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255:; 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
270:), 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
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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.
381:. 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,
301:, 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
405:, 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
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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
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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-
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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
290:) 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 theater," first made of Styrofoam and remade later in aluminum, strapped to her bare chest.
223:"I did not want to have the name of my father 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."
318:, 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.
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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.
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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.
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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.
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251:. 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
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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
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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
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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.”
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Eifler, Margret. "Valie Export's
Iconography: Visual Quest For Subject Discourse." Modern Austrian Literature 29.1 (1996): 108-130. Academic Search Alumni Edition. Web. 12 Dec. 2016.
305:. 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."
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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.
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With this gesture of self-determination, Export emphatically asserted her identity within the
Viennese art scene, which was then dominated by the taboo-breaking
1184:
Stiles, Kristine, and Peter Howard Selz. "Performance Art." Theories and
Documents of Contemporary Art. 2nd ed. Berkeley, CA: U of California, 2012. 870. Print.
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Stiles, Kristine, and Peter Howard Selz. "Performance Art." Theories and
Documents of Contemporary Art. 2nd ed. Berkeley, CA: U of California, 2012. 869. Print.
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279:, 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."
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https://www.on-curating.org/issue-29-reader/curatorial-materialism-a-feminist-perspective-on-independent-and-co-dependent-curating.html#.X95bsMA8IlR
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1553:, ca. 13,8 MB). In: Kunst + Unterricht, Issue 106/October 1986, p. 56ff. Interpretation of an untitled photographic work (1981). In German.
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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
713:"Bodies and real-time interfaces: in video performance and interactive digital 3D installation art by VALIE EXPORT and Jette Gejl Kristensen"
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294:, her collaborator, invited passersby to "'visit the cinema' for five minutes" by reaching into the "theater" and feeling her bare breasts.
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In
February 2023, Valie Export was one of the initial signers of a widely publicized petition calling for an end of military support to
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Harris, Jane. "Valie Export: Frau Export." Artext 70 (2000): 72-75. Art & Architecture
Complete.Web. 12 Dec. 2016.
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Export's early guerrilla performances have attained an iconic status in feminist art history. In her 1968 performance
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O'Reilly, Sally. "Valie Export." Art
Monthly 280 (2004): 31-32. Art & Architecture Complete. Web. 12 Dec. 2016.
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In 2019, Export won the Roswitha Haftmann Prize of £120,000, which is “Europe’s largest single-award art prize.”
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Based on the precepts laid out in her 1972 manifesto, Export curated an exhibition of feminist art at the
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Krasny, Elke. “Curatorial Materialism. A Feminist Perspective on Independent and Co-Dependent Curating.”
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Since 1995/1996 Export has held a professorship for multimedia performance at the
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1466:"57 Champions of Queer Feminism, All Name-Dropped in One Impossibly Catchy Song"
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Delpeux, Sophie and C. Penwarden, trans. “VALIE EXPORT: De-Defining Women,”
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Recipients of the Grand Decoration for Services to the Republic of Austria
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Thomas Dreher on VALIE EXPORT and Peter Weibel: Multimedia feminist art
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acquired her archive and opened a research center devoted to her work.
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Bard College hosted an exhibition centered around Export’s 1977 film
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Couple in The Cage: Two Undiscovered Amerindians Visit the West
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1487:"Finger Envy: A Glimpse into the Short Films of VALIE EXPORT."
416:, and says, "The female body has always been a construction".
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Faces in the crowd: picturing modern life from Manet to today
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Faces in the crowd: picturing modern life from Manet to today
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Grand Gold Decoration for Services to the Republic of Austria
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Grand Gold Decoration for Services to the Republic of Austria
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2000: Alfred Kubin Prize Big Price culture of Upper Austria
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135:(often stylized as 'VALIE EXPORT'; born 17 May 1940) is an
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2020: Golden Nica Visionary Pioneer of Feminist Media Art
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Recipients of the Austrian Decoration for Science and Art
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Cinema Work, Photography, Sculpture, Computer Animations
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1069:. Pennsylvania State University Press. p. 177.
