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As She Likes It

Female Performance Art From Austria

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As She Likes It


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Streaming Price (3 years) + DVD $580

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The As She Likes It program is a collection of current works by Austrian videomakers which combine contemporary aspects with the tradition of performance art by women.

The representation of the female body and feminine identity play a role in the electronic media also. With the aid of a mirror's glare Mirjam Bajtala saves herself from being captured by the omnipresent eye of the camera.
The demands for perfectionism which determine the course of our daily lives are satirized by Carola Dertnig in her slapstick series entitled True Stories.
Karoe Goldt's face telegraphs its moods through painterly abstraction in Solo mit Chor and, with a number of photographs, provides a visual accompaniment to the autobiographic story of Personal to create an impressive visual statement.
Sabine Marte juxtaposes the familiar role of the stewardess as "pretty" airborne servant and the common practice of using images of celebrities, normally voyeuristic, in music videos to increase sales.
In Gras A/B Marte fragments the idyll of a human encounter on both the visual and linguistic levels.
In Ulrike Müller's Mock Rock a cover of a familiar pop song becomes a melancholy farewell to a "desire for independence as well as the impossibility of achieving it" (U.M.).
In a very different mood Barbara Musil and Karo Szmit play carefree tourists in a world of kitschy portrayals of Austria's mountains.
An austere hotel room serves Doris Schmid as the setting for a lonely woman's spectacular end.
And last but not least Mara Mattuschka, the queen of self-representation in Austrian film, directs according to someone else's performative concept for the first time in a successful joint project with choreographer Chris Haring. (Brigitta Burger-Utzer)

-Maria Lassnig, Hubert Sielecki Maria Lassnig Kantate 1992, 8 min,
-Miriam Bajtala Im Leo 2003, 2 min,
-Carola Dertnig Strangers 2003, 4 min,
-Carola Dertnig Byketrouble 1998, 5 min,
-Kerstin Cmelka Neurodermitis 1998, 2 min,
-Barbara Musil, Karo Szmit Sw-Nö 04 2004, 10 min,
-Ulrike Müller Mock Rock 2004, 3 min,
-Fiona Rukschcio Schminki 1, 2 + 3 1999, 8 min,
-Mara Mattuschka & Chris Haringlegal Errorist 2004, 15 min,
-Michaela Pöschl Der Schlaf Der Vernunft 1998, 14 min,
Bonustracks: Self-Presentations Of Several Artists

Maria Lassnig: Born (1919) in Austria. Graduate of the Academy of Fine Arts in Vienna (1943). Films (Selection): Baroque Statues, 1970; Iris, 1971; Chairs, 1971; Couples, 1972; Palmistry, 1973; Art Education, 1976.

Miriam Bajtala: Born (1970) in Slovak Republic. Various exhibitions. Videos (Selection): Anleitung No. 3 (Person M.), 2000; aus dem Off, 2002; Paranoia (Death Valley), 2004; Paranoia (Mackey House), 2004; Videogymnastik (Warm Ups 1-4), 2004/05.

Carola Dertnig: Born in Innsbruck. Solo exhibitions. Various curatorial projects. Videos (Selection): I dont wanna know your name, 1995/96; Dancing with Remote(s), 1997; Loveage, 1999; Revolving Door, 2001; a room with a view in the financial district, 2003; Newspaper Only (with Ulrike Müller), 2003.

Kerstin Cmelka: Born( 1974) Austria. Films (Selection): Kerstin/Johannes, 1998; Neurodermitis, 1998; Mit mir, 2000; In einem Raum, 2000; Et In Arcadia Ego, 2000; camera, 2002; Hallowe´en, 2003. Solo exhibitions: rraum, Frankfurt am Main, 2006; »Non-Identical Twins«, Kunstraum NÖ, Vienna, 2006; Garage 30, Frankfurt am Main, 2005; »o.T. (Export)«, the hell, Frankfurt am Main, 2004; "suspense", Kunsthalle 8, Vienna, 2004; Schnittausstellungsraum, Cologne, 2003.

Barbara Musil: Born in Salzburg in 1972. Exhibitons 1996-2004. Videos (Selection): MAJA, 1999; LA MANCHA (with Karolina Szmit), 2001; FREIE RADIKALE (with Karolina Szmit), 2002; BRAVO!, 2004; Heal the world, 2005; Lietuvos bankas, 2006.

Karolina Szmit: Born 1978 in Warsaw. Exhibitions 2003¬06 (Selection): »nah & frisch«, Galerie 5020, Salzburg; »Schöne Aussichten«, Reinsberg, Vienna; »Arrete«, Kunstraum NÖ, Vienna; »Opera Austria«, Centro per l´Arte Contemporanea Luigi Pecci, Prato. Videos (Selection): misc.;Chestnuts; FREIE RADIKALE (with Barbara Musil).

Ulrike Müller: Is an artist currently living and working in New York. Exhibitions, performances and video screenings include Diagonale, Graz, 2005; LTTR Explosion (with Marie Thérèse Escribano), New York, 2004; »Mothers of Invention«, Mumok, Vienna, 2003. The artist´s book
»Every little bit helps, ¬ Ulrike Müller: Two Audio Works«, 2005 (with essays by Gregg Bordowitz, Barbara Schröder, Lanka Tattersall, and Walter Johnston).

Fiona Rukschcio: Born 1972 in Vienna. Exhibitions, projects, screenings. Videos (Selection): schminki 1, 2 + 3, 1998; #1: , 1999; #2: , 1999; #3: , 1999; Bill Posters will be prosecuted, 2002; Simultaneous Disco, visual and installation, Vienna 2001; Relaxationesoteric for artists, 2002; Wallpainting Installation, 2003; Le Panthéon, 2003; SchatziMausi, interactive videoinstallation, 2003/04; Auf Wiedersehen/ Good-bye!, 2004; I would be delighted to talk Suffrage, 2004/05; Elle fait des romans, 2005.

Mara Mattuschka: Born 1959 in Sofia. Lives in Vienna. Films/videos (Selection): NabelFabel, 1984;
Der Untergang der Titania, 1985; Cerolax II, 1985; Parasympathica, 1985; Kugelkopf, 1985; Pascal ¬ Gödel, 1986; Les Miserables, 1987; Es hat mich sehr gefreut, 1987; Kaiser Schnitt, 1987; Der Einzug des Rokoko ins Inselreich der Huzzis, 1989; Loading Ludwig, 1989; Der Schöne, die Biest, 1993; S.O.S. Extraterrestria, 1993; Suvlaki ist Babylon: komm, iss mit mir, 1994; ID, 2003; Plasma, 2004; Legal Errorist, 2005; Comeback, 2005.

Chris Haring: Lives and works as a free choreographer and dancer in Vienna. Together with composer Klaus Obermeier, he developed the Videodanceperformances D.A.V.E. and VIVISECTOR played all over Europe, USA, Asia and Australia. Fremdkörper (2003) deals with science fiction and the human body as a cybernetic landscape.

Michaela Pöschl: Artist, art historian, curator. Works in media such as video, installation and text on Body Art, (filmic representations of) Interventionist Practices and normative concepts of violence. »Abuse, Pictures«, exhibition, IG Bildende Kunst and Topkino, 2006;

 

In the 1960s and 1970s actionism and happenings provided a foundation for performance art, the exceptional form in which women are as numerous but more recognized as men. Three generations of artists set out in As She Likes It to formulate a statement on our times, using the expressive power of voice and body, dispensing with exclusion of the male world more self-confidently than in the early years.
(Brigitta Burger-Utzer)

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