vienna

as unimaginable as much else was a few years ago. Today, our show
windows are as liberated as fashion is, liberated of many things that
were once part and parcel of the show window. […] This campaign,
‘liberated fashion’, resulted in fashion disclosures in the literal sense
of the word. Raw linen appeared all over like a rash, and we saw
figures both cloaked and exposed. The trend was of starkly contrasting
ware – eye-catching and imaginative use of minimal means
produced astounding results. This work drew its inspiration from the
wrappings by the renowned artist Christo.” 455
It is interesting that the phase of incorporation in this case is
prolongated into the phase in which the new collection is introduced.
The packed mannequins are partly leaning against the wall; some
of them are frozen in the phase of unpacking while others are already
unpacked. Haug criticised art for being in the service of capital. 456
Does this critique also apply to the art of window dressing? Contrary
to American artists, German window dressers are described as
“commercial artists”. 457 But the show window was not accepted as an
appropriate medium even in the field of fine art. 458 We have already
related the seasonal sale window to ritual. If we now relate window
dressing to art, it might be interesting to throw a brief glance at
the relation of art and ritual. Performance art is an art form that is
closely related to ritual:
“In contrast to performance which dealt with formal properties of
the body in space and time, others were far more emotive and
expressionistic in nature. Those of Austrian artist Herman Nitsch,
beginning in 1962, involving ritual and blood, were described as ‘an
aesthetic way of praying’. Ancient Dionysian and Christian rites were
re-enacted in a modern context, supposedly illustrating Aristotle’s
notion of catharsis through fear, terror and compassion.” 459
Catharsis is the assumed motive in Nitsch’s Orgies, Mysteries,
Theatre projects. For Nitsch, art is an expression of ritual and by
the same token, the ritual is an artistic expression. 460 His artistic
dramatisation of archaic sacrificial rites as performance art give us an
opportunity of getting directly in touch with ancient ritual practices,
to feel archaic fear, terror and comparison again. Understanding the
455 Anonymous (1970:10)*.
456 Haug (1986:127).
457 Schleif (2004:150).
458 Weibel (1980:17).
459 Goldberg (1979:106).
460 Nitsch (1999:103).
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