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Since the late 1960s, Austrian artist VALIE EXPORT has traversed and freely combined the disciplines of sculpture, photography, installation, performance, film, and video. This selection of four recently restored short films presents a cross section of feminist concerns, including investigations of the male gaze, female agency, and the culpability of patriarchy in the stifled daily lives of women and children. In . . . Remote . . . Remote the artist quietly, patiently disfigures her cuticles with a box cutter and dips her bleeding fingers into a bowl of milk before an image of two children who are wards of the state (1973, 10 minutes). Adjunct Dislocations is a black-and-white film incorporating three screens: one showing the artist with an 8 mm camera strapped to the front of her torso and another camera on her back, while the other two screens run the resulting films (1973, 8 minutes). The silent film Interrupted Line is a study of cinematic time with the filmmaker always in the present (1971/72, 9 minutes). And Syntagma is a collision of the artist's expanded cinematic works, photography, and electronic image processing used to question constructs of public and private, exterior and interior space (1983, 18 minutes). (Total running time 45 minutes)