Portrait VALIE EXPORT: Foto © Hertha Hurnaus, 2009

KALASHNIKOV, 2007

KALASHNIKOV, 2007
photo: P. Kiselev

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KALASHNIKOV, 2007
photo: P. Kiselev

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„EXPORT unites creative and critical practice in her productions - avant-gardism and feminism, film and a critique of representation, performance and critical cultural studies. A precise linguistic analysis of image policies has become her characteristic modus operandi, forming a common thread running throguh all of her works even today. (....) In EXPORTs new works, a strategy of subersive affirmation and over-identification as posited by de Certeau can be discerned when she extracts drastic media images from the Internet or re-enacts the ambivalent situation of disarmament outlined briefly in a newspaper article in a real-life tower of Kalashnikovs.

The visualization of Chinese executions as well as the daily carnage of the war in Iraq signify a "different" kind of production. The artist makes a statement "not on her own products, but on how people handle products" - in our case the images on the Internet that are accessible to all - "which are imposed on us by a dominant (...) order"(2) De Certeau refers to this "different productions" which moves "within the visual field of the enemy" as tactics. The tactics enable EXPORT to participate in certain political discourses, to appropriate them for herself and at the same time to subvent them, to make herself understood through language and its grammar (...)“.

Hedwig Saxenhuber (Hg): VALIE EXPORT. special show, 2nd moscow biennale, Folio Verlag Wien 2007

(2) Michel de Certeau, Kunst des Handelns, Berlin 1988, p.13, see Inke Arns, Überidentifizierung und subversive Affirmation als postmoderne Versionen "apopathischer" Wiederholungsstrategien der sowjetischen Spätavantgarde (Oberiu), Lecture, Berlin 2004, p.5

Category Works, 2000-2009, 2007, Installations, K


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