Location and Dislocation: The Media Performances of VALIE EXPORT

Location and Dislocation: The Media Performances of VALIE EXPORT Location and disLocation The Media Performances of VaLiE EXPoRt Mechtild Widrich VALIE EXPORT: Time and Countertime, a retrospective at the Austrian Gallery Belvedere and Lentos Kunstmuseum Linz, Vienna and Linz, Austria, October 16, 2010–January 30, 2011; Museion, Museum of Modern and Contemporary Art, Bolzano, Italy, February 19–May 1, 2011. ow can an artist who became famous for one or two radical performances in the 1960s frame an oeuvre of more than forty years that ranges from live actions to films, media installations, and ultimately monuments? Riding on the subway in urban Vienna, we pass a construction site that gives way to the back side of a residential house: on its grey wall, we see the blown-up photograph of a standing woman with a machine gun, a triangle cut out of her pants around the crotch. It is the defining image of Austrian artist VALIE EXPORT, the image that stands for her infamous action Genital Panic, which Marina Abramović recently reconstructed at the Guggenheim Museum. The choice of this image as poster for her retrospective at the Austrian Gallery Belvedere, Time and Countertime (Zeit und Gegenzeit) asks us to see EXPORT as aggressive feminist performer, disrupting male hegemony in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Location and Dislocation: The Media Performances of VALIE EXPORT

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Publisher
MIT Press
Copyright
© 2011 Mechtild Widrich
ISSN
1520-281X
eISSN
1537-9477
D.O.I.
10.1162/PAJJ_a_00055
Publisher site
See Article on Publisher Site

Abstract

Location and disLocation The Media Performances of VaLiE EXPoRt Mechtild Widrich VALIE EXPORT: Time and Countertime, a retrospective at the Austrian Gallery Belvedere and Lentos Kunstmuseum Linz, Vienna and Linz, Austria, October 16, 2010–January 30, 2011; Museion, Museum of Modern and Contemporary Art, Bolzano, Italy, February 19–May 1, 2011. ow can an artist who became famous for one or two radical performances in the 1960s frame an oeuvre of more than forty years that ranges from live actions to films, media installations, and ultimately monuments? Riding on the subway in urban Vienna, we pass a construction site that gives way to the back side of a residential house: on its grey wall, we see the blown-up photograph of a standing woman with a machine gun, a triangle cut out of her pants around the crotch. It is the defining image of Austrian artist VALIE EXPORT, the image that stands for her infamous action Genital Panic, which Marina Abramović recently reconstructed at the Guggenheim Museum. The choice of this image as poster for her retrospective at the Austrian Gallery Belvedere, Time and Countertime (Zeit und Gegenzeit) asks us to see EXPORT as aggressive feminist performer, disrupting male hegemony in

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Sep 1, 2011

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