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Lorenza Böttner

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Lorenza Böttner
Self-portrait of Böttner
Born(1959-03-06)6 March 1959
Punta Arenas, Chile
Died13 January 1994(1994-01-13) (aged 34)
Munich, Germany
Known forDance, photography, street performance, drawing, and installation art

Lorenza Böttner (6 March 1959 – 13 January 1994) was a Chilean–German disabled transgender multidisciplinary visual artist.

Born in Chile, she moved to Germany following the amputation of both of her arms as a child, where she studied and began a career in art. Using several art media, including performance pieces and a method called "danced painting", she depicted social outcasts, and she portrayed Petra during opening and the closing ceremonies at the 1992 Summer Paralympics. Her self-portraiture featured eroticized and nurturing depictions of herself.

Diagnosed with HIV in 1985, she died in 1994 of AIDS-related complications in Munich. While she did not receive widespread recognition of her work during her life, documenta and Paul B. Preciado began showing her work from 2016 onward, and she is now recognized for her contributions to art history and representing disability in art.

Early life

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Little is known about Lorenza Böttner's early life.[1] She was born on 6 March 1959 in Punta Arenas, Chile, to parents of German descent.[2] At around 8 years old, she received an electric shock from power lines, and both of her arms were amputated at the shoulder.[3] The Chilean children's magazine Mampato [es] depicted her as an exemplar for other children:[4] Despite losing her arms, the magazine said, she was able to use Christian language with others, persevere through her difficulties, and draw with a pencil in her mouth.[5]

About six years after her amputation, she moved with her parents to Lichtenau, Germany, for better health services. She refused to use prosthetics and had a series of surgeries beginning in 1973.[6] While in Lichtenau, she was educated in an orthopedic rehabilitation center.[7] While Böttner experienced depression as a child, a friend of hers said in 2024: "It was her mother, Irene, who put the pen in Lorenza’s mouth, and put the will to live through art into Lorenza".[7]

Career

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Böttner regularly depicted the Venus de Milo in her work.

Böttner enrolled in the Gesamthochschule Kassel (now a School of Art and Design) from 1978 to 1984.[8] It was during this time at art school that she began publicly identifying as Lorenza.[9] This opportunity inspired her to begin projects that were geared toward self-expression and self-exploration, and she developed a method she called "danced painting" and "pantomime painting" (tanz malerei and pantomime malerei).[7] In one instance while carrying out a piece that included a series of photographs, she wore makeup that modified the appearance of her face, following a comment from a professor that she was a "walking performance".[10] She completed a thesis called "Behindert!?"—literally meaning "Disabled?!"—which used historical and medical motifs of disability in its accompanying performance piece.[11] Following graduation, she studied art in New York with financial assistance by the Disabled Artists Network.[12]

Over the course of her career, her art widely varied in style and form, ranging from drawings to paintings to performances.[13] She served as a model for photographers Robert Mapplethorpe and Joel-Peter Witkin, although she found their depictions of her disability dehumanizing.[7] Describing her approach as "transition and not identity", the philosopher and art curator Paul B. Preciado says that while she used her feet and mouth to paint, the unique habitation of her body (transgender and disabled) allowed her to create an interdisciplinary movement, not only visual or performance.[14] She depicted herself in art, as well as the armless Venus de Milo and what Preciado describes as "subaltern" persons: prostitutes in Europe, African Americans experiencing police violence in America, and depictions of lesbian and gay sexuality.[15] In the work depicting herself, she is shown as both sexual and maternal, and as the art critic Prathap Nair says, this works to unsettle one's understanding of the gender binary.[16] Similarly, documenta said her "dissident transgender body" allowed her to become "a living political sculpture, a sculptural manifesto".[17] She explained in 1991 that the purpose of using armless statues, especially the Venus de Milo, was to "show the beauty of a mutilated body ... despite not having arms".[18]

In 1992, after making a series of connections in the artistic scene of Barcelona and joining the Disabled Artists Network, she portrayed the mascot Petra at that year's paralympic games held in the city.[19] Her performances—where she handled artistic equipment between her toes—were displayed in cities throughout the world, such as in New York.[10] She did not achieve widespread recognition during her life.[7]

