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Pierre Bourdieu: Sociology Is a Martial Art (review)

reality and self is analyzed as an experience typical of women in our societies. Such experience, which often starts in childhood, is reproduced and countered by Export through the action of repeatedly cutting herself in performance as a means of finding and defining her own identity. These heavy acts involve bodily injury and pain, which Export performs in the realm of body art. As Mueller states, the artist’s idea of the expanded body refers to postmodern theories of circulation of signs, and also to the notion of constructedness through power relations and historical connotations, a notion that takes up Foucauldian thinking. Through pain, as Export demonstrates, the strangeness of the female body in our society becomes strikingly apparent. Much of Export’s early performance work (where she bleeds and is hit with electric wires) needs to be understood as a process of self-awareness turning into self-determination. This is highlighted in “Body Sign Action” of 1970, in which Export shows the tattoo of a suspender on her upper thigh. Ideas of an “expanded” body overlap with concepts of expanded media, in particular cinema actions that Export performed, together with Peter Weibel, in the late 1960s and early 1970s in the streets of Vienna. Marlene Streeruwitz, in her article on the Austrian context of Export’s work, draws on the famous street actions where, for example, Valie Export “walks” Peter Weibel on a log leash, with Weibel on all fours beside her. This chimes with the artist’s experimental feature length films, most prominently Invisible Adversaries (1976), where Export displays an understanding of film practice as an analytical discourse of gender relations and explorations into space. This interest in space, urban structure and city architecture has also been developed in her photographic approaches where, as in her films, she uses superimposition to visualize the “split in reality.” As Silvia Eiblmayr underlines in her article about body configurations, Export’s concern is to make visible the split in reality between a given context and the constraints of subjectivity. Again, the use of media as a tool to differentiate between the media context and its representational system is carried out by Export through dislocations, superimpositions and sharp cuts. It is this series of devices that, taken together, express both the real and the double. The catalog’s collection of essays and its selection of a wide range of illustrations documenting the phases of development and the diversity of media encounters over the past decades provide a solid overview and insight into the aesthetic principles of one of the most interesting contemporary media artists. As Sigrid Schade in her essay states, Export has always worked with new media (video, and later digital photography) in ways that explore and thematize the media themselves. On the whole, the conceptual approach of Export is a critical encounter with a narrow understanding of media arts. Hers is intervention, an approach that is emphasized, explained and analyzed in the comprehensive essays of the wellillustrated Media Anagrams.