{"id":881,"date":"2021-06-21T11:44:59","date_gmt":"2021-06-21T03:44:59","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=881"},"modified":"2021-06-21T11:44:59","modified_gmt":"2021-06-21T03:44:59","slug":"how-lorenza-bottners-prescient-art-created-space-for-disabled-and-trans-people","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-lorenza-bottners-prescient-art-created-space-for-disabled-and-trans-people\/","title":{"rendered":"HOW LORENZA B\u00d6TTNER\u2019S PRESCIENT ART CREATED SPACE FOR DISABLED AND TRANS PEOPLE"},"content":{"rendered":"

At\u00a0Documenta 14<\/a>, the 2017 edition of the touted art festival that takes place once every five years in Kassel, Germany, Olu Oguibe erected a fifty-foot-tall obelisk paying homage to immigrants, Marta Minuj\u00edn built a monumental Acropolis-like structure from stacked books, and Maria Eichhorn created an institute focused on the expropriation of property that had been owned by European Jews during World War II. These gestures grabbed the attention of international publications, but it was an artist heretofore unknown to much of the art world who stole the show: Lorenza B\u00f6ttner, a German painter, dancer, and performance artist who, in the \u201980s and \u201990s, began making works meditating on her trans and armless body. Included at Documenta were her exactingly realized renderings of her trans and armless body, wielding a brush with her mouth and feet.<\/p>\n

Until Documenta 14, few had heard of B\u00f6ttner, whose \u201cdissident transgender body became a living political sculpture, a trans-armless sculptural manifesto,\u201d as theorist\u00a0Paul B. Preciado<\/a>\u00a0wrote in an\u00a0article<\/a>\u00a0for Documenta 14\u2019s\u00a0South\u00a0<\/em>magazine. B\u00f6ttner, who died from HIV-related complications at 34 in 1994, had never had a major solo survey prior to Documenta 14; her reputation paled in comparison to those of other artists included. And yet many critics still took note.\u00a0New York Times<\/em>\u00a0critic Holland Cotter devoted a full paragraph in his\u00a0review\u00a0to B\u00f6ttner, whose paintings he called \u201caccomplished,\u201d and Andrew Russeth, in\u00a0his\u00a0ARTnews<\/em>\u00a0review<\/a>, labeled her work the \u201cindisputable highlight\u201d of Documenta\u2019s offerings shown at Kassel\u2019s Neue Galerie.<\/p>\n

Since Documenta, B\u00f6ttner has moved into the spotlight, largely thanks to the work of Preciado, who curated her traveling solo show now on view at Concordia University\u2019s Leonard & Bina Ellen Art Gallery in Montreal. But, as Preciado has pointed out, B\u00f6ttner\u2019s work was widely seen during her lifetime. A member of the Disabled Artists Network, she went on to perform as the 1992 Paralympics\u2019s controversial mascot, Petra, which was designed by Spanish illustrator Javier Marsical and was described by the event as \u201ca positive, extroverted, independent, energetic and brave girl with no arms.\u201d Her performances were staged the world over, in cities such as Barcelona and New York, and she even appeared in a\u00a0Faber-Castell art supplies commercial<\/a>, balletically wielding pastels using her toes.<\/p>\n

Yet as Preciado once explained it, \u201cThis work could have been totally lost.\u201d Thanks to shows like the one currently on view in Montreal, B\u00f6ttner\u2019s work will likely stand time immemorial. Below, a look at B\u00f6ttner\u2019s life and art.<\/p>\n

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\"A<\/div>\n<\/div>
Lorenza B\u00f6ttner,\u00a0Untitled<\/em>\u00a0(still), n.d.<\/span>COURTESY LEONARD & BINA ELLEN ART GALLERY<\/p>\n

<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u2018I Am an Exhibitionist and I Like It\u2019<\/strong><\/p>\n

Many artists make their work in private, toiling away in their studios and then only showing their work once it\u2019s finished. That wasn\u2019t the case for B\u00f6ttner, who created her art within the public eye, collapsing the divisions between performance art, dance, and painting. \u201cIn some ways I am an exhibitionist and I like it. I benefit from it,\u201d B\u00f6ttner said in a\u00a0documentary<\/a>\u00a0from the \u201980s. \u201cBut I was not always an exhibitionist\u2014it came as a result of my handicap.\u201d<\/p>\n

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\"An<\/div>\n<\/div>
Lorenza B\u00f6ttner,\u00a0Untitled<\/em>, 1982.<\/span>PRIVATE COLLECTION<\/cite><\/figcaption><\/figure>\n<\/div>\n

B\u00f6ttner was assigned the name Ernst Lorenz B\u00f6ttner when he was born in 1959 in Punta Arenas, Chile, to a German family. (In Preciado\u2019s writings, the pronouns he\/him are used in reference to the artist\u2019s childhood; s\/he is applied to B\u00f6ttner\u2019s years in art school, while the artist was beginning to transition; and she\/her is relied upon in descriptions of the years afterward.) When he was 8 years old, he saw a bird\u2019s nest at the top of an electric pylon and tried to climb the structure to reach it. He fell on his way down, and the electricity forced doctors to amputate both arms below the shoulder. Although he received a series of plastic surgery operations starting in 1973, when he moved to the West German city of Lichtenau with his mother, he never opted to get prosthetic arms.<\/p>\n

