsch's mouth. A lacerated sheep, the bloodsoaked innards of a hare and an ox were brought into analogy with the woman's body. Then
Nitsch copulated symbolically with Koeck with the aid of the dildo.43
Hermann Nitzsch: What a wonderful cock Rudi (Schwarzkogler) had. Why didn't he
bequeath his body to me? It was wasted when Brother Rudi was buried by Monsignor
Mauer.44
Rudolf Schwarzkogler committed suicide in 1969 as the final action. It is alleged that he
cut off his penis before defenestrating himself.45 After Rudolf Schwarzkogklers suicide, a
37

Kerstin Braun: Der Wiener Aktionismus: Positionen und Prinzipien, Bhlau, Wien, 1999. p. 181;
Quoted from Armin Zweite: Eigentlich habe ich alles nur von oben bis unten beschttet und besudelt, in:
Hermann Nitsch. Das bildnerische Werk, Salzburg und Vienna, 1988, p. 11.
38
Kerstin Braun: Der Wiener Aktionismus: Positionen und Prinzipien, Bhlau, Wien, 1999. p. 181;Hermann
Nitsch: zur theorie des o.m.theaters, in: OMT,1983, p. 118.
39
Salzburger Nachrichten, Spiritual Resistance Bishop Egon Kapellari interviewed by Martin Behr, p. 14,
Nov. 19, 2005.
40
KATH.NET Catholic News Service.
41
Der Standard, June 1, 2007.
42
Die Eroberung Jerusalems, Die Drossel, Berlin, 1977.
43
Peter Weibel: Ein deutscher Krimi, Der Standard, April, 19, 1989, Vienna, p. 23.
44
Josef Dvorak: Amoklauf der Aktionisten, Neues Forum, Sept./Oct. 1974, Vol. 249/250, Vienna, p. 2.

commemorative exhibit for him was presented at St. Stephans Gallery under the aegis of
Otto Mauer. The exhibit poster showed a man, naked from the waist up, with his eyes
covered by a bloodstained white blindfold. Thus, Schwarzkoglers death was presented as a
Showbiz event.
It is illogical to venerate Dr. Frankenstein while condemning the Frankenstein monster(s).
Nitsch illuminates: The intoxication created by the blood and the ripping apart of raw flesh
should be satisfying and enjoyable since it relieves man of his suppressed desires....Killing
was, and is, beyond all moral judgments.46 If possible I would prefer to work with human
beings, with dead human beings, with corpses to be specific.47 I could well envision that
murder could be a component of a work of art; the artists accountability would have another
status.Thus, art can consist of a crime.48
Nitschs crony Christian Ludwig Attersee concerning his slaughterhouse spectacles in
Prinzersdorf: A combination of Gypsy Baron and Auschwitz.49
Oswald Wiener: It was not easy to drink my urine and eat my feces....Long before
actionism, (Gerhard) Rhm and (Konrad) Bayer wrote: Defecation and urination are art.50
On July 30, 1998 a TV interview with Hermann Nitsch was broadcast. On August 4th the
following letter to the editor was published in the Kronen Zeitung, Austrias largest-selling
tabloid. The author is Lore Jarosch, biographer of Hans Dichand, the papers publisher.
Dear Herr Chancellor, if your daughter were to be placed on a stage with shaven head and
have her sex organ penetrated under the direction of Herr Nitsch, I would like to know
whether you would still speak about the freedom of art.51
(I would like to insert here that I have published numerous polemics critical of the right-wing
editorial policy of this tabloid.)
Furthermore, it was stated that the girl was to be penetrated by a wooden dildo at a private
action. This was to occur with the consent of her parents and that she had previously taken
part in such events.
Gnther Brus: Hermann Nitsch stated in an interview on a German channel that we were all
guilty of having committed transgressions, but they caught Mhl at it, and now he has to
atone for all of us.52