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The Concise Cinegraph: Encyclopedia of German Cinema
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The Concise Cinegraph: Encyclopedia of German Cinema
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Deutsche Börse Photography Foundation Prize winners
752:Fullerton, Elizabeth (2020-02-01). "Valie Export".
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2003: Gold Medal for services to the City of Vienna
139:Austrian artist. She is best known for provocative
1342:"Who Is Valie Export? Just Look, and Please Touch"
1328:https://www.valieexportcenter.at/en/center/history
856:"Who Is Valie Export? Just Look, and Please Touch"
1028:"VALIE EXPORT, Tapp- und Tastkino (Touch Cinema)"
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578:1995: Sculpture Award at the Generali Foundation
375:1977 saw the release of her first feature film,
940:. University of California Press. p. 255.
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560:I turn over the pictures of my voice in my head
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1259:"Valie Export by Gary Indiana - BOMB Magazine"
107:Avant-Garde, Performance art, Contemporary art
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1557:Valie Export in the Mediateca Media Art Space
1130:’’ Spring, 1982. Retrieved on August 15, 2011
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923:’’ Spring, 1982. Retrieved on August 15, 2011
601:University of Arts and Industrial Design Linz
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575:1992: Austrian Prize for video and media art
219:magazine, Export described her name-change:
200:In the late 1960s and early 1970s, Austrian
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1547:Thomas Dreher: VALIE EXPORT - Bild im Bild
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572:1990: City of Vienna Prize for Visual Arts
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1451:"Visionary Pioneer of Feminist Media Art"
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1224:. Indiana University Press. p. 126.
1222:Valie Export/Fragments of the Imagination
1099:"Valie Export | Pomeranz Collection"
1010:"Valie Export: 'The voice belongs to me'"
985:Valie Export/Fragments of the Imagination
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903:. (Riverside: Ariadne Press, 1997): 229.]
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329:(1971) was one of the first instances of
179:Valie Export was born Waltraud Lehner in
1745:Mattress Performance (Carry That Weight)
987:. Indiana University Press. p. 32.
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773:Encyclopedia of 20th century photography
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1503:as well as a video clip from the piece.
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595:Austrian Decoration for Science and Art
427:35th Berlin International Film Festival
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1721:How to Explain Pictures to a Dead Hare
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632:Her name appears in the lyrics of the
282:Export's well-known performance piece
209:to VALIE EXPORT. In conversation with
147:work. Her artistic work also includes
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1326:“History.” VALIE EXPORT Center Linz.
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325:Export's groundbreaking video piece,
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972:Bodytracks.org (archived 2013-02-12)
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2789:20th-century Austrian women artists
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1412:"Reply to a parliamentary question"
1387:"Reply to a parliamentary question"
717:Journal of Aesthetics & Culture
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370:MAGNA. Feminism: Art and Creativity
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886:”Biography.” VALIE EXPORT Center.
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611:2019: 19th Roswitha Haftmann Prize
308:Some of her other works including
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1008:Moldan, Tessa (6 December 2019).
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620:2021: Honorary Fellowship of the
1536:Imai – inter media art institute
1464:Oler, Tammy (October 31, 2019).
711:Angkjær Jørgensen, Ulla (2012).
599:2009: Honorary Doctorate of the
477:2022 Russian invasion of Ukraine
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806:. Berghahn Books. p. 114.
663:. Berghahn Books. p. 114.
401:In her 1983 experimental film,
2445:Survival Research Laboratories
1277:Fore, Devin (24 August 2012).
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412:, Export discusses her movie,
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2774:Austrian contemporary artists
2754:Austrian women film directors
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1340:Kennedy, Randy (2016-06-29).
899:Margarete Lamb-Faffelberger.
854:Kennedy, Randy (2016-06-29).
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434:Academy of Media Arts Cologne
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2342:LaBeouf, Rönkkö & Turner
1437:"Roswitha Haftmann Stiftung"
512:Mann & Frau & Animal
467:Russia's war against Ukraine
344:on 2 February 1971, shows a
7:
1491:Brights Lights Film Journal
1304:"Berlinale: 1985 Programme"
800:Bock, Hans-Michael (2009).