When s\/he began attending the Kassel School of Arts, B\u00f6ttner began to explore what qualified as disability. S\/he took the name Lorenza, \u201caffirming an openly transgender feminine position,\u201d as Preciado wrote in the\u00a0South<\/em>\u00a0essay. After a professor told her s\/he was a \u201cwalking performance,\u201d in a comment that could be perceived as patronizing, B\u00f6ttner initiated a photography series from 1983 called \u201cFace Art,\u201d in which s\/he appeared before the camera wearing makeup that altered the artist\u2019s face, causing certain features to look distended or particularly bony. In some cases, the makeup had made B\u00f6ttner\u2019s face appear confrontational, even menacing; in other cases, it softened the artist\u2019s expressions, at times sad-looking. S\/he graduated from Kassel School of Arts in 1984 with a thesis called \u201cBehindert?,\u201d or \u201cDisabled?\u201d<\/p>\n

B\u00f6ttner had grown fascinated with what Preciado has called the \u201ctradition of freak art,\u201d or artists who have made their work using their mouth and feet. Sometimes, this has taken place before the public eye\u2014on the street, for example, or in circus sideshows. B\u00f6ttner\u2019s work subverted that kind of performance, returning the stares she received every day. \u201cShe\u2019s fully confronting people watching the performances with the act of reclaiming her body, not with the object of a freak gaze but as a political subject,\u201d Preciado said in a 2018\u00a0talk<\/a>.<\/p>\n

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\"An<\/div>\n<\/div>
Lorenza B\u00f6ttner,\u00a0Untitled<\/em>, 1986.<\/span>COURTESY LEONARD & BINA ELLEN ART GALLERY<\/p>\n

<\/cite><\/figcaption><\/figure>\n<\/div>\n

The Eye of the Beholder<\/strong><\/p>\n

At stake in B\u00f6ttner\u2019s art was often the concept of beauty itself\u2014what it means to be aesthetically pleasing, and who gets to be considered as such. Western male artists throughout art history have often personified beauty in the form of a nondisabled cisgender white woman\u2014think Praxiteles\u2019s sculptures of Aphrodite or Peter Paul Rubens\u2019s voluptuous females. B\u00f6ttner\u2019s paintings and performances put that notion to the test by attacking bourgeois images of this sort and cleaving open gender binaries.<\/p>\n

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\"A<\/div>\n<\/div>
Lorenza B\u00f6ttner,\u00a0Untitled<\/em>, 1982.<\/span>PRIVATE COLLECTION<\/cite><\/figcaption><\/figure>\n<\/div>\n

In her work, B\u00f6ttner appeared to play on viewers\u2019 perceptions of her gender. One 1982 photograph shows B\u00f6ttner seated on a wood floor next to a painting of a svelte nude woman with her breasts bared. B\u00f6ttner poses without a shirt, inviting a comparison between her hairy, armless chest and the smooth, Renoir-like flesh of the woman combing her hair, whose face seems vaguely similar to B\u00f6ttner\u2019s. Both figures peer out at the viewer with a gaze that seems erotically charged.<\/p>\n

Other works push B\u00f6ttner\u2019s images of gender fluidity even further. In an untitled and undated work on paper, B\u00f6ttner creates something akin to a triple self-portrait. On the left, she shows herself wearing a dress and with wavy hair; in the middle, she has an elegant beard with stripes shaved into it; and on the right, she resembles a coiffed businessman. All of them bear a resemblance to B\u00f6ttner. And in an untitled 1980 pastel painting, B\u00f6ttner shows herself acting as a mother to a baby, holding a bottle of formula beneath her neck as she gazes down lovingly at the child.<\/p>\n

One recurring figure in B\u00f6ttner\u2019s work is the Venus de Milo, the millennia-old ancient Greek sculpture that has been considered a paragon of beauty for many. In its current state, the sculpture lacks arms, much like B\u00f6ttner. Why, she wondered, do so many people still considered the work beautiful, even if they wouldn\u2019t say the same of her body? To accompany one performance, first staged in 1982, in which she took on the sculpture\u2019s guise, she discussed that paradox. \u201cA sculpture is always admired even if limbs are missing, whereas a handicapped human being arouses feelings of uncertainness and shame,\u201d she wrote in a pamphlet explaining the work. \u201cChanging from sculpture into human being, I want to make people aware of this problem.\u201d<\/p>\n

 <\/p>\n

 <\/p>\n

Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

At\u00a0Documenta 14, the 2017 edition of the touted art festival that takes place once every five years in Kassel, Germany, Olu Oguibe erected a fifty-foot-tall obelisk paying homage to immigrants, Marta Minuj\u00edn built a monumental Acropolis-like structure from stacked books, and Maria Eichhorn created an institute focused on the expropriation of property that had been […]<\/p>\n","protected":false},"author":2,"featured_media":882,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[165],"class_list":{"0":"post-881","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news","12":"tag-marta-minujin"},"yoast_head":"\nHOW LORENZA B\u00d6TTNER\u2019S PRESCIENT ART CREATED SPACE FOR DISABLED AND TRANS PEOPLE - 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