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  • 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) http://www.novasynagoga.sk/poetry-performance/

Artists

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Linda Bilda

Linda Bilda is a fine artist, an inventor1, and a political activist. Her programmatic idea “that the world has to be changed”—an idea thoroughly in keeping with the concept of the Situationist International—is a determining factor in her work and in her selection of artistic tools and strategies. Bilda works with the connections and interplay between image and text. She has been a co-publisher of fanzines that took on the institutional art world, its discourses, and its protagonists with critical distance and wit, including ArtFan2 and Die weiße Blatt, Zeitschrift für Kunst und Politik3, in which the “Manifest für emanzipatorische Bildproduktion” [Manifesto for the Production of Emancipatory Images] was published in 2007. Linda Bilda’s primary medium, however, is comics, which she says is so important for her as a pop culture genre “because it is capable of producing information that is both linguistically concrete and visually multilayered.” To her, the advantage of the comics genre is that it is capable of “giving rise to an autonomy of sorts” and conveying content independent of both prior knowledge and the gallery space along with its contextual preconditions.

The stories that Linda Bilda tells in her comics serve to defamiliarize or polemically paraphrase everyday goings-on in society, politics, and the business world, as well as their respective myths as conveyed by the media. Her collected volume Keep it Real5 contains comics drawn between 1992 and 2009 as well as programmatic texts such as on the “sabotage of immaterial work.6 Her pictorial stories take on topics such as gender issues in the art business, the fictitious interlinking of Austrian right-wing populism with crime, or the imagined crash of an airplane occupied by the heads of the American, Russian, and German governments. In Die goldene Welt [The Golden World], Bilda develops her theme around the question of to what extent the economy constitutes our world’s reality. At stake in this “golden world” are a million dollars, which the wealthy Rick Subisha leaves to his friends upon his death with one caveat: the money will ultimately go to the one among them who manages to make the most profit from it within one year. To this end, Bilda creates seven prototypical characters who pursue this goal according to the criteria of neoliberal competition.

S.E.

 

Notes:

1 Linda Bilda has developed two patents having to do with architectural glass.

2 ArtFan: see work list.

3 Die weiße Blatt, Zeitschrift für Kunst und Politik (1999–2007) was published in Vienna. Linda Bilda’s co-publishers were Ulrike Müller, Christine Haider, Nora Hermann, and others.

4 A quotation from this manifesto (2007): “We would like to stimulate an emancipatory process with regard to the production of images that goes beyond mere analysis. We speak here of image production not in the sense of art but in the sense of a concrete, controversial, progressive and emancipatory image politics that intervenes against a dominance of pictorial wares sponsored with large amounts of money.” Reprinted in: Linda Bilda, Keep it Real, p. 142–144; see note 4.

5 Linda Bilda, Keep it Real. Eine Koolektion von Comics und Texten, ed. Salzburger Kunstverein (2009); this publication appeared in conjunction with the 2009 Salzburger Kunstverein exhibition Linda Bilda, Zukunft und Ende der goldenen Welt.

6 Ibid., p. 166–170.

7 Ibid., p. 146–165.

1963, Wien / AT

Bilda studied Scenography and Filmmaking in the master class of the University of Applied Arts in Vienna (Austria), where she graduated from with honors in 1989. Between 1991 and 1995 she was publishing Fanzine “ArtFan” with Ariane Müller. Since 1999 Bilda is co-publisher of the magazine "Die weiße Blatt. Zeitschrift für Kunst und Politik". She is working internationally as a visual artist. In 2002 she applied for a patent in field of Architecture. 2007 Bilda was admitted as a member of the Vienna Secession (the Union of Austrian Artists). She is also an active member of the Austrian Association of Women Artists. Bilda has received the “outstanding artist award” for visual arts from the Austrian Federal Ministry for Education, Arts and Culture in Vienna in 2011.

Lives and works in Vienna, Austria.


Solo Exhibitions (selected):

2013 “Arbeite Nie", public art project, Museum Marrienthal, Gramatneusiedl, Austria

2009 “The Future and End of the Golden World“, Salzburger Kunstverein, Salzburg, Austria

2001 “Linda Bilda for Ernst Schmidt jr.“, Vienna Secession, Vienna, Austria


Group Exhibitions (selected):

2014 “Sigmund Freud and the Play on the Burden of Representation”, 21er Haus, Vienna, Austria

2012 “It’s the Political Economy, Stupid”, Austrian Cultural Forum New York, New York City, USA

2012 “Ulrike Müller. Herstory Inventory: 100 Feminist Drawings by 100 Artists“, Kunsthaus Bregenz, Bregenz, Austria

2011 “Relationship Work: Art and Institution“, Künstlerhaus Wien, Vienna, Austria

2010 “NEXTCOMIC Festival“, Oberösterreichischer Kunstverein, Linz, Austria

2009 “Anzengruber Biennale“, Café Anzengruber, Vienna, Austria

2008 “Art + Politics“, MUSA Museum, Vienna, Austria

2007 “City of Women“, FOTOHOF, Salzburg, Austria

2006 “Ex Argentina”, Palais de Glace, Buenos Aires, Argentina

2005 “29th Austrian Graphic Art Competition. R4 Media / Urbanism/ Music“, Galerie im Taxispalais, Innsbruck, Austria

2004 “Steps for Fleeing from Work to Action“, Museum Ludwig, Cologne, Germany

2003 “re: LEVIATHAN – Visual formations of social power“, Kunsthalle Düsseldorf, Düsseldorf, Germany

2002 “Violence is at the Margin of All Things“, Generali Foundation, Vienna, Austria

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

Books/Exhibition Catalogues

 

Bilda, Linda, artist. 2009. Keep it real: eine Koolektion von Comics und politischen Texten. Salzburg: Salzburger Kunstverein [Exhib. Cat., Salzburger Kunstverein (Feb. 12-Apr. 12, 2009)]

 

Bilda, Linda, ed. 2001. Ernst Schmidt jr., Drehen Sie Filme, aber keine Filme!: Filme und Filmtheorie 1964 bis 1987. Vienna: Triton-Verlag [Exhib. Cat., Secession (Sep. 14-Nov. 11, 2001)]

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