• 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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Heidrun Holzfeind

Heidrun Holzfeind is an artist who explores selected thematic complexes with great analytic interest, rendering them accessible in an aesthetic and artistic sense via seemingly restrained but all the more precise means. One of Holzfeind’s emphases is on (frequently modernist or postwar-modernist) architectural projects, many of which were built as residential complexes designed to facilitate specific forms of urban cohabitation; she confronts such projects’ once-utopian aspirations with the social and political reality of the people who live there today. Holzfeind’s method has a documentary component: she shows her protagonists in their living situations and allows them to speak at length while herself remaining in the background. At the same time, though, she subtly brings her personal aesthetic reflections to bear in order to simultaneously convey political content between the lines. “Za Żelazną Bramą” (2009) is part of a trilogy about modernist residential complexes—two of them in the West, one of them in the (former-)communist East—aimed at evoking critical discussion of modernist promises with regard to urbanism and home living: In “Corviale, Il Serpentone” (2001), Holzfeind looks at the “Corviale” complex that was constructed between 1975 and 1982 on the outskirts of Rome, while her work “Za Zelezna Brama” focuses on a Warsaw residential project built between 1965 and 1972; both of these are based the urbanistic ideas of Le Corbusier. “Colonnade Park, Mies in Newark Revisited” (2011), on the other hand, is about the “Pavilion and Colonnade Apartments” built by Mies van der Rohe in Newark, New Jersey in 1960. Holzfeind composes portraits of the respective presences of these complexes and their inhabitants while at the same time showing the historical shifts and upheavals to which such projects, originally intended as ideal solutions, have been subject. And in doing so, she succeeds in placing urbanistic and sociopolitical elements that would seem to be peripheral, ignored, and forgotten at the center of attention.



1972, Lienz / AT

Holzfeind works as filmmaker. She studied Art History at the University of Vienna (Austria) from 1990 to 1992, and Sculpture at the Academy of Fine Arts in Vienna from 1991 to 1996. Furthermore did she study at Cooper Union in New York City (USA) in 1995. Holzfeind has received several grants and awards, including the “Camera Austria Preis für zeitgenössische Fotografie der Stadt Graz” (2011) and the “Gerhard und Birgit Gmoser-Preis für Gegenwartskunst, Secession Wien” (2011).

Lives and works in Vienna, Austria.

Solo Exhibitions (selected):

2012 “Strictly Private”, BAWAG Contemporary, Vienna, Austria

2010 “Behind the Iron Gate”, CCA, Ujazdowski castle, Warsaw, Poland

2009 “Heidrun Holzfeind”, De Vleeshal, Middelburg, the Netherlands

2008 “Mexico 68”, Sala de Arte Público Siqueiros, Mexico City, Mexico

2007 “CU / 68”, Galerie im Taxispalais, Innsbruck, Austria

2005 “Exposed”, Artists Space (project room), New York City, USA

2002 “Alien”, Austrian Cultural Forum Rome, Rome, Italy

Group Exhibitions (selected):

2014 “Archives, Re-Assemblances, and Surveys", Camera Austria, Graz, Austria / Galerija Klovićevi dvori, Zagreb, Croatia

2011 “DEAR THICK & THIN”, ME contemporary, Copenhagen, Denmark

2010 Documentary Fortnight exhibition, Museum of Modern Art, New York City, USA

2009 “See this Sound”, Lentos Kuntsmuseum Linz, Linz, Austria

2008 “Rom Report“, Badischer Kunstverein, Karlsruhe, Germany

2007 “After Architects”, Architekturmuseum Basel, Basel, Switzerland

2006 “What war?”, White Box, New York City, USA

2005 SKIF Festival, St. Petersburg, Russia

2004 “Alien4”, Minority Report, Festival of Contemporary Art, Aarhus, Denmark

2003 “Video Drive In”, Room Service, Agence d'Art Contemporain, Rennes, France

2002 “Prototypes”, Fondazione Olivetti, Rome, Italy

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

Books/Exhibition Catalogues


Kinitsch, Christine, ed. 2012. Heidrun Holzfeind: strictly private. Vienna: BAWAG Contemporary. [Exhib. Cat., BAWAG Contemporary (Feb. 09-Apr. 01, 2012)]




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