Valie Export 瓦莉．艾丝波尔 Valie Export 瓦莉．艾丝波尔
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Valie Export 瓦莉．艾丝波尔
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奥地利女性艺术家 Valie export的创作已经影响了艺术界整整30个年头。她的创作包括电影，录像，摄影，文字和行为。今天很多女性艺术家如Marina Abromavic 同样的都深受过这位前辈的影响。1940年出生于奥地利的她，并且也是维也纳行动主义成员之一。60年代初期，Valie利用自己的身体作为媒介，创作了很多与性别和社会有关的偏激的作品。
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奥地利女性艺术家 Valie export的创作已经影响了艺术界整整30个年头。她的创作包括电影，录像，摄影，文字和行为。今天很多女性艺术家如Marina Abromavic 同样的都深受过这位前辈的影响。1940年出生于奥地利的她，并且也是维也纳行动主义成员之一。60年代初期，Valie利用自己的身体作为媒介，创作了很多与性别和社会有关的偏激的作品。
作品呢
Action Pants: Genital Panic
生殖器恐慌
1969, Munich
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Export, wearing pants with the crotch removed, walked through a cinema during a film screening, offering the spectators visual contact with a real female body. Walking up and down the aisles among the mostly male patrons, she challenged them to "look at the real thing" instead of passively enjoying images of women on the screen.
This is the work that Marina Abramovic reenacted as part of Seven Easy Pieces at the Guggenheim Museum, NYC, November 11, 2005.
瓦莉穿着一条没有拉链的裤子走到一个正在播放影片的银幕前，强迫观众观看她这个女人体。她走上走下，多数停留在男观众的身边，逼他们于其被动的看那些银幕上的女人体，不如看这个“真实的东西”。
这个作品同时在2005年被艺术家 marina abramovic 在作品《Seven Easy Pieces 》里重演了一遍。
生殖器恐慌
1969, Munich
[attachment=60708]
[attachment=60711]
Export, wearing pants with the crotch removed, walked through a cinema during a film screening, offering the spectators visual contact with a real female body. Walking up and down the aisles among the mostly male patrons, she challenged them to "look at the real thing" instead of passively enjoying images of women on the screen.
This is the work that Marina Abramovic reenacted as part of Seven Easy Pieces at the Guggenheim Museum, NYC, November 11, 2005.
瓦莉穿着一条没有拉链的裤子走到一个正在播放影片的银幕前，强迫观众观看她这个女人体。她走上走下，多数停留在男观众的身边，逼他们于其被动的看那些银幕上的女人体，不如看这个“真实的东西”。
这个作品同时在2005年被艺术家 marina abramovic 在作品《Seven Easy Pieces 》里重演了一遍。
“Hyperbulie”
1973
VHS
B&W, sound
6.31
Courtesy of the artist and EAI, New York, NY
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Hyperbulie, 1973
Hyperbulie is a performance work that pushes the body to its physical extremes. The performance elements are first established: a framework of wires are connected to electric batteries. VALIE EXPORT appears and makes contact with live electricity as she negotiates the wire construction.
这是一个以身体挑战极限的行为。一个连上了电池的电线组成的框， valie 用身体直接接触这些电源，接触这些电线结构。
1973
VHS
B&W, sound
6.31
Courtesy of the artist and EAI, New York, NY
[attachment=60709]
Hyperbulie, 1973
Hyperbulie is a performance work that pushes the body to its physical extremes. The performance elements are first established: a framework of wires are connected to electric batteries. VALIE EXPORT appears and makes contact with live electricity as she negotiates the wire construction.
