Valie Export

She is the godmother of performance art. With her shocking public actions she created in the late 60s images that have burned into the general visual memory until today. The life and work of the Austrian artist Valie Export exemplify a development in art history in which women sought and found new ways and means of expression. Her work provides a feminist counterpart to the Viennese actionism of her time, which has influenced numerous artists of subsequent generations. The innovative diversity of her artistic approaches makes Valie Export an icon of 20th century art history.

The starting point for this film is an eighteenth-century musical dice game attributed to Wolfgang Amadeus Mozart. A sequence of short, precomposed musical options are randomly selected through rolling dice and following a table of rules; these sequences are then patched together to create a new composition. Here we see one possible result of this chance procedure.

The starting point for this film is an eighteenth-century musical dice game attributed to Wolfgang Amadeus Mozart. A sequence of short, precomposed musical options are randomly selected through rolling dice and following a table of rules; these sequences are then patched together to create a new composition. Here we see one possible result of this chance procedure.

The starting point for this film is an eighteenth-century musical dice game attributed to Wolfgang Amadeus Mozart. A sequence of short, precomposed musical options are randomly selected through rolling dice and following a table of rules; these sequences are then patched together to create a new composition. Here we see one possible result of this chance procedure.

"The rebellious voice, the split voice. The voice is suture, the voice is seam, the voice is cut, the voice is tear, the voice is my identity, it is not body or spirit, it is not language or image, it is sign, it is a sign of the images, it is a sign of sensuality. It is a sign of symbols, it is boundary. It speaks the ‘split body,’ it is hidden in the clothing of the body, it is always somewhere else. The breath of life is its source." – VALIE EXPORT "That the vocal organs visually rhyme with female genitalia, that when they are in use, they create a fascinating flow of movement and change, makes this work a compelling new iteration by an artist who has given voice to her female body through a myriad of frames." – Maureen Turim

A recording of Valie Export’s performance from the 2007 Venice Biennale, filmed with a laryngoscope camera inside her throat.

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance. The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

Filmmaker Jonas Mekas films 160 underground film people over four decades.

“A medical camera films the vaginal area of performer VALIE EXPORT. It penetrates her body. In the same way as in various installations that investigate the origin of the voice through filming of the glottis, the vagina´s interior is made visible here for the purpose of demonstrating what happens inside the body.” – Brigitta Burger-Utzer

“Writer Elfriede Jelinek has repeatedly made statements about her television-watching habits. She watches a great deal, a wide variety of what is broadcast, though rarely for pleasure or the purpose of gaining knowledge. On the contrary, the TV program is one of her favorite objects of study. Three separate times on a particular day, while sitting in a comfy TV chair, she commented on Austrian TV news for VALIE EXPORT.” – Brigitta Burger-Utzer

“Writer Elfriede Jelinek has repeatedly made statements about her television-watching habits. She watches a great deal, a wide variety of what is broadcast, though rarely for pleasure or the purpose of gaining knowledge. On the contrary, the TV program is one of her favorite objects of study. Three separate times on a particular day, while sitting in a comfy TV chair, she commented on Austrian TV news for VALIE EXPORT.” – Brigitta Burger-Utzer

A Perfect Pair posits the idea that individual consumers are walking billboards for the products they use; product slogans and brand names peeking out from every crevice and cranny of the actors’ bodies. Export demonstrates how the body of the consumer, especially that of the female consumer, is co-opted by commercialism. In tongue-in-cheek fashion, A Perfect Pair celebrates the modern-day co-mingling of fetish objects, as a body builder seduces a prostitute at a bar saying, “Your eyes are the most beautiful blue ad-space. Your cheek could promote a Mercedes. Your neck could be a slogan for styled technology.” Export’s work is centered around the evolving role of women in a culture where images increasingly displace material reality. A Perfect Pair wonderfully illustrates the inescapability of advertising’s “regime of signs", the signifying network of personal and product values that is effectively encoded on the space of women’s bodies.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

“The Duality of Nature is an experimental video that deals with the 'duality of nature', in other words natural nature and technical nature. Nature is always a construction, whether in dynamic processes, dis-analog systems or physical, technical signals. 'Nature' formulates the organizational forms of representational strategies - symbolic structures, both in reality and in fiction. Where are the borders, the interfaces, the de-bordering and the analogies for ‘natural’ nature and ‘technical’ nature? These considerations provided the basis for the video.” – VALIE EXPORT

“This video film shows indecency in its modern form. While peddling naked female flesh was considered indecent in the past, we can see by the examples of today´s star athletes that skin full of advertising sells better. The same applies to politicians, of course, though in a more subtle way. Advertising on skin as the new indecency! I consider this film to be a continuation of my previous work with the body as a vehicle for social codes. While in the past it was religion that dictated male and female behaviour, which was also expressed in their physical appearance, business has now assumed this role. Business dictates physical behaviour, physical pressure in its most direct form, and even sets standards for how our bodies are to be represented. Religion no longer prescribes morality, that is now done by the global power of business, with its products and codes. Morality has found a new patron.” – VALIE EXPORT

Judith is a maverick reporter who is also seeking a satisfying relationship with various men. She finds corruption and power-games everywhere.