Death and legacy

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Diagnosed with HIV in 1985, Böttner died of AIDS-related complications in Munich on 13 January 1994 at age 34.[20]

The Chilean writers Roberto Bolaño and Pedro Lemebel wrote about Böttner in their novels Estrella Distante (1996) and Loco Afán (1996), respectively.[21] Both of these writers used her life to advance a political theory of Chilean artistry.[22] For her early life, Bolaño indicated that while still in Chile, she held secret street performances to save money to leave for Germany, even though she had left with her parents at 14; for her adult life, he said that she attempted to commit suicide, even though such an attempt never took place.[23] According to Latin American studies scholar Carl Fischer, Bolaño's writing focused more on "what she failed at and hid" than "what she revealed", and he used her to demonstrate the types of people he thought were excluded from the Chilean literary canon.[23] For Lemebel, Böttner served as one of his crónicas (chronicles) of LGBT life in the dictatorship of Augusto Pinochet, able to resist heterosexism and militarism through her "unfolding" of gender expectations.[24]

She was a central character in scenes of Frank Garvey's film Wall of Ashes (2009), where she easily cleaned and refilled a pot using her feet.[25] According to Fischer, Böttner saw carrying out normal actions (such as cleaning dishes) as her principal art form, since ones perception of her disability forced her to become a kind of exhibitionist in doing everyday tasks.[26] She wished to "open people's eyes and show them how stupid it is to hide behind a bourgeois façade" through her life.[26] In Michael Stahlberg's documentary Lorenza (1991), she orders cheese from a clerk, only for the camera to cut out when she is due to take them.[27] For Fischer, this represents Böttner's artistic milieu: She exhibits "quotidian" actions, while also leaving some questions entirely unresolved.[27]

In 2016, documenta in Kassel, Germany, began a public showing of her art.[28] From 2018 onward, Preciado held a series of events showcasing Böttner's work in locations such as La Virreina Centre de la Imatge in Barcelona[29] and the Württembergischer Kunstverein in Stuttgart.[21] The exhibitions of documenta and Preciado marked the first time much of her work had been publicly seen in decades.[30] While she did not receive widespread recognition for her work during her life, in 2024, journalist Cassidy George describes her as increasingly "recognized as a significant contribution to the art-historical canon, in part for its radical representation of atypical bodies".[7]

References

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Citations

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  1. ^ Fischer 2016, p. 204.
  2. ^ Fischer 2014, p. 751; Fischer 2016, p. 204; Preciado 2021, p. 3.
  3. ^ Fischer 2021; George 2024; Greenberger 2021.
  4. ^ Mateo del Pino 2019, pp. 40–41.
  5. ^ Fischer 2014, p. 752; Fischer 2016, pp. 205–206.
  6. ^ Fischer 2021; Greenberger 2021; Preciado 2021, p. 18.
  7. ^ a b c d e f George 2024.
  8. ^ George 2024; Greenberger 2021.
  9. ^ Musselwhite 2021; Preciado 2021, p. 19.
  10. ^ a b Greenberger 2021.
  11. ^ Preciado 2021, p. 7.
  12. ^ Díez 2018, p. 203; Fischer 2016, p. 205; George 2024.
  13. ^ Preciado 2021, p. 5.
  14. ^ Preciado 2021, pp. 6, 11.
  15. ^ Greenberger 2021; Preciado 2021, pp. 10–11.
  16. ^ Nair 2019.
  17. ^ documenta 2016: "in der Lorenzas dissidenter Transgender-Körper zu einer lebenden politischen Skulptur, einem skulpturalen Manifest wurde".
  18. ^ Mateo del Pino 2019, p. 46: "quería mostrar la belleza de un cuerpo mutilado y me di cuenta de cuántas estatuas se admiraban por su belleza a pesar de no tener brazos".
  19. ^ Fischer 2021; Preciado 2019, p. 7.
  20. ^ Fischer 2012, p. 2; Fischer 2021; George 2024; Preciado 2021, pp. 3, 18.
  21. ^ a b Fischer 2020, p. 261.
  22. ^ Fischer 2016, pp. 210–212.
  23. ^ a b Fischer 2016, p. 211.
  24. ^ Fischer 2016, pp. 210–211: "desdoblamiento".
  25. ^ Fischer 2016, pp. 206–207.
  26. ^ a b Fischer 2016, p. 207.
  27. ^ a b Fischer 2016, pp. 207–208.
  28. ^ documenta 2016.
  29. ^ Barcelona Cultura 2018.
  30. ^ Gyorody 2019.