这是一个以身体挑战极限的行为。一个连上了电池的电线组成的框， valie 用身体直接接触这些电源，接触这些电线结构。
Body Sign Action
1970
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1970
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«Rounding off»
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“Tap and Touch Cinema”
触摸式电影
1968
Body Action, Social Action, Sexual Action, Real Film
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“Tap and Touch Cinema”是瓦莉反对电影被物质化的一个行为,也是她其中最重要的作品之一。瓦莉在自己赤裸的胸口上套着一个类似像电视机的箱子游走了欧洲多个城市。观众们可以任意的将手伸入这个“屏幕”触摸这个真实的“影像”。
这个作品同时也是在女性主义性解放时期的一个非常备受争议的作品，性作为当时被社会和Z/F禁锢的东西，必须从私人空间解放出来。
触摸式电影
1968
Body Action, Social Action, Sexual Action, Real Film
[attachment=60718] [attachment=60719] [attachment=60730]
“Tap and Touch Cinema”是瓦莉反对电影被物质化的一个行为,也是她其中最重要的作品之一。瓦莉在自己赤裸的胸口上套着一个类似像电视机的箱子游走了欧洲多个城市。观众们可以任意的将手伸入这个“屏幕”触摸这个真实的“影像”。
这个作品同时也是在女性主义性解放时期的一个非常备受争议的作品，性作为当时被社会和Z/F禁锢的东西，必须从私人空间解放出来。
Splitscreen: Solipsismus
分离的屏幕
1968, expanded cinema and mirror
16-mm film (original 8mm), 1:40 min., endless loop
Collection of Generali Foundation, Vienna
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分离的屏幕
1968, expanded cinema and mirror
16-mm film (original 8mm), 1:40 min., endless loop
Collection of Generali Foundation, Vienna
[attachment=60720]
I (Beat [It]) 1978, 12 photographs
我（打[它]），12 张摄影，1978
I (Beat [It]) video documentation of performance
我（打[它]），行为的录像记录
I (Beat [It]) 1980
我（打[它]），1980
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生命在我们的手里，就算我们的经历是困难重重的。如果我们不去和他斗争，那么消失的会是我们。
I (Beat [It])
1978, 12 photographs
Materials: 3 monitors, 3 videotapes, 8 shackles made of lead, leaden gloves, 1 photograph (lying on the floor), canister of lubrication oil, endless audiotape, automatic amplifier
Motto: Life is in our hands, even if we slip and move in it with difficulty. But if we do not beat against it, we will disappear.
In 1972, when I dealt intensively with the representation of psychic conditions, I wanted to go to bed with these lead bands as clothing and to sleep all night with them. A video camera was to observe me. I would be alone (with only a helper to replace the tapes). When I tried it, a terrible dread overcame me, a feeling of loneliness overtook me, helpless in this constrained condition. With this thought, panic seized me, and I had to have myself freed immediately from this physical limitation (and I couldn’t repeat it again). I thereby realized how I was hindered by social constraints within myself. My body showed me the reality.
At the same time, I also attempted to sleep with ice skates. This experiment led to peculiar chains of dreams, and the next morning, when I awakened, I experienced a liberated feeling.
I have since undertaken an entire series of such experiments going to sleep in the bed, for instance with mountain-climbing gear, with men's clothing, roller skates, paper masks, paper clothes, and so on.
The performance was carried out the first time in the Galerie Mike Steiner, in Berlin, in 1978. Repetition at the International Performance Festival, in Vienna, Osterreichischer Kunstverein, 1978.
—Text: VALIE EXPORT
I (Beat [It])
1978, video documentation of performance, 4:02 min.
The three monitors form a triangle, on the screens of which one sees three dogs yelping at me. This triangle and the barking represent the constant inspection directed at us by fatherland, Mother Nature, and (masculine) ideology. The triangle of the monitors stands for an entire concatenation of trinities, beginning with the hallowed Father, Son, and Holy Ghost and ending with the profane configuration, man, sex, and moral. A photograph of a recumbent woman is situated in the middle of this triangle.
I move towards this image with spiraling steps, strewing lubrication oil all the while. My movements, however, are extreme since my extremities (legs and arms) are burdened. The eight movable joints of my legs and arms are bound by leaden manacles fastened with leather thongs in such a way as to obviate movement. My hands are encased in leaden gloves: only with effort do my hands continue to serve as a means of production. The freedom of movement of my arms and legs are greatly handicapped. They hang from my torso like functionless extensions of my body.
The oil is ambivalent: it smooths the waves of the sea, makes it congeal but causes one to lose one's footing on land. A calm and humbled state should reign. These are the gliding, lubricating methods used to satisfy society's desire for frictionless communication.
—Text: VALIE EXPORT
I (Beat [It])
1980, 3 videos, 3 video monitors, 3 VCRs, shackles, photograph, lubricating oil in shallow rectangular pan
Life is in our hands even if we slip and move in it with difficulty. But if we never beat against it, we will disappear. A woman working at a machine, as an extension of it, moving to its rhythm like a puppet—is it still her body that is moving? Her body acts dependently; the machine’s weights hang on her. The body is working for the machine, not for itself.
Precisely by employing the body, this alienated use of the body reveals to what a small degree that body is ours. Rather it is treated like—and acts like—a stranger. But the selfless body expresses another selflessness: that of the woman in the societal machinery. She is allowed to function through her body only in relation to men, in relation to society.
