Valie Export
1940 (84 года)Anagrammatische Komposition mit Würfelspiel (nach W.A. Mozart, Klavier) für Sopransaxophon
Valie Export
Valie Export
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.
Anagrammatical Composition with Dice by VALIE EXPORT (after W.A. Mozart, Piano) for Soprano Saxophone
Valie Export - Ikone und Rebellin
Claudia Müller
Valie Export, Marina Abramović
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.
Valie Export - Icon and Rebel
Menschenfrauen
Valie Export
Elly Naschold, Lukas Resetarits
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
Syntagma
Valie Export
Irmilin Hofer
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.
Syntagma
Wienfilm 1896-1976
Ernst Schmidt Jr.
Friedrich Achleitner, Marc Adrian
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
ViennaFilm 1896-1976
Unsichtbare Gegner
Valie Export
Susanne Widl, Peter Weibel
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
Invisible Adversaries
Interrupted Line
Valie Export
"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
Interrupted Line
Hernals
Hans Scheugl
Valie Export, Peter Weibel
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.
Hernals
...Remote..... Remote....
Valie Export
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.
...Remote..... Remote....
Die süße Nummer: Ein friedliches Konsumerlebnis
Valie Export
Valie Export
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 Sweet Number - An Experience of Consumption
Seven Women, Seven Sins
Chantal Akerman, Maxi Cohen
Michael Dick, Luis Guzmán
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
Vaginan
Valie Export
“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
Vaginan