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= Valie Export = From Wikipedia, the free encyclopedia Valie Export (often stylized as 'VALIE EXPORT'; born 17 May 1940) is an avant-garde Austrian artist. She is best known for provocative public performances and expanded cinematography. Her artistic work also includes video installations, computer animations, photography, sculpture and publications covering contemporary art.

Contents

 * 1 Early life
 * 2 Career
 * 2.1 1960s and 1970s
 * 2.2 1980s to present
 * 3 Works
 * 4 Exhibitions (selection)
 * 5 Awards
 * 6 In popular culture
 * 7 References
 * 8 External links

Early life
Valie Export was born Waltraud Lehner in Linz, Austria and was raised in Linz by a single mother of three. Export studied painting, drawing, and design at the National School for Textile Industry in Vienna.

1960s and 1970s
In the late 1960s and early 1970s, Austrian feminism was forced to address the fact that by the 1970s there was still a generation of Austrians whose attitudes towards women were based on Nazi ideology. They also had to confront the guilt of their parents’ (mothers’) complacency within the Nazi regime. In 1967, she changed her name from Waltraud Hollinger to VALIE EXPORT. In conversation with Gary Indiana for BOMB magazine, Export described her name-change:"'I did not want to have the name of my father [Lehner] any longer, nor that of my former husband Hollinger. My idea was to export from my 'outside' (heraus) and also export, from that port. The cigarette package was from a design and style that I could use, but it was not the inspiration.'"With this gesture of self-determination, Export emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of the Vienna Actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Of the Actionist movement, Export has said, “I was very influenced, not so much by Actionism itself, but by the whole movement in the city. It was a really great movement. We had big scandals, sometimes against the politique; it helped me to bring out my ideas.” Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women's bodies and consciousness distinguishes Export's project as unequivocally feminist. “In these performances and in my photo work of the 60s and 70s,” Export said in a 1995 interview with Scott MacDonald, “I used a female body, generally my own, as a bearer of signs and symbols - individual, sexual, cultural - that could function within an artistic environment.”

Exports bodily awareness led her to say "I want to work out this gender paradigm toward an in inter-gender model: not to be determined by this dualism, not to be determined by this gender in which I may have been born biologically, but instead have this gender-crossing" '''. Her later works allude to resistance and agency to the conceptions of gender performativity.'''

Valie Export's early work of Body Configurations (Körperkonfigurationen) (1967-68) "are a number of stills, mostly post-altered self-portraits that show a woman’s body in diverse urban and landscaped settings in which the artist’s body is used as a textual-topographical metaphor to blend the organic with the constructed body of post-World War II Austrian society" '''. These images "reflect upon societal notions of beauty, gender, identity, and ethnicity" .'''

Export's early Guerrilla performances have attained an iconic status in feminist art history. In her 1968 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), Export entered an art cinema in Munich, wearing crotchless pants, and walked around the audience with her exposed genitalia at face level. The associated photographs were taken in 1969 in Vienna, by photographer Peter Hassmann. The performance at the art cinema and the photographs in 1969 were both aimed toward provoking thought about the passive role of women in cinema and confrontation of the private nature of sexuality with the public venues of her performances. Apocryphal stories state that the Aktionshose:Genitalpanik performance occurred in a porn theater and included Export brandishing a machine gun and shooting at the audience, as depicted in the 1969 posters, however she claims this never occurred. In an interview in Ocula Magazine, the artist stated that: 'The fear of the vulva is present in mythology, where it is depicted devouring man. I don't know if this fear has changed.'

'Export's Ping Pong'' [A Film to (Be) Play(ed)] (1968) interactive installation is one of her first pieces where spectators complete the work. Half of a ping pong table abuts a wall, a paddle and ball exist nearby for an audience member, and a projection of a slowly moving black dot becomes the target for the player to engage with. "The spectator's shadow appears on the wall/screen, becoming part of the screen space, collapsing any distinction between the viewer and the viewed"'''.

Export's well-known performance piece Tapp-und-TastKino (Tap and Touch Cinema) was performed in ten European cities, including Vienna and Munich, from 1968 to 1971. For this bodily public performance, Export wandered the streets of cities with a "small mock-up of a [movie] theater," first made of Styrofoam and remade later in aluminum, strapped to her bare chest. Peter Weibel, her collaborator, invited passersby to "'visit the cinema' for five minutes" by reaching into the "theater" and feeling her bare breasts. '''In the process, according to EXPORT, “the curtains which previously had been drawn up only for the eyes are also finally raised for the hands. Tactile reception counteracts the fraud of voyeurism”'''.

