209:
235:). In one instance while carrying out a piece that included a series of photographs, she wore makeup that modified the appearance of her face, following a comment from a professor that she was a "walking performance". She completed a thesis called "Behindert!?"—literally meaning "Disabled?!"—which used historical and medical motifs of disability in its accompanying performance piece. Following graduation, she studied art in New York with financial assistance by the Disabled Artists Network.
337:(1996), respectively. Both of these writers used her life to advance a political theory of Chilean artistry. For her early life, Bolaño indicated that while still in Chile, she held secret street performances to save money to leave for Germany, even though she had left with her parents at 14; for her adult life, he said that she attempted to commit
341:, even though such an attempt never took place. According to Latin American studies scholar Carl Fischer, Bolaño's writing focused more on "what she failed at and hid" than "what she revealed", and he used her to demonstrate the types of people he thought were excluded from the Chilean literary canon. For Lemebel, Böttner served as one of his
33:
417:
and
Preciado marked the first time much of her work had been publicly seen in decades. While she did not receive widespread recognition for her work during her life, in 2024, journalist Cassidy George describes her as increasingly "recognized as a significant contribution to the art-historical canon,
222:
Böttner enrolled in the
Gesamthochschule Kassel (now a School of Art and Design) from 1978 to 1984. It was during this time at art school that she began publicly identifying as Lorenza. This opportunity inspired her to begin projects that were geared toward self-expression and self-exploration, and
199:
About six years after her amputation, she moved with her parents to
Lichtenau, Germany, for better health services. She refused to use prosthetics and had a series of surgeries beginning in 1973. While in Lichtenau, she was educated in an orthopedic rehabilitation center. While Böttner experienced
260:
and what
Preciado describes as "subaltern" persons: prostitutes in Europe, African Americans experiencing police violence in America, and depictions of lesbian and gay sexuality. In the work depicting herself, she is shown as both sexual and maternal, and as the art critic Prathap Nair says, this
374:(2009), where she easily cleaned and refilled a pot using her feet. According to Fischer, Böttner saw carrying out normal actions (such as cleaning dishes) as her principal art form, since ones perception of her disability forced her to become a kind of
386:(1991), she orders cheese from a clerk, only for the camera to cut out when she is due to take them. For Fischer, this represents Böttner's artistic milieu: She exhibits "quotidian" actions, while also leaving some questions entirely unresolved.
195:
depicted her as an exemplar for other children: Despite losing her arms, the magazine said, she was able to use
Christian language with others, persevere through her difficulties, and draw with a pencil in her mouth.
294:. Her performances—where she handled artistic equipment between her toes—were displayed in cities throughout the world, such as in New York. She did not achieve widespread recognition during her life.
254:, the unique habitation of her body (transgender and disabled) allowed her to create an interdisciplinary movement, not only visual or performance. She depicted herself in art, as well as the armless
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said her "dissident transgender body" allowed her to become "a living political sculpture, a sculptural manifesto". She explained in 1991 that the purpose of using armless statues, especially the
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depression as a child, a friend of hers said in 2024: "It was her mother, Irene, who put the pen in
Lorenza’s mouth, and put the will to live through art into Lorenza".
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Over the course of her career, her art widely varied in style and form, ranging from drawings to paintings to performances. She served as a model for photographers
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in doing everyday tasks. She wished to "open people's eyes and show them how stupid it is to hide behind a bourgeois façade" through her life. In
397:, Germany, began a public showing of her art. From 2018 onward, Preciado held a series of events showcasing Böttner's work in locations such as
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began showing her work from 2016 onward, and she is now recognized for her contributions to art history and representing disability in art.
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quería mostrar la belleza de un cuerpo mutilado y me di cuenta de cuántas estatuas se admiraban por su belleza a pesar de no tener brazos
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Fischer, Carl (2020). "The international (un)intelligibility of
Chilean trans* film". In Barraza, Vania; Fischer, Carl (eds.).
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in der
Lorenzas dissidenter Transgender-Körper zu einer lebenden politischen Skulptur, einem skulpturalen Manifest wurde
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following the amputation of both of her arms as a child, where she studied and began a career in art. Using several
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Díez, Diego (2018). "10+1 cosas que aprendí en documenta" [10+1 things I learned at documenta].
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from power lines, and both of her arms were amputated at the shoulder. The
Chilean children's magazine
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at La
Virreina Centre de la Imatge, Barcelona (in Spanish), with photographs of the exhibition
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by Paul B. Preciado at the 2018 conference "Hold Me Now – Feel and Touch in an Unreal World".