657:Bock, Hans-Michael (2009).
584:2000: Oskar Kokoschka Prize
581:1997: Gabriele Münter Prize
268:Action Pants: Genital Panic
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1649:Breathing in/breathing out
1499:contains a description of
1220:Mueller, Roswitha (1994).
1063:Molesworth, Helen (2003).
983:Mueller, Roswitha (1994).
622:Royal Photographic Society
368:in Vienna in 1975. Titled
366:Galerie nächst St. Stephan
356:Export's 1973 short film,
2779:Women performance artists
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1417:(in German). p. 1932
1392:(in German). p. 1668
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494:Splitscreen - Solipsismus
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2673:Steina and Woody Vasulka
2440:Performance art in China
1705:Empathy and Prostitution
1570:Electronic Arts Intermix
1163:Electronic Arts Intermix
827:Blazwick, Iwona (2004).
684:Blazwick, Iwona (2004).
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272:Aktionshose:Genitalpanik
264:Aktionshose:Genitalpanik
2749:Austrian film directors
2603:Virginia Lee Montgomery
1833:The Death of The Artist
1729:I'm too sad to tell you
1577:at Museum of Modern Art
1575:Valie Export: Innovator
2794:Austrian women artists
2759:Austrian screenwriters
2734:Austrian video artists
2281:Mierle Laderman Ukeles
1673:Ceci N'est Pas Un Viol
1376:July/August 2019: 428.
1248:293 (Spring 2003): 41.
833:. Skira. p. 349.
771:Warren, Lynne (2006).
730:10.3402/jac.v4i0.18149
690:. Skira. p. 349.
444:
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1873:Untitled (Rape Scene)
1825:The Artist Is Present
1635:Amen or The Pederasty
525:Invisible Adversaries
447:In 2016, the city of
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425:was entered into the
384:Invisible Adversaries
311:Invisible Adversaries
221:
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16:Austrian media artist
2016:Guillermo Gómez-Peña
901:Out From The Shadows
779:. pp. 468–470.
616:Prix Ars Electronica
554:Die Praxis der Liebe
549:The Practice of Love
488:Selected filmography
422:The Practice of Love
299:Tap and Touch Cinema
288:Tap and Touch Cinema
249:Rudolf Schwarzkogler
35:Valie Export in 2013
2071:Natalie Jeremijenko
1713:Food for the Spirit
1568:by VALIE EXPORT at
1566:list of video works
1206:29 (May 2016): 99.
938:A Critical Cinema 3
506:...Remote…Remote...
475:in the wake of the
171:by Valie Export in
153:computer animations
149:video installations
141:public performances
2693:Krzysztof Wodiczko
2538:Doris Totten Chase
2450:Viennese Actionism
2327:COUM Transmissions
2246:Carolee Schneemann
2091:Ragnar Kjartansson
1865:Three Weeks in May
1346:The New York Times
1283:Interview Magazine
860:The New York Times
628:In popular culture
530:Unsichtbare Gegner
457:Unsichtbare Gegner
445:
378:Unsichtbare Gegner
284:Tapp-und-Tast-Kino
207:Waltraud Hollinger
177:
2784:New media artists
2729:Artists from Linz
2706:
2705:
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2435:Participatory art
2276:Melati Suryodarmo
2161:Charlotte Moorman
1809:Seven Easy Pieces
1204:Notes on Curating
1159:"Facing a Family"
813:978-1-57181-655-9
786:978-0-415-97665-7
670:978-1-57181-655-9
333:intervention and
233:Vienna Actionists
169:Landschaftsmesser
130:
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2744:Feminist artists
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2382:Kusama: Infinity
2261:Barbara T. Smith
2236:Rachel Rosenthal
2181:Pauline Oliveros
1901:Marina Abramović
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500:INTERRUPTED LINE
397:1980s to present
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2041:Newton Harrison
1981:James Lee Byars
1941:Rebecca Belmore
1916:Laurie Anderson
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1881:Untitled , 2008