In Tap and Touch Cinema, Export inverts the sight-dependent functions of film and substitutes the "pleasure" of vision for physical touch. Instead of presenting a sexualized female body to be viewed, Export solicits physical contact. The "audience," actively participating in the performance, has direct, face-to-face contact with Export's body in the public sphere. The media responded to Export's provocative work with panic and fear, one newspaper aligning her to a witch. Export recalls, "There was a great campaign against me in Austria."

Some of her other works including Invisible Adversaries, "Syntagma," and "Korpersplitter," show the artist's body in connection to historical buildings not only physically, but also symbolically. The body’s attachment to the historical progression of gendered spaces and stereotyped roles represent Export's feminist and political approach to art.

In her 1970 photograph, “Body Sign Action,” Export portrays a politically charged agenda through her performance artwork. The piece features a tattoo of a garter belt on Export's naked upper leg. The garter is not attached at the top and only attached to a sliver of a stocking at the bottom- therefore suspended on the leg. Instead of the garter objectifying the body, the body objectifies the garter, flipping constructed societal roles in relation to the female body.

Export's groundbreaking video piece, Facing a Family (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program Kontakte on 2 February 1971, shows a bourgeois Austrian family watching TV while eating dinner. When other middle-class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.

Export published “Women’s Art: A Manifesto” in 1972. In it, she advocated for women to “speak so that they can find themselves, this is what I ask for in order to achieve a self-defined image of ourselves and thus a different view of the social function of women.” Here Export points out the unjust way that women had been living their lives within the boundaries created by men. In this same manifesto, Export also wrote “the arts can be understood as a medium of our self-definition adding new values to the arts. these values, transmitted via the cultural sign-process, will alter reality towards an accommodation of female needs”. This statement directly related her own work to the progress of empowering women.

Export's 1973 short film, "Remote, Remote," exemplifies the painful ramifications of the female body conforming to societal standards. In this piece she digs at her cuticles with a knife for twelve minutes, representing the damage societal beauty standards inflict on the female body.

Based on the precepts laid out in her 1972 manifesto, Export curated an exhibition of feminist art at the Galerie nachst St. Stepan in Vienna in 1975. Titled ''MAGNA. Feminism: Art and Creativity'', this exhibition “introduced the feminist artist as curator and as contemporary art historian.”

1977 saw the release of her first feature film, Unsichtbare Gegner. For this film's script, she collaborated with her former partner, Peter Weibel. The film follows Anna, a young woman photographer, as she becomes increasingly convinced that the people around her are being taken over by the Hyksos, a hostile alien force. Her delusion, the film reveals, is caused by internalized behavioral expectations for herself as a woman that run counter to her true desires. However, Invisible Adversaries brought a lot of criticism towards her. In an interview she explains that some people actually thought she was cutting up a bird and a mouse where in reality she was not. She further explains that a man called Schtabel who writes on a column on a magazine released false information about her piece, even though she contacted him on various occasions. She then explains that after bringing a lawsuit against him he was forced to release the letters that were sent to him by Valie Export.

1980s to present
In her 1983 experimental film, Syntagma, Export attempted to reframe the female body by using a multitude of "...different cinematic montage techniques—doubling the body through overlays, for example". The film follows Export's belief that the female body has, throughout history, been manipulated by men through the means of art and literature. In an interview with "Interview Magazine", Export discusses her movie, Syntagma, and says, "The female body has always been a construction".

Her 1985 film The Practice of Love was entered into the 35th Berlin International Film Festival.

Since 1995/1996 Export has held a professorship for multimedia performance at the Academy of Media Arts Cologne.

'In 2001, Export's creation of Transparent space'' went live. Her only public piece of artwork in Vienna. Consisting of a large cube sized room made of glass, situated under the arches of a railway. It has two doors on opposing sides, allowing for visitors to enter temporarily. Every now and then, other art is exhibited inside her glass cove'''.

In 2016, the city of Linz acquired her archive and opened a research center devoted to her work.

