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Video: „Cutting“, VALIE EXPORT, 1967

Kontakt - films and videos of the Art Collection of Erste Group on the VIENNAFAIR 2010

With its focus on “Film and Art”, VIENNFAIR 2010 presents in the special exhibition “Borrowed Time” curated by its artistic director Edek Bartz, films and videos mainly from private collections. In the framework of VIENNAFAIR’s film focus, film and video works from the art collection “Kontakt. The art collection of Erste Group” will be shown daily.

„Borrowed Time“: daily from 12 a.m. to 5 p.m.
Kontakt - films and videos: daily from 5 p.m. to 7 p.m.

Kontakt - films and videos of the collection of Erste Group
Curated by Georg Schöllhammer
Production: Walter Seidl

Program:
Peter Weibel,  „grüß gott“, 1967/1972, Video, s/w, 45 sek
Tomislav Gotovac,  „Pravac“ (Stevens-Duke)/„Straight Line“ (Stevens-Duke), 1964, 16 mm s/w, 6 min 40 sek.
VALIE EXPORT,  „Cutting“, 1967, Expanded Cinema/Screen Action, s/w, Sound 2 min 5 sek
Peter Weibel,  „Multimedia 1“ , 1969, Videoaktion, s/w, 3 min 10 sek
Tibor Hajas,  „Öndivatbemutató“/Self Fashion Show, 1976, 35 mm s/w, Sound, 14 min 9 sek
Natalia LL,  „Consumer Art“ , 16 mm, Farbe, Sound, 15 min, 53 sek
Sanja Iveković,  „Meeting Point“, 1978 s/w, 6 min 6 sek
Dalibor Martinis,  „Open Reel“, 1976, s/w, Sound, 3 min 40 sek
Hans Scheirl,  „Straßenbilder“ , 1979, Super 8 mm, 11 min
Rasa Todosijević,  „Was ist Kunst Marinela Kozelj?“, 1978, s/w, Sound, 16 min 20 sek
Artur Żmijewski,  „Me & Aids“, 1996, Video, Farbe, 6 min 40 sek
Josef Dabernig, Markus Scherer  „Timau“, 1998, 16 mm, s/w, Sound, 20 min
Carola Dertnig,  „Revolving Door“, 2001, Video, Farbe, Sound, 2 min 2 sek
Dorit Margreiter,  „Jock“, 2001, Video, Farbe, Sound, 2 min 30 sek

VALIE EXPORT, *1940 in Linz, Austria, lives in Vienna)

The Expanded Cinema action “Cutting” is paradigmatic for VALIE EXPORT’s experimental short circuits between the “apparatus” of the medium of film and the medium of the body, as part of her critical approach to media phenomena—an approach that ensured a strong structural link between technology, ideology and everyday life practice. “Cutting” consists of a “screen action”, a “skin action” and a “body action” whereby the movie screen in its conventional function as an invisible surface for the illusionistic film image becomes transformed and appears in different materials: in parts one and two a slide projector sheds its light on two large screens made of paper that are then both cut by the artist. First she opens windows as in the facade of a house, finally revealing her own face—assuming the roles of movie star, director and editor in one person. On the second screen EXPORT cuts letters out of the paper in order to write a sentence dedicated to Marshall McLuhan, the last word being spoken by herself and manifesting the difference between written and spoken language. The third “screen,” a T-shirt showing the circular Bazooka Joe label, is worn by a man. EXPORT cuts out the label with her scissors, causing the man’s hairy skin to appear in the round opening. In the fourth and final part, “hommage à Greta Garbo,” the artist shaves a film-like vertical strip on of the breast and belly of her protagonist.

Silvia Eiblmayr