The new series of large scale photographs Wiener Blut is a critic and ironic reflection on the "Wiener Aktionismus” one of the most important movements of the Austrian artscene after World War II. Reconstructing and screening well-known performances by Günter Brus, Valie Export, Otto Mühl, Hermann Nitsch, Rudolf Schwarzkogler and Peter Weibel, G.R.A.M. extends the original dimension of their works with the intention to analyse these images today and to examine the authenticity of the medium photography in general. Wiener Blut with its depiction of as-if-to-be-actions blurs the borders between real content and artificially emerged photo-structures. In this series G.R.A.M. picks up where the actionists, as underground cultfigures, had been in the focus of voyeuristic interest over years, left off. Before Wiener Blut they consequently developed further their Paparazzi Project as well as the two series of photographs Innocent Anarchists (= adjusted bad-luck-sequences taken from Laurel and Hardy films) and And After Motifs Of (= adjusted memorable events taken from politics, society and culture). G.R.A.M. considers the works of the Viennese Actionists as "absolute icons, of which the visible content goes far beyond the experience of art, comparable to images from the daily press or cinema, where depiction of sexuality and violence is taken for granted.” Lucas Gehrmann, catalogue Gefesselt-Entfesselt, Warschau 2001
A furhter approach that is frowned upon is the new interpretation of works of art. Even if this is a usual method in the fields of music, theatre and cinema, it still seems to be a sacrilege in the arts, an intolerant disturbance of a myth. Thus G.R.A.M. also tries to examine the opinion that works of art are the sacrosanct expressions of a solitary genius:
the breaking of taboos in dealing with taboo breakers.
Even the pathetic seriousness which the works of the "Wiener Aktionismus” are meant to transfer has been refracted in this context. These "icons of the tragically sensual being” get another dimension because of the time-related distance which also causes a change of the aesthetic experiences. And G.R.A.M. replaces – as was done in the previous work groups – the loss of sacredness, the change in meaning which is caused by the time factor, through the components irony and wit.