Valie Export: The Feminist Artist Who Provoked Revolution Through Art

The Lead

Punk, intellectual, feminist, theorist, brave as hell, vulnerable, funny—Valie Export was a hero to many women. Since the 1960s, she was driven by a fierce conviction that art and media would play an essential role in women's liberation: that women must picture their own reality in the name of social progress. In Women's Art: A Manifesto (1972), she wrote that women must "use art as a means of expression, so as to influence the consciousness of all of us". What she demanded was revolution.

The Revolutionary Art of Valie Export

I keep returning to her work. Can't stay away. Her work was heavy with explicit threat and pain, and she made evident the violence of forcing women's bodies to inhabit structures that were not designed for them. For the 1973 performance Hyperbulia she crept naked through a corridor of electrified wires, exposing herself voluntarily to shocks. Her 1976 photocollage The Birth Madonna shows a woman positioned like a Renaissance Madonna seated on a drying machine from which spews a bloody towel—it still provokes shock.

Challenging Societal Constraints

Export spoke with tremendous clarity about her work and the ideas underpinning it. Her father died during the war, and she was sent to a convent with her two sisters while their mother worked as a primary school teacher. The first of her many expulsions came aged 10 when she was discovered exploring the nun's living quarters. Her experience of girlhood was of constraint—of having little or no control over her own life.

In 1967, aged 27, she swapped her married name Waltraud Höllinger for the moniker VALIE EXPORT. A play on a cigarette brand, written in capital letters, it was a decisive rejection of patriarchal structures. She would be known neither by her father's name, nor by her ex-husband's.

The Power of Performance

Her work was intended to explode the structures containing her—in cinema, in art and in the wider society. In Action Pants: Genital Panic (1969) she walked along the rows of a Munich art cinema with her exposed pubic region level with punters' faces, and plastered the walls of Vienna with posters of herself in crotchless trousers holding a gun.

For Tap and Touch Cinema in 1968, she constructed a theatre in a box strapped to her chest, with people on the street invited to reach into the darkness and touch her breasts while she watched them. Documentary of the performance exposes the shifting power dynamic between Export and the men who accept the invitation. It was brilliantly subversive and unsettling.

More recently, her 1968 performance From the Portfolio of Doggedness has drawn attention—during which she led Peter Weibel crawling through the streets of Vienna by a dog lead. Weibel was dressed in a business suit, a disturbing echo of the commuters milling around him.

A Lasting Feminist Legacy

Her 1972 manifesto described how the spark kindled by women's art might ignite far-reaching social change. It concludes by stating the importance of documenting and honouring the life and work of those who had come before, as we must now do hers. "The future of women will be the history of woman."

I grieve her in the most selfish way: there were so many things I wanted to ask her about. Having survived decades in which women's art was marginalised and ignored, she had so much to tell us. Like a fool, I kept delaying a planned interview. Now it's too late.