Oil smoothes the troubled seas, but on land it causes slip-ups. The aim is to reassure and to humiliate. These are the lubricants society uses to bring about smooth communication, even at the price of letting countless perish.
When I stand, I can only move like a puppet. When I fall, I’m broken. When I sit, I cannot rest. When I lie down, I can only lie in pain. I am a building in which my self must remain immobile, where my thoughts, desires and needs can only shadow box.
At the center of the three petrified monitor-rocks where I was carried by the waves of lubricating oil, in the forest of the cold, in the forest of the trinity, the encounter with the cold photographic image is warmer than death.
—Text: VALIE EXPORT
我（打[它]），12 张摄影，1978
I (Beat [It]) video documentation of performance
我（打[它]），行为的录像记录
I (Beat [It]) 1980
我（打[它]），1980
[attachment=60721] [attachment=60725]
生命在我们的手里，就算我们的经历是困难重重的。如果我们不去和他斗争，那么消失的会是我们。
I (Beat [It])
1978, 12 photographs
Materials: 3 monitors, 3 videotapes, 8 shackles made of lead, leaden gloves, 1 photograph (lying on the floor), canister of lubrication oil, endless audiotape, automatic amplifier
Motto: Life is in our hands, even if we slip and move in it with difficulty. But if we do not beat against it, we will disappear.
In 1972, when I dealt intensively with the representation of psychic conditions, I wanted to go to bed with these lead bands as clothing and to sleep all night with them. A video camera was to observe me. I would be alone (with only a helper to replace the tapes). When I tried it, a terrible dread overcame me, a feeling of loneliness overtook me, helpless in this constrained condition. With this thought, panic seized me, and I had to have myself freed immediately from this physical limitation (and I couldn’t repeat it again). I thereby realized how I was hindered by social constraints within myself. My body showed me the reality.
At the same time, I also attempted to sleep with ice skates. This experiment led to peculiar chains of dreams, and the next morning, when I awakened, I experienced a liberated feeling.
I have since undertaken an entire series of such experiments going to sleep in the bed, for instance with mountain-climbing gear, with men's clothing, roller skates, paper masks, paper clothes, and so on.
The performance was carried out the first time in the Galerie Mike Steiner, in Berlin, in 1978. Repetition at the International Performance Festival, in Vienna, Osterreichischer Kunstverein, 1978.
—Text: VALIE EXPORT
I (Beat [It])
1978, video documentation of performance, 4:02 min.
The three monitors form a triangle, on the screens of which one sees three dogs yelping at me. This triangle and the barking represent the constant inspection directed at us by fatherland, Mother Nature, and (masculine) ideology. The triangle of the monitors stands for an entire concatenation of trinities, beginning with the hallowed Father, Son, and Holy Ghost and ending with the profane configuration, man, sex, and moral. A photograph of a recumbent woman is situated in the middle of this triangle.
I move towards this image with spiraling steps, strewing lubrication oil all the while. My movements, however, are extreme since my extremities (legs and arms) are burdened. The eight movable joints of my legs and arms are bound by leaden manacles fastened with leather thongs in such a way as to obviate movement. My hands are encased in leaden gloves: only with effort do my hands continue to serve as a means of production. The freedom of movement of my arms and legs are greatly handicapped. They hang from my torso like functionless extensions of my body.
The oil is ambivalent: it smooths the waves of the sea, makes it congeal but causes one to lose one's footing on land. A calm and humbled state should reign. These are the gliding, lubricating methods used to satisfy society's desire for frictionless communication.
—Text: VALIE EXPORT
I (Beat [It])
1980, 3 videos, 3 video monitors, 3 VCRs, shackles, photograph, lubricating oil in shallow rectangular pan
Life is in our hands even if we slip and move in it with difficulty. But if we never beat against it, we will disappear. A woman working at a machine, as an extension of it, moving to its rhythm like a puppet—is it still her body that is moving? Her body acts dependently; the machine’s weights hang on her. The body is working for the machine, not for itself.
Precisely by employing the body, this alienated use of the body reveals to what a small degree that body is ours. Rather it is treated like—and acts like—a stranger. But the selfless body expresses another selflessness: that of the woman in the societal machinery. She is allowed to function through her body only in relation to men, in relation to society.
Oil smoothes the troubled seas, but on land it causes slip-ups. The aim is to reassure and to humiliate. These are the lubricants society uses to bring about smooth communication, even at the price of letting countless perish.
