• 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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Maria Hahnenkamp

Maria Hahnenkamp deals with the topic of the (primarily female) body and the everyday images, symbolic poses and rituals (including technical processes) via which this body is staged. She pursues the fascination that these images evoke in us—not to critically discard them, but rather to insert a level on which she produces a reflexive and at the same time sensitive view of them. This means that she not only refers to a particular iconography, that is to say, to stereotype female images, but also considers the process of perception and the structurally associated process of image construction in her work on these images or objects, in some cases also making use of linguistic contexts. Hahnenkamp questions the photographic image itself; in other words, this medium’s conventions as well as its materiality in terms of the picture’s surface or the frame that she works on, both to undermine the imaginary construct of the “female” body and to bring the aspect of the vulnerable and physical into play via a performatively charged counter-figure. An artistic tool employed in varying ways remains the overlapping of image surfaces by ornaments that the artist has embroidered or stitched on it by hand, the models for which come from monasteries’ books of patterns. Another of Hahnenkamp’s procedures consists in not only adding to photographic surfaces, but also taking something away from them by sanding them off. The moment which these processes of photo manipulation have in common consists in the subtle linkage of embellishment with disciplining and a latent aggression via which Hahnenkamp maintains the imaginary transformative process between (female) subject and the gaze, between the constitution of imagery and symbolic representation, while also making this process visible on various formal and technical levels.


1959, Eisenstadt / AT

Hahnenkamp has held workshops at the School for Artistic Photography Friedl Kubelka in Vienna (Austria) from 2001 to 2002 and was guest professor at the University of Art and Design in Linz (Austria) in 2004/2005. In 2008 she held a Photography course at the Summer Academy Traunkirchen (Austria). During her career, Hahnenkamp has received numerous prizes and awards, including the “Award of the City of Vienna for Fine Arts” (2008), the “Austrian Award of Recognition for Artistic Photography” (2007), the “frauen.kunst.preis” (2006), the “Award of the Landes-Hypothekenbank Tirol”, the “Outstanding Artist Award for Art of the City of Vienna” (1999), the “Römerquelle Editorial Award” (1998),  the “Otto Mauer Fund’s Prize” (1995) and the “Outstanding Artist Award for Art Photography from the Federal Ministry for Education, the Arts and Culture” (1994).

Lives and works in Vienna, Austria.

Solo exhibitions (selected):

2016 Galerie Jünger, Vienna, Austria

2016 Werkschau XXI, Fotogalerie, Vienna, Austria

2012 Galerie Krobath, Vienna, Austria

2010 “Maria Hahnenkamp“, Lisi Hämmerle Gallery, Bregenz, Austria

2008 “Maria Hahnenkamp“, Salzburger Kunstverein, Salzburg, Austria

2007 “Six Posters“, Galerie im Taxispalais, Innsbruck, Austria

2005 Praz-Delavallade Gallery, Paris, France

2002 “Transparency“, MAK Museum für angewandte Kunst, Vienna, Austria

Group exhibitions (selected):

2015/16 "Mother of the Year: Between Empowerment and Crisis: Images of Motherhood from 1900 to Today", Lentos Kunstmuseum, Linz, Austria 

2012 “Desiring The Real - Austria Contemporary“, Museum of Contemporary Art Belgrade, Belgrade, Serbia

2011 “Body Codes“, Museum der Moderne, Salzburg, Austria

2010 “Psychoanalysis – Gazes on Photography and Video Art from Austria“, Tokyo Wonder Site, Tokyo and Museum of Contemporary Art, Kumamoto, Japan

2009 “The Power of Ornament“, Belvedere, Vienna, Austria

2008 “Matrix: Gender - Relations - Revisions“, MUSA Museum, Vienna, Austria

2007 “Portraits-Souvenirs, Collection Neuflize Vie“, Salon du Collectionneur, Grand Palais, Paris

2006 “Why Pictures Now – Photography, Film, Video“, MUMOK Museum moderner Kunst Stiftung Ludwig, Vienna, Austria

2005 “Simultaneous - Two Collections of Austrian Photography“, Museum der Moderne, Salzburg, Austria

2004 “Flexible 4: Identities“, Landesgalerie am Oberösterreichischen Landesmuseum, Linz, Austria (travelling exhibition: Manchester, UK)

2003 “Fables de l´identité – Œuvres photographiques et videos de la collection NSM Vie/ABN AMRO“, Centre national de la photographie, Paris, France

2002 “Re-considered Crossings. Representation Beyond Hybridity“, Hong Kong, Hong Kong

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

Books/Exhibition Catalogues


Fotogalerie Wien, ed. 2016: Maria Hahnenkamp: Werkschau XXI. Vienna: Fotogalerie. 


Iemura, Kayoko, ed. 2010. Psychoanalysis: Gazes on Photo and Video Art from Austria. Curated by Walter Seidl et al. Tokyo: Tokyo Metropolitan Foundation of History and Culture.


Salzburger Kunstverein, ed. 2009. Maria Hahnenkamp. Vienna: Schlebrügge Editor [Exhib. Cat., Feb. 7-Apr. 13, 2008)]


Hochleitner, Martin, Schulz, Bernd, eds. 2002. Bilder und Nachbilder. Engl./Germ. Contributions by Martin Hochleitner et al. Heidelberg: Kehrer [Exhib. Cat., Stadtgalerie Saarbrücken (Jun. 14-Aug. 19, 2001), Landesgalerie am Oberösterreichischen Landesmuseum (Jan. 24-Mar. 3, 2002)]


Iglar, Rainer, Mauracher, Michael, eds. 2000. Maria Hahnenkamp. Salzburg: Fotohof, 2000.


Maria Hahnenkamp. 1993. Introduction by Karin Schorm. Texts by Ami Barak, Friedl Früh, Johanna Hofleitner, Kurt Kladler. Vienna: Galerie Karin Schorm.

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