Friedl Kubelka, ‘Pin-up’, 1973, Richard Saltoun

Shortly after completing her education, Friedl Kubelka lived in Paris
in the early 1970s. The Pin-Ups series, taken in Parisian motels, was among her rst works, published in the magazine Zoom in 1974. Obsessed with the idea of producing on her own a photo spread for
an erotic magazine, she took photos of herself dressed in lingerie, focusing the camera in mirrors mounted on the walls and ceiling. She talked of the excitement of stealing into the hotel, pretending that the corresponding man would follow. And then later, for instance, arranging the photos in front of her on the table in the cafe, something she also tried out. The poses that Kubelka assumes are similar to those known from common pin-ups. But the series also includes unusual gestures, such as bending around the corner. or sitting on the edge of the bathtub. The most unusual pose, as measured against the portrayals commonly preferred by men, is the sell-empowerrnent gesture of holding the camera it front of her face: the camera covers the face which, on the one hand, has a de-personalizing e ect, while on the other hand, potentially intensi es the erobcization, similar to a mask. (Melanie Ohnemus, Previously Unreleased in Friedl Kubelka vom Gröller, JRP|Ringier, 2013)

Signature: Signed and dated on verso

ZOOM magazine, n. 25, June/July 1974, illus. pp 66

About Friedl Kubelka