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1073:"Overlooked no more: Lorenza Böttner, transgender artist who found beauty in disability"
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Queering the Chilean way: Cultures of exceptionalism and sexual dissidence, 1965–2015
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Little is known about Lorenza Böttner's early life. She was born on 6 March 1959 in
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1093:"How Lorenza Böttner's prescient art created space for disabled and trans people"
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156:. While she did not receive widespread recognition of her work during her life,
141:. Her self-portraiture featured eroticized and nurturing depictions of herself.
927:
Lorenza Böttner: Capitalist success and (queer) failure in Chile's dictatorship
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she developed a method she called "danced painting" and "pantomime painting" (
178:, Chile, to parents of German descent. At around 8 years old, she received an
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1188:"Overcoming history's limitations: Lorenza Böttner's, Requiem for the Norm"
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1145:[Transcrippled subjectivity. The body/corpus of Lorenza Böttner].
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In 1992, after making a series of connections in the artistic scene of
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949:"Lorenza Böttner: From Chilean exceptionalism to queer inclusion"
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1143:"Subjetividad transtullida. El cuerpo/corpus de Lorenza Böttner"
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114:(6 March 1959 – 13 January 1994) was a Chilean–German disabled
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in part for its radical representation of atypical bodies".
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1213:"A 20th-century artist who de-sexualized the trans body"
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Umática: Revista sobre Creación y Análisis de la Imagen
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Archives of Women Artists Research & Exhibitions
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German-Chilean multidisciplinary artist (1959–1994)
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137:during opening and the closing ceremonies at the
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1029:Chilean cinema in the twenty-first-century world
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363:through her "unfolding" of gender expectations.
1346:Every life matters: The work of Lorenza Böttner
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1031:. Detroit, MI: Wayne State University Press.
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292:that year's paralympic games held in the city
261:works to unsettle one's understanding of the
1141:Mateo del Pino, Ángeles (1 September 2019).
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930:(Speech). UCLA Thinking Gender Conference.
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1265:"Lorenza Böttner: Requiem for the norm"
1238:"Lorenza Böttner: Requiem for the norm"
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1325:from the original on 28 February 2021
1447:Transgender people with disabilities
1353:Lorenza Böttner y los mitones negros
1277:from the original on 17 October 2021
1250:from the original on 15 October 2021
1223:from the original on 15 October 2021
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1198:from the original on 15 October 2021
1128:from the original on 15 October 2021
1103:from the original on 28 October 2021
1058:from the original on 17 October 2021
1012:. New York, NY: Palgrave Macmillan.
995:from the original on 30 October 2021
934:from the original on 26 October 2021
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325:wrote about Böttner in their novels
1301:from the original on 5 January 2022
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1457:20th-century Chilean women artists
1091:Greenberger, Alex (16 June 2021).
118:multidisciplinary visual artist.
14:
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1472:20th-century German women artists
1467:20th-century Chilean LGBTQ people
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924:Fischer, Carl (3 February 2012).
1482:20th-century German LGBTQ people
1116:Gyorody, Andrea (October 2019).
1071:George, Cassidy (15 June 2024).
252:used her feet and mouth to paint
1432:Mouth and foot painting artists
1211:Nair, Prathap (30 April 2019).
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804:
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399:La Virreina Centre de la Imatge
212:Böttner regularly depicted the
1452:AIDS-related deaths in Germany
314:on 13 January 1994 at age 34.
1:
1462:20th-century Chilean painters
421:
407:Württembergischer Kunstverein
347:(chronicles) of LGBT life in
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148:in 1985, she died in 1994 of
1477:20th-century German painters
1407:Chilean emigrants to Germany
1186:Musselwhite, Olivia (2021).
426:
7:
1160:10.19137/anclajes-2019-2334
286:, she portrayed the mascot
10:
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1263:Preciado, Paul B. (2021).
1236:Preciado, Paul B. (2019).
310:-related complications in
152:-related complications in
1437:Transgender women artists
1402:Chilean transgender women
1243:. University of Toronto.
306:in 1985, Böttner died of
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83:
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42:
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1427:German transgender women
1270:. Université Concordia.
284:Disabled Artists Network
37:Self-portrait of Böttner
139:1992 Summer Paralympics
1397:Chilean LGBTQ painters
1392:Chilean women painters
1291:"Réquiem por la norma"
1046:Fischer, Carl (2021).
1008:Fischer, Carl (2016).
947:Fischer, Carl (2014).
883:Barcelona Cultura 2018
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1417:German women painters
813:, pp. 210–211: "
413:. The exhibitions of
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1442:Transgender painters
1422:German LGBT painters
1365:Réquiem por la norma
1297:(in Spanish). 2018.
