• Poetry & Performance / The Eastern European Perspective
    22 December 2017 − 10 March 2018

    Nová synagóga, Žilina, Slovakia Poetry & Performance / The Eastern European Perspective 22/12/17 –  10/03/18 Loans by Kontakt: Vlado Martek: Ciklus Soneti / Sonnet Cycle, 1978-79 Raša Todosijević: Znak / Sign, 1971; Skulptura / Sculpture, 1971; Was ist Kunst, Patricia Hennings? / What is Art, Patricia Hennings?, 1976; Was ist Kunst, Marinela Koželj? / What is Art, Marinela Koželj?, 1978 Tamás St. Auby: Kentaur / Centaur, 1973-1975/ 2009 Curators: Sabine Hänsgen, Tomáš Glanc, Daniel Grúň Nová synagóga in Žilina presents the exhibition Poetry & Performance. The Eastern European Perspective curated by Tomáš Glanc, Daniel Grúň and Sabine Hänsgen. The exhibition brings together more than forty artists, poets and creative groups from the countries of the former Eastern Europe as well as contemporary artistic positions. The exhibition will be opened on December 22nd from 6 p.m. to 8 p.m. by a series of several performances and will run until March 10th 2018. In the second half of the twentieth century, poets and artists in particular took up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the “made-ness” of language, its material and medial dimension, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out. In Eastern Europe, poetry and performance played a significant role in the unofficial or partially tolerated cultural scene. The writing practice of samizdat and its relation to the devices of concrete and visual poetry have been treated and presented in a number of previous projects. Until now however, less consideration has been given to the circumstances of performance. In addition to the typescript literature of samizdat, subcultural milieus attached particular importance to the oral recitation of poems, exhibitions, and poetry actions. The interrelation between text and situation in poetic acts functioned as a trigger for performances and happenings. The exhibition presents authors from subcultures in socialist states along with contemporary positions that continue the legacy of combining poetry and performance. It shows the efforts of poets and artists to break free from controlled language and normative communicative now and then. Poetry & Performance. The Eastern European Perspective thus confronts the current social challenges in the post-socialist countries through the prism of language and ideology and looks back at their points of departure. Artists: Milan Adamčiak, Pavel Arsenev, Babi Badalov, Bosch+Bosch (Attila Csernik, Slavko Matković, László Szalma), Collective Actions Group, Ľubomír Ďurček, Else Gabriel / Via Lewandowsky, Rimma Gerlovina, Tomislav Gotovac, Group of Six Artists, Bohumila Grögerová / Josef Hiršal, Gino Hahnemann, Václav Havel, Jörg Herold, Semyon Khanin (Orbita), Kinship Moho (Zuzana Jasenková, Kristína Országhová, Magdaléna Scheryová), Dávid Koronczi, Katalin Ladik, Yuri Leiderman / Andrey Silvestrov, Vlado Martek, Andrei Monastyrski, Monogramista T.D, Ladislav Novák, Pavel Novotný, NSRD (Hardijs Lediņš, Juris Boiko, Imants Žodžiks), OHO Group (Nuša & Srečo Dragan, Naško Križnar), Boris Ondreička, Orange Alternative, Roman Osminkin, Ewa Partum, Bogdanka Poznanović, Dmitri Prigov, Lev Rubinstein, Nóra Ružičková / Marianna Mlynárčiková, Mladen Stilinović, Gabriele Stötzer, Tamás Szentjóby, Bálint Szombathy, Raša Todosijević, Jaromír Typlt, Jiří Valoch. Nová synagóga, Žilina, Slovakia J. M. Hurbana 220/11, 010 01 Wednesday — Sunday, 1 p.m. — 7 p.m. free entry (voluntary)


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Ricarda Denzer

Ricarda Denzer's audiovisual work deals with language, sound, and translation in the social and cultural fields as well as with the relationship between artist and audience. Denzer employs interviews, sound pieces, videos, photos, and drawings to develop complex transmedia installations. Of essential importance to her works of recent years has been a mobile recording studio (“10m² portable. Mobile studio”) that she developed for the interview project "Šmuggeln" (2006/11), as well as the group of notebooks entitled "Aufzeichnungen 2006–2012." Denzer’s mobile studio itself forms the setting for the installative work "La Croûte de Chou" (2007), at the center of which stands a conversation with the Indian union activist Namrata Bali. Bali speaks of sustainable and democratic structures with great intensity, her goal being to strengthen her organization in order to better “organize the unorganized.” The visual level here is dominated by a female prompter, whose whispered text consists of associatively ordered comments by a tax advisor and a coaching team, as well as of fragments from financial and economic news. These elements were brought together by the artist to form an interlaced portrayal of contemporary artists’ present-day occupational reality, working conditions, and generally precarious circumstances. Denzer spent several years ordering her artistic ideas, thoughts, associations, and questions in the notebooks "Aufzeichnungen 2006–2012," which thus amount to a visualization of her thought processes. For the artist, these densely written- and drawn-upon notebooks function as “audiovisual memory minutes,” filled parallel to the creation of her works and exhibited together with them as “footnotes of production” (Christa Benzer). A logical consequence of this was the 2012 audio piece "Perplexities," which she created together with sound artist Peter Szely; the basis for this transmedia composition is supplied by Denzer’s transcribed notes.

Denzer’s 2013 artist’s book, likewise entitled "Perplexities" makes reference to Hannah Arendt, who wrote that, in view of the helplessness and perplexities of our world, the most we can do is to think about them together. This book contains numerous interviews, text collages, and audiovisual protocols pertaining to various projects by Denzer, as well as presentations of recent artistic output.


1967, Kirn / DE

Denzer studied Architecture at the TU Innsbruck (Austria) from 1986 to 1988 and Graphic/Conceptual Art at the University of Applied Arts in Vienna (Austria) from 1989 to 1993. Since 1993 she works as a freelance artist. Denzer has received the "Förderpreis für Bildende Kunst des Landes Tirol“ (2001/2002) and the "Kunst und Kulturpreis Niederösterreich: Anerkennungspreis für Video, Kunst im elektronischen Raum“ (2009).

Lives and works in Vienna, Austria.

Solo Exhibitions (selected):

2011 “Ricarda Denzer. Much has been said - In Ihrer Sprache ist keine Lösung verfügbar.”, Kunstraum Bernsteiner, Vienna, Austria

Group Exhibitions (selected):

2012 “Sleepwalking Berlin 2012“, Freies Museum Berlin, Berlin, Germany

2010 “Long Time No See”, Brno House of Art, Brno, Czech Republic  

2008 “SITE Santa Fe Biennial 2008”, SITE Santa Fe, Santa Fe, USA

2007 “Lange nicht gesehen“, MUSA Museum, Vienna, Austria

2006 “It is hard to touch the real 2”, Grazer Kunstverein, Graz, Austria

2005 “Vidéos viennoises“, Bétonsalon Paris, Paris, France

2004 “Niemandsland. Modelle für den öffentlichen Raum“, Künstlerhaus Wien, Vienna, Austria

2002 “AUSGETRÄUMT...“, Vienna Secession, Vienna, Austria

This bibliography provides a list of books available in the
ERSTE Foundation Library

Other Media


Denzer, Ricarda. 2010. Gender Check: femininity and masculinity in the art of Eastern Europe. Vienna: ERSTE Foundation. 1 VIDEO.

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