• 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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Flaka Haliti

The works of Flaka Haliti take shape as installations, videos and photographs that revisit situations stemming from historical traditions. While her oeuvre tackles uneasy questions about social inequality, it does so for the most part with an ironic twist. Aspects of migration permeate many of the artist’s projects, in which normative elements of conservative politics are brought to the fore. While living in Frankfurt, the artist sought to challenge elements that are traditional in a Western context—and came up with a variety of interventionist works. In her sound installation “Ex-Spatium,” she dealt with the different languages of expats living in the city, questioning various notions of labor as they relate both to those who came to work in the city due to its status as one of Europe’s financial capitals and to those who moved there due to other migrant reasons. In doing so, she pointed out an expat network that grants access to certain events—but only upon payment of a membership fee. This gave rise to questions about the inclusion and exclusion of non-nationals. Subsequently, Haliti developed the project “Artist Immunity” as published in the blog Frankfurter Gemeine Zeitung. This project advocated giving legally immune status to artists, for while many of them cross borders as often as diplomats do, the procedures for obtaining access to the countries in question, let alone residence permits, are far from easy or comfortable. The latter circumstance can also be viewed as a central factor behind the artist’s approach. Haliti’s works, informed by the precarious conditions in which many people find themselves on a daily basis, confront viewers with an uneasiness that triggers questions about personal identities that go beyond a mere national framework. The architectural sites of her interventions are of equal importance, hinting at the specific conditions present in the respective social locales. Accordingly, Haliti’s works call for artistic self-empowerment in order to reflect on the necessities of political engagement via a visual vocabulary.




1982, Prishtina / KO, at that time Jugoslavija

Haliti studied Graphic at the Academy of Arts, Prishtina University (Kosovo), from 2002 until 2006. From 2008 until 2013, she studied Fine Arts at the Städelschule in Frankfurt/Main (Germany). Haliti was visiting professor of aesthetic of space at the Architecture Department at the Prishtina University from 2007 until 2008. She was the First Prize Winner of Agriculture and Banking organized by Städelschule and Rentenbank, Frankfurt/Main, in 2009 and has received a DAAD Scholarship for 2009/2010.

Lives and works in Frankfurt/Main, Germany, and Prishtina, Kosovo.

Solo Exhibitions (selected):

2016 "tea towels have something to do with tea", Rüdiger Schöttle Gallery, Munich, Germany

2015 "Speculating on the Blue", Kosovo Pavilion, 56th Venice Biennial, Venice, Italy

2014 "I See a Face. Do You See a Face" mumok -  Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria

2012 “I Miss You, I Miss You, ´Till I Dont Miss You Anymore”, Stacion CCA, Prishtina, Kosovo

2010 “Flaka Haliti”, son: DA Gallery Ex- Garage Maribor, Slovenia

2008 “Balls! Balls! Balls!”, Stacion CCA, Prishtina, Kosovo

2007 “Winners/Losers (part one): Flaka Haliti”, Stacion Cca, Prishtina, Kosovo

Group Exhibitions (selected):

2012 “Ein Sechstel der Erde, Über die Beziehung des Bildes zur Welt“, ZKM Center for Art and Media, Karlsruhe, Germany

2011 “EAST by SOUTH WEST – Curated by Vienna 2011”, Gallery Martin Janda, Vienna, Austria

2010 “Heiss Oder Kalt“, Haus der Kulturen der Welt, Berlin, Germany

2009 “Exception”, Museum of Contemporary Art Vojvodina; Napon, Novi Sad, Serbia

2008 “Plazma”, Siemens ArtLab Gallery, Vienna, Austria

2007 “Pa titull”, NoD Galerija, Prague, Czech Republic

2006 “Academy Remix/Missing Identity”, Portikus, Frankfurt/Main, Germany

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

Books/Exhibition Catalogues


Rüdiger, Barbara, ed. 2014. I see a face. Do you see a face. Cologne: König.

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