Tap & Touch Cinema @ valie export. 1968

Publié le par Olivier Lussac

 

 

- EXPORT Valie, Tapp und Task Kino (Touch Cinema), 1968. 

— Valie Export (1940, Austria) is one of Austria’s most prominent artists since the late 1960s and was one of the most important pioneers of feminist art in the 1960s and 70s. She explores radical questions about the conditioning of reality and the artistic representation of mental states. In her performances, conceptual photographs, videos and experimental films, she explores how women are constructed by the dominant gaze. She also develops strategies of subverting, refusing and overcoming the loss of self. She has been influenced by feminism, Viennese Actionism and Expanded Cinema. In 2007, she took part in the Venice Biennale and documenta 12. The Centre Georges Pompidou devoted an entire room to her in 2008. In 2009, she and Silvia Eiblmayr were the commissioners of the Australian Pavilion at the 53rd Venice Biennale.

As usual, the film is ‘shown’ in the dark. but the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly rose only for the eyes now rises for two hands. The tactile reception is the opposite of the deceit of voyeurism. For as long as the citizen is satisfied with the reproduced copy of sexual freedom, the state is spared the sexual revolution. Tap and Touch Cinema is an example of how re-interpretation can activate the public (Valie Export)

— For Touch Cinema, Export allowed to touch her breasts through a portable curtained contraption for 30 seconds per person. In the artist’s own words : « As usual, the film is ‘shown’ in the dark. But the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly rose only for the eyes now rises for both hands. The tactile reception is the opposite of the deceit of voyeurism. Fos as long as the citizen is satisfied with the reproduced copy of sexual freedom,  the state is spared the sexual revolution. ‘Tap and Touch Cinema’ is an example of how re-interpretation can activate the public. » 

In this piece EXPORT comments on the cinema as a projection space for male fantasies, and confronts the male gaze/touch with the reality of the live woman. In doing so, she also comments on how desire has been captured by the mass media and questions the individual’s ownership of sexuality for both men and women.

Valie Export, « Tap and Touch cinema », 1968 Touch and Tap Cinema | © Categories: Action | Film | Public Space Keywords: Aggression | Body Relevant passages: Rudolf Frieling « Reality/Mediality Hybrid Processes Between Art and Life » Inke Arns « Social Technologies Deconstruction, subversion, and the utopia of democratic communication » Inke Arns « Interaction, Participation, Networking: Art and Telecommunication » Steve Dietz

Export Valie Tapp und Tastkino 1968

Publié dans Performances

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