VALIE EXPORT Archive 29 October 2011–22 January 2012 The exhibition, VALIE EXPORT / Archive, provides the opportunity to rediscover new aspects of an internationally renowned artist whose works are counted among the canon of 20th century art history and represented in many important museum collections. In this unusual and surprising presentation at the Kunsthaus Bregenz, in part, works that hitherto have not been exhibited will be on show. In addition, for the first time in her long history of exhibitions, VALIE EXPORT is providing insights into her comprehensive archive that, to the present day, remains inaccessible to the broad public. Dramaturgically, the exhibition is conceived in such a way that it intentionally thematizes temporal leaps. After the first floor shows the display cabinets for the archive, on the second floor, the work, Fragmente der Bilder einer Berührung—done already 17 years ago in Bregenz for her solo exhibition in Magazin4—will be presented in an arrangement especially conceived for the KUB. On this floor there are further re-encounters when visitors come upon photographs and installations whose phases of making and contexts of reception they were able to discover a short time before in the archive display cabinets. For instance, whereas in two archive cabinets the original jeans, a poster print and a small photo print of the legendary Aktionshose: Genitalpanik are exhibited, on the floor above the large photograph of the same work mounted on aluminium is on show as an autonomous work. It is similar with the so-called Körperkonfigurationen and the various cycles of conceptual photography that are shown in detail in their different stages on both floors. On the top floor, a downright ‘film forest’ is presented with more than twenty works in various media and presentation formats. Here, for example, video and film installations are to be found, such as the early trailblazing media analyses, Splitscreen–Solipsism (1968), Split Reality (1970) and Adjungierte Dislokationen (1973). The large, uniform room is structured by a multitude of screens. 16 mm films such as … Remote … Remote… (1973) and Syntagma (1983) are projected here in their original format. Other films have been, or already were, converted for DVD, such as Ein perfektes Paar oder die Unzucht wechselt ihre Haut (1986), or were already conceived for digital technology. Additional works from VALIE EXPORT’s various phases of development are shown on monitors and, together with the other (moving) images, form a total presentation that illustrates the enormous range in both content and media of this significant artist. KUB Arena HATE RADIO Reenactment of a program broadcast by the genocide radio station RTLM — presented by the IIPM (Berlin/Zurich) 29 October 2011–22 January 2012 The IIPM’s most recent project, HATE RADIO, engages with the genocide in Rwanda in 1994. It was nurtured and accompanied by the most popular radio station in the country, Radio-Télévision Libre des Mille Collines (RTLM), with perfidious psychological finesse and ingenious techniques of manipulation. In the months of April, May, and June of 1994, approximately eight hundred thousand to one million members of the Tutsi minority and thousands of moderate Hutus in the central African country were murdered. If one had looked for a simple and effective target to prevent one of the most atrocious genocides since the end of the Cold War, the U.S. journalist Philip Gourevitch wrote, the radio station RTLM would have been a good start. With indescribable cynicism, the staff at the popular station had prepared the genocide for months like an advertising campaign. The station’s program consisted of pop music, exciting sport reports, political pamphlets, and basely contemptible incitement to murder. The riffs and grooves of the latest Congo bands and the most aggressive racism united in the studio measuring just a few square meters into one of the darkest laboratories of racist ideology. HATE RADIO allows the inflammatory radio station to go on air once again within a realistic installation of authentically reproduced backdrops; survivors of the genocide play on stage. The KUB presentation arose in close collaboration with the author/director of HATE RADIO, Milo Rau, IIPM’s director. For further information: www.kunsthaus-bregenz.at Director Yilmaz Dziewior Chief executive Wener Döring Curator Rudolf Sagmeister Curator of the KUB Arena Eva Birkenstock Press and public relations Birgit Albers Phone: (+43-55 74) 4 85 94-413 Fax: (+43-55 74) 4 85 94-408 b.albers@kunsthaus-bregenz.at Press photos to download www.kunsthaus-bregenz.at Art Education Winfried Nußbaummüller Phone: (+43-55 74) 4 85 94-417 Fax: (+43-55 74) 4 85 94-408 w.nussbaummueller@kunsthaus-bregenz.at Publications/editions Katrin Wiethege Phone: (+43-55 74) 4 85 94-416 Fax: (+43-55 74) 4 85 94-408 k.wiethege@kunsthaus-bregenz.at Sales Editions Caroline Schneider Phone: (+43-55 74) 4 85 94-444 Fax: (+43-55 74) 4 85 94-408 c.schneider@kunsthaus-bregenz.at Opening hours Tuesday–Sunday 10 a.m.–6 p.m. Thursday 10 a.m.–9 p.m. 01.11.11 10 a.m.–6 p.m. 08.12.11 10 a.m.–9 p.m. 24.12.11 closed 25.12.11 closed 26.12.11 10 a.m.–6 p.m. 31.12.11 10 a.m.–2 p.m. 01.01.12 2 p.m.–6 p.m. 06.01.12 10 a.m.–6 p.m.