For Touch Cinema, EXPORT allowed people to touch her breasts through a portable curtained contraption for 30 seconds per person.
In the artist’s own words:
As usual, the film is ‘shown’ in the dark. But the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly rose only for the eyes now rises for both hands.
The tactile reception is the opposite of the deceit of voyeurism. For as long as the citizen is satisfied with the reproduced copy of sexual freedom, the state is spared the sexual revolution. ‘Tap and Touch Cinema’ is an example of how re-interpretation can activate the public.’
In this piece EXPORT comments on the cinema as a projection space for male fantasies, and confronts the male gaze/touch with the reality of the live woman. In doing so, she also comments on how desire has been captured by the mass media and questions the individual’s ownership of sexuality for both men and women.