The work of VALIE EXPORT combines different artistic approaches. Conceptual experiments that test time and space were later grafted to her predominantly feminist work. These two types of work go together - they accompany and complete one another.

In Adjunct Dislocations II, VALIE EXPORT's body serves as a tripod supporting two 8mm cameras, attached to the front and back of the upper part of her torso, which simultaneously films in two opposing directions – in front of the artist and behind her. The camera films paintings filled with lines and a space defined by transparent surfaces, a kind of spiral installation in which VALIE EXPORT wanders at an uneven pace. The movements she makes, as unobtrusive as they are, gradually change the linear forms that appear on the monitors that are placed around the spatial arrangement, and are transmitted simultaneously. Technology and the body are two interfaces that interact in real time and in a physical space. The artist moves about between the different elements, all the while following the same process – a perpetual to-and-fro – that disturbs the viewer's gaze. The artist's body is transformed here into a technological entity that maps out a specific location. Body and machine produce an event rather than a representation. There is no pre-recorded image in the created space.

The viewer is integrated into the set and fully participates in VALIE EXPORT's exploration, observing that something is taking place over time. The artist's body nevertheless retains its authority with respect to the space it travels through.

Lou Svahn