45

Kate Connoly, Adrian Searle: The Devil in a Grey Beard, The Guardian, Manchester, Nov. 15, 1997.
Gerhard Jaschke: Das rote Tuch, from Paula Devarney: Nitsch: Art of Killing, Caellian, Oct. 9, 1970.
47
Mojca Kumerdej: Hermann Nitsch o smrti in Zivljenu, Delo, Ljubljana, Oct. 3, 1992; Im Blutrausch,
News,, No. 30/95, p. 190; Sechs Tage blutiges Welttheater, News, No. 40/96, p. 190, The Devil In a Grey
Beard, interview with Adrian Searle, The Guardian, Manchester, Nov. 15, 1997, p. 17; News, No. 27, July,
2001, p. 7.
48
Falter 24-30, 7, No. 30, 1998, p. 18.
49
Horst Christoph: Schlachten und Schtten, Profil, Vienna, No. 31. July 28, 1997, p. 80-82
50
Oswald Wiener interviewed by Friedrich Geyerhofer, Wiener Sonderdruck, Wiener Aktionismus, 1981, p. 58.
51
Letter to the editor by Lore Jarosch, Neue Kronen-Zeitung, August 4, 1998, p. 20.
52
Gnter Brus, Profil, Sept. 28 1998, Nr. 40, p. 120.
46

One of the most revolting aspects of Peter Weibels Wien-book the book is the
juxtapositioning of documentary photos of murdered children with photos of Hermann
Nitsch actions with innards.53 Thus, infanticide too is part of Show Biz.
Here we have the ideological basis for snuffing as a component of art.
Killing was and is beyond all moral judgments. 54
AKTIONSDRAMA
DER KNABE
Ein sechsjhriger nackter toter knabe liegt auf einem mit einem weien
frischgewaschenen leintuch berzogenen bett. Unter dem kopf des knaben liegt ein
frisch bergezogner weier polster. Das bett berhrt mit seiner querseite eine wand, die
mit weiem molino behngt ist. Der leib des knaben wurde mit heiem und lauem
wasser gebadet und mit l gesalbt. Nr0 nagelt den knaben oberhalb des bettes wie
gekreuzigt an die wand (die fe des knaben befinden sich 50cm oberhalb des bettes).
Durch die beiden hnde, sowie die beiden fe wird je ein nagel getrieben. Aus den
wundmalen sickert etwas blut und wasser und fliet ber die wand abwrts. Nr0 fgt mit
einem skalpell dem gekreuzigten knaben etwas unter der linken brustwarze eine tiefe,
etwa vier cm lange schnittwunde bei. ES FLIESST BLUT UND WASSER HERAUS,
Nr0 klafft mit 2 fingern die seiten der wunde auf, besphlt sie mit hilfe von watte mit
lauem und heiem wasser, wscht sie aus.
Nr 0 hackt und schneidet (mit chirurgischen werkzeugen) den leib den gekreuzigten
knaben auf,
schneidet die
beiden nieren
das fett, das an den beiden nieren ist
das fett, das an den eingeweiden ist
das fett, das die eingeweide bedeckt
die leber
und das netz der leber
aus dem offenen leib des knaben, sphlt und wscht die angefhrter. innereien mit
heiem wasser legt sie in eine silberschssel, die neben dem bett steht. Zuletzt reit Nr 0
die gedrme aus der leib des knaben und lt sie auf das darunterliegende bett fallen.
Whrend Nr 0 die gedrme herausreit, schttet eine zweite person frisches blut in den
aufgebrochenen leib. Das blut fllt den leib fliet ber und bersplt die herabfallenden
gedrme.
Nr 0 schttet (stark dunstendes) wasser in den aufgebrochenen leib des gekreuzigten und
ber die am bett liegenden blutigen gedrme. weiters splt und wscht er mithilfe von
watte und heiem wasser das blut aus der innenseite des aufgebrochenen leibes und splt
und wscht zustzlich die eingeweide vom blut rein, indem er weiterhin aus einer schale
heies wasser darberleert.