When I stand, I can only move like a puppet. When I fall, I’m broken. When I sit, I cannot rest. When I lie down, I can only lie in pain. I am a building in which my self must remain immobile, where my thoughts, desires and needs can only shadow box.
At the center of the three petrified monitor-rocks where I was carried by the waves of lubricating oil, in the forest of the cold, in the forest of the trinity, the encounter with the cold photographic image is warmer than death.
—Text: VALIE EXPORT
Un-ending Un-ique Melody of Chords
不停的独特的合音
1998, video installation
25 TV/VCRs, 1 video
variable dimensions
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Un-ending Un-ique Melody of Chords uses the cacophonous action of the sewing machine to suggest the violence of penetration and the monotony of “women's work. ” The 25 monitors refer to the 25 frames per second in European film; the dense installation suggests a crowded factory or sweatshop, where mindnumbing conditions prevail.
缝纫机暴力穿透的镜头象征的是女人千篇一律的工作。25个屏象征的是欧洲影片里的1秒25帧，所反射似工厂或车间里的繁忙。
不停的独特的合音
1998, video installation
25 TV/VCRs, 1 video
variable dimensions
[attachment=60722] [attachment=60723] [attachment=60734]
Un-ending Un-ique Melody of Chords uses the cacophonous action of the sewing machine to suggest the violence of penetration and the monotony of “women's work. ” The 25 monitors refer to the 25 frames per second in European film; the dense installation suggests a crowded factory or sweatshop, where mindnumbing conditions prevail.
缝纫机暴力穿透的镜头象征的是女人千篇一律的工作。25个屏象征的是欧洲影片里的1秒25帧，所反射似工厂或车间里的繁忙。
(Autoportrait: Transfer)
自画像：转换
1968
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自画像：转换
1968
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Aus der Mappe der Hundigkeit,
«From the Underdog File»
1969
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«From the Underdog File»
1969
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«... REMOTE ... REMOTE»
《.... 遥远...遥远》
1973
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人是一直被过去所影响的，不管那些事情有多遥远。
Human behaviour – in contrast to that of machines (animals) – is influenced by past events, no matter how long ago they occurred. This has led to the existence of a spiritual para-time that runs parallel to objective time and is constantly subject to the influence of the prayers of fear and guilt, of the incapability to overcome, of deformations that tear open the skin, of visual manifestations. I point to something representing past and present.
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.
《.... 遥远...遥远》
1973
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人是一直被过去所影响的，不管那些事情有多遥远。
Human behaviour – in contrast to that of machines (animals) – is influenced by past events, no matter how long ago they occurred. This has led to the existence of a spiritual para-time that runs parallel to objective time and is constantly subject to the influence of the prayers of fear and guilt, of the incapability to overcome, of deformations that tear open the skin, of visual manifestations. I point to something representing past and present.
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.
K: Who are your role models?
V: In the 60s, I first discovered the American scene... John Cage, Carolee Schneeman, Trisha Brown, and others. I was very happy to find out about this kind of work, and that it was happening. I read about it in magazines, not books ?and I didn抰 find them in Vienna, rather in London or Sweden. Later, I studied Carolee Schneeman, and I visited her in London in the 70抯. Then, I started to do this kind of [radical] work, myself.
你的模范有谁？
瓦莉：在60年代，我首先发现了美国... John Cage, Carolee Schneeman, Trisha Brown 及其他。我很高兴看到这类的作品，然后就接着发生了。我从杂志而不是书上读到的，我在维也纳找不到他们，伦敦和瑞士也找不到。不久，我开始研究 Carolee Schneeman， 我在70年代时还拜访了她，我也开始做这类作品。
Carolee Schneeman 的网站
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V: In the 60s, I first discovered the American scene... John Cage, Carolee Schneeman, Trisha Brown, and others. I was very happy to find out about this kind of work, and that it was happening. I read about it in magazines, not books ?and I didn抰 find them in Vienna, rather in London or Sweden. Later, I studied Carolee Schneeman, and I visited her in London in the 70抯. Then, I started to do this kind of [radical] work, myself.
你的模范有谁？
瓦莉：在60年代，我首先发现了美国... John Cage, Carolee Schneeman, Trisha Brown 及其他。我很高兴看到这类的作品，然后就接着发生了。我从杂志而不是书上读到的，我在维也纳找不到他们，伦敦和瑞士也找不到。不久，我开始研究 Carolee Schneeman， 我在70年代时还拜访了她，我也开始做这类作品。
Carolee Schneeman 的网站
[attachment=60747] [attachment=60748]