1753:One & Other
1614:
1612:Performance art
1609:
1520:Video Data Bank
1501:Facing a Family
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2658:Diana Thater
2638:Sondra Perry
2628:Tony Oursler
2613:Bruce Nauman
2553:Valie Export
2552:
2533:Peter Campus
2528:Chris Burden
2513:Vito Acconci
2410:Feminist art
2380:
2372:
2337:General Idea
2332:Fallen Fruit
2301:Hannah Wilke
2291:Wolf Vostell
2211:Mark Pauline
2166:Bruce Nauman
2146:Kent Monkman
2116:Suzanne Lacy
2111:Yayoi Kusama
2086:Andy Kaufman
2081:Allan Kaprow
2056:Rebecca Horn
2046:Sharon Hayes
2026:Ann Hamilton
2001:Bob Flanagan
1996:Valie Export
1995:
1986:Sophie Calle
1976:Chris Burden
1951:David Blaine
1946:Joseph Beuys
1911:Bas Jan Ader
1906:Vito Acconci
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1419:. Retrieved
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871:. Retrieved
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133:Valie Export
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95:Notable work
66:Nazi Germany
23:Valie Export
2719:1940 births
2688:Andy Warhol
2578:Mike Kelley
2568:Arthur Jafa
2548:Tony Conrad
2455:Process art
2385:(2018 film)
2377:(1988 film)
2357:The Yes Men
2251:Tino Sehgal
2226:Jim Pomeroy
2176:Pat Oleszko
2156:Frank Moore
2101:Terence Koh
1966:Günter Brus
1926:Abel Azcona
1841:The Fathers
1761:Rest Energy
1748:(2014–2015)
1489:Article in
1374:Art Monthly
1288:12 December
241:Günter Brus
173:Allentsteig
137:avant-garde
78:Nationality
55:17 May 1940
2713:Categories
2678:Bill Viola
2643:Walid Raad
2573:Joan Jonas
2543:Tony Cokes
2322:Concept 21
2231:Duke Riley
2196:Eiko Otaki
2186:Mihai Olos
2131:Miki Malör
2126:James Luna
2096:Yves Klein
2076:Joan Jonas
2066:Zhang Huan
2011:Coco Fusco
1956:Mark Bloch
1849:The Shadow
1737:Luminosity
1372:“Prizes.”
1359:2023-01-31
1313:2011-01-12
1109:2021-05-10
1085:1158437662
1066:Work Ethic
1038:2013-04-09
873:2023-01-31
644:References
331:television
175:, Austria.
167:Sculpture
159:Early life
51:1940-05-17
2563:Gary Hill
2558:Terry Fox
2497:Video art
2430:monochrom
2420:Happening
2206:Gina Pane
2036:Jo Hanson
2006:Terry Fox
1991:Papo Colo
1921:Ron Athey
1857:The Shame
1769:Rhythm 10
1732:(1970–71)
1689:Cut Piece
1684:(1992–93)
1627:7000 Oaks
1421:3 January
1396:3 January
1354:0362-4331
1246:Art Press
868:0362-4331
777:CRC Press
739:2000-4214
638:Hot Topic
408:Interview
346:bourgeois
338:video art
253:politique
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2739:Body art
2668:Wu Tsang
2623:Yoko Ono
2400:Body art
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2191:Yoko Ono
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414:Syntagma
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390:Schtabel
342:Kontakte
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104:Movement
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2505:Artists
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1893:Artists
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231:of the
122:Website
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1884:(2008)
1876:(1973)
1868:(1977)
1860:(2018)
1852:(2014)
1844:(2016)
1836:(2018)
1828:(2010)
1820:(1964)
1812:(2005)
1804:(1972)
1796:(1974)
1788:(1974)
1780:(1974)
1772:(1973)
1764:(1980)
1756:(2009)
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1716:(1971)
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1700:(2012)
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1692:(1964)
1676:(2015)
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1660:(1974)
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496:(1968)
247:, and
191:Career
185:Vienna
112:Awards
89:Artist
2393:Other
2366:Media
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1390:(PDF)
483:Works
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