53

Ibid., p. 97-114.
Paula Devarney: Nitsch - Art of Killing, Caellian, 9. Oct. 1970; Hermann Nitsch: Das rote Tuch - Das
Orgien Mysterien Theater - Im Spiegel der Presse 1960-1988, Freibord, Vienna, 1988, p. 106.
54

Nr l schttet lauen rotwein in den aufgebrochenen leib des gekreuzigten knaben und die
am bett liegenden gedrme. Weiters splt und wscht er mithilfe von watte, die er in
lauen rotwein taucht, das restliche blut aus der innenseite des aufgebrochenen leibes.
Peter Weibel, Valie Export: Wien: Bildkompendium Wiener Aktionismus und Film,
Kohlkunst Verlag, Frankfurt, 1970.
Herbert Kuhner
Consoling Art Dealers and Consumers
The intoxication created by the blood and the ripping apart of raw flesh should be satisfying and
enjoyable as it relieves man of his suppressed desires....Killing was, and is, beyond all moral
judgments.55 If possible I would prefer to work with human beings, with dead human beings,
with corpses to be specific.56 I could well envision that murder could be a component of a work
of art; the artists accountability would have a another status.Thus, art can consist of a
crime.57
- Hermann Nitsch
Blasphemy, obscenity, charlatanism, sadistic excesses, orgies, the aesthetics of the cesspool are
our moral means.58 Everything is worthy of presentation....That includes rape and murder.59
Coitus, torture and the annihilation of man and beast is the only drama worth
viewing.....Murder is an integral part of sex. House pets have to serve as surrogates. I intend to
commit the perfect murder on a goat that will serve as a substitute for a woman.60 In my next
films humans will be slaughtered. Slaughtering humans must not continue to be a monopoly of
the state. It will soon become an ethical necessity to rob banks and to shoot a random cripple
down.61
- Otto Mhl
Art dealers and consumers fear that if violence in the arts should include the most violent act,
their commodities would be devaluated. Let me assuage their fears! If an artist had committed
the most extreme crime as an integral part of his art, his prices would not drop they would fly
sky high.
To prove the point, after one of Austrias foremost artists was convicted of rape, the sexual abuse
of minors and forcing women to undergo abortions, 62the prices of his paintings continued their
upward swing.

55

Gerhard Jaschke: Das rote Tuch, from Paula Devarney: Nitsch: Art of Killing, Caellian, Oct. 9, 1970
Mojca Kumerdej: Hermann Nitsch o smrti in Zivljenu, Delo, Ljubljana, Oct. 3, 1992; Im Blutrausch,
News,, No. 30/95, p. 190; Sechs Tage blutiges Welttheater, News, No. 40/96, p. 190, The Devil In a Grey
Beard, interview with Adrian Searle, The Guardian, Manchester, Nov. 15, 1997, p. 17; News, No. 27, July 5,
2001, p. 7.
57
Falter 24-30. 7, No. 30, 1998, p. 18.
58
Transparent Spezial, ORF (Austrian Radio), May 8, 1996.
59
Josef Dvorak: Die Faschisten von heute: Antwort an Hermann Nitsch, Neues Forum, No. 246, June 1974,
Vienna, p. 44; Otto Mhl, ZOCK, Aspekte einer Totalrevolution 66/71 Munich, 1971; Supervisuel 6, Otto Mhl
will Menschen schlachten, Zurich, 1970.
60
Fritz Rumler: Ein Problem der Umweltverschmutzung?, Der Spiegel, 1968 (exact date illegible), Frankfurt,
p. 254
61
Josef Dvorak: Amoklauf der Aktionisten, Neues Forum, Sept./Oct. 1974, Nos. 249/250, p. 2.
62
Andreas Schlothauer: Die Diktatur der freien Sexualitt: AOO: Mhl Kommune, Friedrichshof, Verlag fr
Gesellschaftskritik, Vienna 1992, cover blurb.
56