Bibliography

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  • Díez, Diego (2018). "10+1 cosas que aprendí en documenta" [10+1 things I learned at documenta]. Umática: Revista sobre Creación y Análisis de la Imagen (in Spanish). 1: 195–206.
  • Fischer, Carl (3 February 2012). Lorenza Böttner: Capitalist success and (queer) failure in Chile's dictatorship (Speech). UCLA Thinking Gender Conference. Archived from the original on 26 October 2021. Retrieved 15 October 2021.
  • Fischer, Carl (2014). "Lorenza Böttner: From Chilean exceptionalism to queer inclusion". American Quarterly. 66 (3): 749–765. doi:10.1353/aq.2014.0054. ISSN 0003-0678. JSTOR 43823428. S2CID 144290807. Archived from the original on 30 October 2021. Retrieved 15 October 2021.
  • Fischer, Carl (2016). Queering the Chilean way: Cultures of exceptionalism and sexual dissidence, 1965–2015. New York, NY: Palgrave Macmillan. ISBN 9781137562487.
  • Fischer, Carl (2020). "The international (un)intelligibility of Chilean trans* film". In Barraza, Vania; Fischer, Carl (eds.). Chilean cinema in the twenty-first-century world. Detroit, MI: Wayne State University Press. ISBN 9780814346839.
  • Fischer, Carl (2021). "Lorenza Böttner". Archives of Women Artists Research & Exhibitions. Archived from the original on 17 October 2021. Retrieved 15 October 2021.
  • George, Cassidy (15 June 2024). "Overlooked no more: Lorenza Böttner, transgender artist who found beauty in disability". New York Times. Retrieved 15 June 2024.
  • Greenberger, Alex (16 June 2021). "How Lorenza Böttner's prescient art created space for disabled and trans people". Art in America. Archived from the original on 28 October 2021. Retrieved 15 October 2021.
  • Gyorody, Andrea (October 2019). "Lorenza Böttner". Artforum. Archived from the original on 15 October 2021. Retrieved 15 October 2021.
  • Mateo del Pino, Ángeles (1 September 2019). "Subjetividad transtullida. El cuerpo/corpus de Lorenza Böttner" [Transcrippled subjectivity. The body/corpus of Lorenza Böttner]. Anclajes (in Spanish). 23 (3): 37–57. doi:10.19137/anclajes-2019-2334. hdl:10553/69665. S2CID 203158519.
  • Musselwhite, Olivia (2021). "Overcoming history's limitations: Lorenza Böttner's, Requiem for the Norm". Art Toronto. Archived from the original on 15 October 2021. Retrieved 15 October 2021.
  • Nair, Prathap (30 April 2019). "A 20th-century artist who de-sexualized the trans body". Hyperallergic. Archived from the original on 15 October 2021. Retrieved 15 October 2021.
  • Preciado, Paul B. (2019). "Lorenza Böttner: Requiem for the norm" (PDF). University of Toronto. Archived (PDF) from the original on 15 October 2021. Retrieved 15 October 2021.
  • Preciado, Paul B. (2021). "Lorenza Böttner: Requiem for the norm" (PDF). Université Concordia. Archived (PDF) from the original on 17 October 2021. Retrieved 14 October 2021.
  • "Réquiem por la norma". Barcelona Cultura (in Spanish). 2018. Archived from the original on 5 January 2022. Retrieved 5 January 2022.
  • "Lorenza Böttner". documenta 14 (in German). 2016. Archived from the original on 28 February 2021. Retrieved 8 January 2022.
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