Bard College hosted an exhibition centered around Export’s 1977 film Unsichtbare Gegner in 2016. The show featured work by Export as well as artists for whom Export’s art “blew open doors: Lorna Simpson, K8 Hardy, Hito Steyerl, Trisha Donnelly and Emily Jacir, among others.”

In 2019, Export won the Roswitha Haftmann Prize of £120,000, which is “Europe’s largest single-award art prize.”

Works
Selected Filmography
 * 1968 Split screen-Solipsismus
 * 1968 Up + Down + On + Off (Auf + An + Ab + Zu)
 * 1971 INTERRUPTED LINE
 * 1973 ...Remote…Remote...
 * 1973 Man & Woman & Animal (Mann & Frau & Animal)
 * 1973 Adjunct Dislocations (Adjungierte Dislokationen)
 * 1973 Invisible Adversaries (Unsichtbare Gegner)
 * 1977 Menschenfrauen
 * 1983 Syntagma
 * 1984 The Practice of Love (Die Praxis der Liebe)
 * 2002 The Power of Speech (Die Macht der Sprache)
 * 2008 I turn over the pictures of my voice in my head

Selected Performances


 * 1968 From the Portfolio Of Doggedness (Aus der Mappe der Hundigkeit)
 * 1968/1973 Finger Poem (Sehtext: Fingergedicht)
 * 1973 Hyperbulia (Hyperbulie)
 * 1973 ASEMIA - or The Inability To Express Oneself Through Body Language (ASEMIE - oder Die Unfühigkeit sich durch Mienenspiel ausdrüchen zu Können)
 * 1973 Causalgia (Kausalgie)
 * 1974 Seeing Space and Hearing Space (Raumsehen und Raumhören)
 * 1974 Body Politics
 * 1976 Homometer II
 * 1977/1978 Delta. A Piece (Delta. Ein Stück)

Exhibitions (selection)

 * 1973 Austrian Exhibition, Institute of Contemporary Art, London, UK
 * 1977 Körpersplitter, Galerie nächst St. Stephan, Vienna, Austria (solo)
 * 1980 Korperkonfigurationen 1972 – 1976. Galerie Krinzinger, Innsbruck, Austria.
 * 1990 Glaserne Papiere. EA Generali Foundation, Vienna Austria.
 * 1997 Split Reality: VALIE EXPORT. Mumok, 20er Haus, Wien
 * 2000 Galerie im Taxispalais, Innsbruck, Austria (solo)
 * 2004 VALIE EXPORT. Camden Arts Centre, London
 * 2007 VALIE EXPORT. Centre Georges Pompidou, Paris
 * 2010 Zeit und Gegenzeit. Österreichische Galerie Belvedere, Wien, after at the Museion, Bozen
 * 2012 VALIE EXPORT Archiv. Kunsthaus Bregenz, Bregenz
 * 2013 XL: 19 New Acquisitions in Photography, MoMA, New York, USA

Awards

 * 1990: City of Vienna Prize for Visual Arts
 * 1992: Austrian Prize for video and media art
 * 1995: Sculpture Award at the Generali Foundation
 * 1997: Gabriele Münter Prize
 * 2000: Oskar Kokoschka Prize
 * 2000: Alfred Kubin Prize Big Price culture of Upper Austria
 * 2003: Gold Medal for services to the City of Vienna
 * 2005: Austrian Decoration for Science and Art
 * 2009: Honorary Doctorate of the University of Arts and Industrial Design Linz
 * 2010: Grand Gold Decoration for Services to the Republic of Austria
 * 2019: 19th Roswitha Haftmann Prize
 * 2020: Golden Nica Visionary Pioneer of Feminist Media Art Prix Ars Electronica
 * 2021: Honorary Fellowship of the Royal Photographic Society

In popular culture
Her name appears in the lyrics of the Le Tigre song "Hot Topic."

My Wikipedia Workshop Practice
I have never used Wikipedia in this fashion, I am excited to learn something new and create change.

I am doing my final project on Valie Export. I was first exposed to her in Gender and Women's Studies 410 by Professor Anna Campbell at the University of Wisconsin, Madison.

I found Artnet has a fruitful description and basic overview of her work and the media that has been for auction in the recent times.

An example of Exports earlier work in the 60's includes a tiny "movie theater" around her naked chest to challenge the men who entertain the pornography world. On Kemper Art Museum's webpage conversation around women's objectification rises as this performance dares people to break the technology barrier in accessing the content first hand.