Judith is a maverick reporter who is also seeking a satisfying relationship with various men. She finds corruption and power-games everywhere.

The body and specifically the "woman's body" is often used as a focus for questions of origin, subject-object relations, political resistance and sexuality. Valie Export's notion of "body language" poses an ironic relation to these questions that acknowledges "the end of the body" or at least the final break with the way in which we understand it to be a biological, existential, or metaphysical entity. Export has broken away from any notion of unity - either body, space, or time - into the fragmented world of doubling and difference that is caught in representation.

Baron Childerich III of Bartenbruch considers himself to be a descendant of the Merovingian dynasty and he has drawn up a chart of marriages and adoptions which show that he is his own father, grandfather, father-in-law, and son-in-law. He aims at achieving the "total family" based on one man. He persuades his french relative, Pippin, to help him. But the latter lets him down and breaks up the family... Among those who belong to the (surrounding) world of the Baron are Dr. Döblinger, a writer, who has formed a band of muggers and Professor Horn, a psychiatrist, who quiets his patients by leading them on nose rings and beating them up... Family satire with numerous personal and literary allusions based on the novel of the Austrian writer, Heimito von Doderer.

Menschenfrauen is a film about relationships and the psychological oppression of women in society. Franz, a journalist, maintains relationships with four women. His three mistresses are introduced with television dreams of intense emotional violence (in the first dream, a mother shouts at her daughter, explaining that as a girl, she does not deserve a room of her own), and the fourth is his wife. He is desperate to have each to himself. Franz never offers a substantial sign of love, but is willing to say anything and make any promise for affection. His dependence on women for fulfilment is explained through arguments with his wife. He claims "I am my own sound. The women produce voices within me." An understandable and sometimes sympathetic antagonist is one of the films greatest strengths. The emotional damage he causes becomes believable.

Menschenfrauen is a film about relationships and the psychological oppression of women in society. Franz, a journalist, maintains relationships with four women. His three mistresses are introduced with television dreams of intense emotional violence (in the first dream, a mother shouts at her daughter, explaining that as a girl, she does not deserve a room of her own), and the fourth is his wife. He is desperate to have each to himself. Franz never offers a substantial sign of love, but is willing to say anything and make any promise for affection. His dependence on women for fulfilment is explained through arguments with his wife. He claims "I am my own sound. The women produce voices within me." An understandable and sometimes sympathetic antagonist is one of the films greatest strengths. The emotional damage he causes becomes believable.

Adjunct Dislocations II documents a technically inventive performance. VALIE EXPORT moves along a track with two closed-circuit cameras that are facing different directions and are focused upon patterned screens. Her action creates changing linear shapes on monitor banks within the space.

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions

A drama in the continuum of perturbance in the mixed-gender relationship. Based on shoulder and hand symbolism as historical body language, the history of women in the world of men is broken wide open.

This film is a kind of anthology about Vienna, from the invention of film to the present day. The aim is to break down the usual clichéd "image of Vienna" such as that found in the traditional "Vienna Film" by juxtaposing documentary footage, newly shot material and subjective sequences created by various artists. Individual, self-contained sections of the film gain new meaning within the context of historical material. Familiar sites appear estranged when edited together with historical scenes. Other scenes appear like a persiflage or satirical. The film does not incorporate any commentary whatsoever. It is a collage of diverse materials aimed at conveying a distanced image of Vienna to the viewer

Space Seeing - Space Hearing uses sound and image editing, as well as split-screen effects, to create a performance from a motionless body. The work comprises six distinct sections that create a rhapsody of sound and image.

Tethered to one another by a rope, two figures standing on parallel escalators perform five ways of being together—“against each other,” “with each other,” “to each other,” “for each other,” and “each other”—challenging expectations of how people can and should coexist in public space.

“This film deals with exploring one´s surroundings by means of the body, and the exploration of the surrounding body. Not only is something shown in this film, showing itself is shown, not only is something portrayed, portrayal itself is portrayed. A sense of space is created in a way possible only with film: seeing oneself from the front and back simultaneously, from above and below, and from outside in the center of the space. The film combines opposite parts of the space, which form the body´s imperceptible time-space continuum. Space is carried along, just like the camera.” – VALIE EXPORT

With sometimes painful directness, Valie Export conducts a psychological investigation of the body in this film performance, externalizes an internal state. In front of a police photo showing two children who were sexually abused by their parents, she tortuously cuts into her cuticles until blood drips into a bowl of milk on her lap. On top of the symbolic plane of blood and milk, the physical effect on the viewer of her destructive act of self-mutilation is extreme.

Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... (Joana Kiernan)

“This film deals with exploring one´s surroundings by means of the body, and the exploration of the surrounding body. Not only is something shown in this film, showing itself is shown, not only is something portrayed, portrayal itself is portrayed. A sense of space is created in a way possible only with film: seeing oneself from the front and back simultaneously, from above and below, and from outside in the center of the space. The film combines opposite parts of the space, which form the body´s imperceptible time-space continuum. Space is carried along, just like the camera.” – VALIE EXPORT

Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... (Joana Kiernan)

With sometimes painful directness, Valie Export conducts a psychological investigation of the body in this film performance, externalizes an internal state. In front of a police photo showing two children who were sexually abused by their parents, she tortuously cuts into her cuticles until blood drips into a bowl of milk on her lap. On top of the symbolic plane of blood and milk, the physical effect on the viewer of her destructive act of self-mutilation is extreme.

“The narrow passage or dangerous passage is a common motif in both funerary and initiation mythologies. I step inside and move through a corridor of electrically charged wires, constantly experiencing painful shocks and sinking to the floor. But I accept the challenge and, in a somewhat pathological increase in willpower, I press my head against the wires again and again. Society is a closed, structured space, which regulates all human energy through painful barriers. Only through an effort of will to overcome the pain (which is at the core of society) is one able to achieve a state of free expression.” – VALIE EXPORT

"The body as carrier of information, in order to convey both spiritual and physical contents, is the reflected image of the internal/psychological and of the external/institutional reality." – VALIE EXPORT “By means of symbolic gestures, a sentence is delivered in sign language, whose wording may only be understood at the end of the performance when the camera pans over a line written on a piece of paper. This is how Sehtext: Fingergedicht defies our concepts of immediate listening and comprehension associated with both hearing and sight. If a literally physical ‘becoming action’ of the verbal is performed, through a language of gestures – in showing by speaking and saying by showing – we can thus identify a dismantling of the hierarchy of the sensory system.” – Sabeth Buchmann

Breath Text is a powerfully simple performance in which VALIE EXPORT creates tension by breathing compulsively. “she breathes heavily at the video camera lens while slowly moving her face across it, fogging up the entire space with her lung’s volume. Her piece takes Olson’s breathy poem ‘Gli Amanti’ a step further, not just aiming to capture the particularities of one’s pronunciation in an individual speech act but substituting the specific make her body creates – her ‘breath text,’ the moist gasp on the window glass in front of her – for the signs one would use to write an actual, linguistic ‘love poem.’” – Lisa Siraganian

"The middle line marking of the road is filmed through the windscreen of a moving car simultaneously with its own reflection in the driving mirror. The repeated interruptions of the space/time line are as big as a car. The car as a connecting link in time. The cinema as interruption of normal time flow.” – VALIE EXPORT

A family is observed watching television. The viewer becomes the object of the family's gaze, as much as the family is the object of the viewer's gaze.

1: Touching 2: Boxing 3: Feeling 4: Hearing 5: Tasting 6: Pushing 7: Walking

The subtitle of this merry performance is "An Action Text", indicating that the artist´s introduction for the vaudeville number was an inflammatory impetus. VALIE EXPORT provides precise instructions for the use of a wrapped box of chocolate-covered candy produced by the renowned Viennese company Hofbauer. However she has not made an advertisement for them and their presentation, with Vienna´s landmark, St. Stephen´s Cathedral, she extols it as a work of art instead. (Brigitta Burger-Utzer)

The subtitle of this merry performance is "An Action Text", indicating that the artist´s introduction for the vaudeville number was an inflammatory impetus. VALIE EXPORT provides precise instructions for the use of a wrapped box of chocolate-covered candy produced by the renowned Viennese company Hofbauer. However she has not made an advertisement for them and their presentation, with Vienna´s landmark, St. Stephen´s Cathedral, she extols it as a work of art instead. (Brigitta Burger-Utzer)

Touch Cinema is a document of VALIE EXPORT's famous street performance, in which the public was invited to touch her inside a curtained box attached to the artist's upper torso. The work is a witty and confrontational comment on the objectification of women's bodies.

In Hernals documentary and pseudo-documentary procedures were filmed simultaneously by two cameras from different viewpoints. The material was then divided into phases of movement. In the montage each phase was doubled. The techniques used in this process vary. Also the sound was doubled, again using different techniques. Two realities, differently perceived according to the conditions of this film, were edited into one synthetic reality, where everything is repeated. This doubling up destroys the postulate: identity of copy and image.

“In her first film self-portrait, VALIE EXPORT wears an attention-getting curly wig and caresses a woman´s breasts in slow motion, then lasciviously closes and opens her eyes. The carefully applied makeup and wig tell of disguise and acting, and are simultaneously beautiful and terribly stony like the anonymous woman´s head. The brevity and slow speed are reminiscent of Andy Warhol´s Screen Tests, in which every single one of the face´s movements become visible.” – Brigitta Burger-Utzer