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At CZI we want to be a part of creating a future where every person can enjoy meaningful work, take care of their families, and live in a just society. But in making that vision a reality, we face the challenge of breaking down barriers that keep individuals, families, and communities from reaching their full potential.

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Body Configurations


Opening: 12 January 2018, 6-8pm, with the artist present

Galerie Thaddaeus Ropac is pleased to present the exhibition curated by Caroline Bourgeois, chief curator of the Pinault Collection. This new exhibition marks the first collaboration with the Austrian artist, represented by the gallery since October 2017.

In 2003, Caroline Bourgeois has organized a monographic exhibition on VALIE EXPORT at the Centre National de la Photographie, Jeu de Paume, in Paris, which travelled at the CAAC, Sévilla; the MAMCO, Geneva; the Camden Arts Center in London, and finally, the Sammlung Essl Privatstiftung in Klosterneuburg, Austria.

The French curator details her concept of the current exhibition:

“VALIE EXPORT has always refused conventions. Rejecting the role of housewife, she turns to art with a sense of urgency. Her first and seminal gesture is when she dubs herself VALIE EXPORT—in all capital letters—to match the strength of an other self who may bear a masculine name. Defining your name instead of enduring your father’s.

In 1967 she invents her artist’s name in order to export her ideas and works. Later she appropriates a cigarette pack of the Austrian brand Smart Export and names it after her new artistic self. The work presented in the exhibition documents this first action: (1970).

The exhibition presents major early works from 1968 to 1976. In 1972, VALIE EXPORT invents the concept of the first international woman exhibition (Vienna, 1975), which becomes a reference for the feminists of her time and those who follow in their footsteps.

She questions in a nearly phenomenological way the image and role of the female with her series entitled: (1968), where she presents herself “in disguise” to demonstrate the importance of the staging of the female body. This action also stresses the expectations in terms of appearances and the place of seduction in relationships. It is then followed by a tattoo: (1970) representing a garter on the thigh. This action and its photographic representation speak for themselves. She continues her revolution of the fate of women with: (1972), which evokes the question of rape, a subject that still resonates today. In this series she underlines the necessity of appropriating one’s own body and taking out the social effects of patriarchal culture. She looks closely into the consequences of these effects on her own body. With these actions, she takes a stance.

Works from the (1972-76) series are on view in the ground floor and upstairs rooms. They constitute another type of action taking place in the city, inside an apartment or in nature, where she uses her body in a nearly sculptural way to underline the lines, the spaces, and the powerful constraints of her surroundings. With this, she proposes—ahead of other practices—to appropriate the exterior as a museum, to act outside.

By playing with her body in public spaces, she reveals how power relations inhabit the actual structure of the street and its buildings. She adds a conceptual dimension, where the body becomes like a pencil drawing lines. The insertion of lines and colors on the photograph emphasizes this dimension. This almost pictorial approach to photography is even more present in the works set in nature, which references her conceptual photographs.

VALIE EXPORT also experimented with video, a medium which, at the time, offered a larger space for freedom, and shows how the artist elaborates on and conceptualizes her own work.

Two video works, (1970) and (1973), are included in the exhibition. In addition, to recognize the importance of the symbolic inversion of gender codes, posters of (1969) are displayed on the gallery walls as they once were in the street.

VALIE EXPORT seeks in a phenomenological manner something on her body, her place, the question of the artist. I think she has a process, which is close to Bruce Nauman’s, where everything must be questioned in order to then exist. Like she says, her nerves spoke and her rebellion became the motor which pushed boundaries, including her own. I think this goes further than a psychological dimension, as it touches on artistic questions both structural and conceptual. She transcends the political with her photographic work, which stuns with its atemporal pertinence.

More than ever before, her work seems relevant. Unfortunately – or fortunately – we must now and always remain in high alert around the question of the place of women in our societies. It’s far from being won. I think it’s precisely because of work like VALIE EXPORT’s that women today are more able to take on different roles for themselves and others. Like every great artist, she opens doors, widens the field, and transforms the territory. The work of VALIE EXPORT offers us an example of how to invent your own life, while still questioning oneself constantly in order to act on oneself and the exterior.”

Caroline Bourgeois


Rural America elected President Trump. Rural America doesn’t benefit from private charter schools like the larger cities do. Please call the White House and ask him to not cut 21CCLC funding. To support public schools and the after-school programs that benefit the most students. Call 202-456-1111 and leave a comment about how those of us that supported him are asking him to support us by not cutting the budget for the 21CCLC programs.

Call our U.S. Wyoming Senators and Representative to ask them to support 21 CCLC and to educate the president on how important it is to Wyoming students. You can reach Senator Enzi at 202-224-3424.Senator Barrasso 202-224-6441. Representative Cheney 202-225-2311.

You can make a difference. Don’t let this opportunity to have your voice heard slip past you. It is important to our schools, to our community and to our country.

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Be better to contact each and everyone of our STATE representatives; we probably will not get much satisfaction from the female that replaced Hill but we should try; we should also be contacting the candidates and see where they stand on this issue. Our people in DC are mostly RINOs; with that said, changes and supports starts at home, that means our communities, our districts, our counties and then the STATE. We would not be in quite this mess if Meade would have followed the State Constitution and renovated the capitol building by putting out bids; the Supreme Court dismissed the lawsuit for this…Meade should be investigated! The Capitol renovation was approved at a$50 million, he went over by $280Million; so let us take a look here..why do we need 67 Supreme Court judges at an average of $81,000 a year and the same for Attorney’s…USA operated all 50 states and territories using 9 justices and quite a few less deputy Attorney Generals; then let us take a look at one of the State justices, wife of Groathouse Construction and their best friends Plan 1. What is relationship with the architect and Groathouse getting a multiplicity of contracts? Are they under bidding..we should study that; so, if they get the contract in this manner, then how many Change Orders come through to get them to where they are way over from say what another contractor/architect would have charged? Think about it..better to wonder, even better to research and bring our State government into decent alignment so we can keep our state somewhat free of corruption. This is just the tip of the iceberg to think about…we need to get into what is happening in our own county and it is not good, not good at all!


So, if there is going to be money spent that the federal government has no business spending on anybody, rural conservative America should fight for its place at the federal teat, too, is that it? Count me out. What part of “the federal government has no legitimate role in K-12 education” don’t people understand? Also, parents have to step up higher and PARENT, for crying out loud. It’s not the government’s job, at any level, to take care of your kids because you’re such low-lifes that all you do is drink, drug, and fight when they come home after school.

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