965:10.1353/aq.2014.0054
317:The Chilean writers
250:says that while she
1358:Hypermedia Magazine
1321:(in German). 2016.
861:, pp. 207–208.
831:, pp. 206–207.
786:, pp. 210–212.
711:Mateo del Pino 2019
509:, pp. 205–206.
491:Mateo del Pino 2019
240:Robert Mapplethorpe
1356:by Edgar Ariel at
953:American Quarterly
220:
96:street performance
1315:"Lorenza Böttner"
1295:Barcelona Cultura
1118:"Lorenza Böttner"
1048:"Lorenza Böttner"
759:, pp. 3, 18.
671:, pp. 10–11.
655:, pp. 6, 11.
493:, pp. 40–41.
380:Michael Stahlberg
355:, able to resist
328:Estrella Distante
244:Joel-Peter Witkin
232:pantomime malerei
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349:the dictatorship
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298:Death and legacy
282:and joining the
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164:Paul B. Preciado
104:installation art
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302:Diagnosed with
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112:Lorenza Böttner
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1340:External links
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959:(3): 749–765.
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1327:. Retrieved
1319:documenta 14
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1303:. Retrieved
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1252:. Retrieved
1225:. Retrieved
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1153:(3): 37–57.
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904:Bibliography
895:Gyorody 2019
890:
878:
866:
859:Fischer 2016
844:Fischer 2016
829:Fischer 2016
824:
811:Fischer 2016
806:
799:Fischer 2016
784:Fischer 2016
779:
772:Fischer 2020
749:Fischer 2021
745:Fischer 2012
740:
735:, p. 7.
729:Fischer 2021
724:
706:
688:
676:
660:
648:
643:, p. 5.
636:
625:Fischer 2016
616:
611:, p. 7.
604:
573:
557:
519:Fischer 2021
514:
507:Fischer 2016
503:Fischer 2014
498:
486:
471:Fischer 2021
466:
461:, p. 3.
455:Fischer 2016
451:Fischer 2014
446:
439:Fischer 2016
434:
414:
390:
388:
383:
371:
368:Frank Garvey
365:
357:heterosexism
332:
326:
316:
301:
277:
272:
266:
255:
237:
226:tanz malerei
221:
218:in her work.
213:
198:
184:
176:Punta Arenas
173:
157:
143:
120:
111:
110:
70:(1994-01-13)
57:Punta Arenas
53:6 March 1959
18:
1387:1994 deaths
1382:1959 births
1192:Art Toronto
1170:10553/69665
753:George 2024
629:George 2024
562:George 2024
550:George 2024
475:George 2024
331:(1996) and
189: [
116:transgender
92:photography
1376:Categories
1281:14 October
1254:15 October
1227:15 October
1202:15 October
1132:15 October
1107:15 October
1062:15 October
999:15 October
938:15 October
919:: 195–206.
422:References
361:militarism
170:Early life
49:1959-03-06
1329:8 January
1305:5 January
1179:203158519
989:144290807
973:0003-0678
681:Nair 2019
621:Díez 2018
427:Citations
415:documenta
411:Stuttgart
403:Barcelona
391:documenta
389:In 2016,
334:Loco Afán
280:Barcelona
268:documenta
159:documenta
131:art media
78:, Germany
1360:in 2021.
1323:Archived
1299:Archived
1272:Archived
1245:Archived
1221:Archived
1196:Archived
1147:Anclajes
1126:Archived
1122:Artforum
1101:Archived
1056:Archived
993:Archived
981:43823428
932:Archived
405:and the
370:'s film
344:crónicas
121:Born in
1082:15 June
384:Lorenza
339:suicide
185:Mampato
127:Germany
100:drawing
59:, Chile
1177:
1035:
1016:
987:
979:
971:
395:Kassel
312:Munich
204:Career
154:Munich
102:, and
76:Munich
1275:(PDF)
1268:(PDF)
1248:(PDF)
1241:(PDF)
1175:S2CID
985:S2CID
977:JSTOR
288:Petra
193:]
135:Petra
123:Chile
88:Dance
1331:2022
1307:2022
1283:2021
1256:2021
1229:2021
1204:2021
1134:2021
1109:2021
1084:2024
1064:2021
1033:ISBN
1014:ISBN
1001:2021
969:ISSN
940:2021
359:and
321:and
308:AIDS
242:and
229:and
162:and
150:AIDS
65:Died
43:Born
1165:hdl
1155:doi
961:doi
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409:in
401:in
393:in
351:of
304:HIV
290:at
146:HIV
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