• 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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Dóra Maurer

Dóra Maurer stands alongside Miklós Erdély, Gábor Bódy and Tibor Hajas as one of the best-known representatives of the Hungarian avant-garde scene of the 1960s and ’70s. Although she worked in various media over the course of her long artistic career, a focus on the theme of order can be made out as one of the most important common denominators in her work. “This order, however, should be interpreted in a rather elastic way,”1 writes László Beke in his text “Objective Tenderness.” On the one hand, geometric form and the systematic, constructive method play a great role, while on the other hand the phenomenon of coincidence functions as an important generator of her pictorial constructions.

Via methodically done deviations in terms of structure, Maurer achieves structural shifts. The staging of these shifts facilitates questioning of their complexity and potential. The moment they are analyzed more closely and altered via minimal movements, insignificant and  mundane situations are transformed into intriguing processes of experimentation with our social practices. The same applies to the film Learned Spontaneous Motions, in which the artist plays with the principle of repeating, expanding and varying the basic motif. A young woman reads a book, playing with her hair and changing her facial expression while reading. The 60-second movement series is shown in four sequences. The first segment shows the series’ first 15 seconds, the second shows the first 30, the third shows the first 45 seconds, and the final segment shows the entire 60 seconds. The voice of Dóra Maurer—reading a text by Sholokhov—provides the soundtrack for the filmed images. “Maurer’s films are ‘variable systems,’ which is to say that they do not document predetermined processes. The structure, for the most part limited by strict rules, first appears via the film (i.e. in the film) as a process. The system itself can be better compared with mathematical or logical deductions…”2

In the 1970s, Dóra Maurer began using the principle of the shift in her mathematical tables. She was interested in the systematization of mathematical relations between amounts shifted this way and that.3 Fascinated by developments which she “had only set in motion but not ‘made’” herself,4 She cut out the images in order to lend the flat surfaces more character. "The system graphics are abstract, indifferent. The only way to render them lively, corporeal, capable of being experienced and aesthetically evaluated is through the strategy of choosing details.”5 Various manifestations of color and color layerings, as well as different types of lighting, evidence increasingly perspectival constructions in her images from the 1990s; these give an impression of depth. Sometimes Maurer also projected the images on a vaulted surface, subsequently painting the resulting form on a flat medium (as in Hemisphärische Drillinge, 1999).




1 Beke Láslzló, Objective Tenderness, in: Dieter Ronte, Beke Láslzló, Dóra Maurer, Arbeiten 1970-1993, p. 99.

2 Peternák Miklós, Maurer Dóra. Filmek – 1973-83, catalog published by Pécsi Galéria, Pécs, 1983.

3 See Dieter Ronte, Beke Láslzló, Dóra Maurer, Arbeiten 1970-1993, p. 118.

4 Anna Bálványos, „Fragen an Dóra Maurer“ [Questions posed to Dóra Maurer], in: maurer dóra, catalog of the exhibition Concise Oeuvre, Museum Ludwig – Museum für Zeitgenössische Kunst, Budapest, 5 Dec. 2008–22 Feb. 2009, p.220.

5 Maurer Dóra: A relatív Quasi-képekről. In Dialog, 1990.

1937, Budapest / HU

Maurer studied Painting and Graphic Reproduction at the University of Fine Arts in Budapest (Hungary) from 1955 to 1961. Since 1990 she has been lecturer at the same university, where she became professor in 2003. Maurer has received several grants and awards, including the “Kossuth Prize” (2003).

Lives and works in Vienna, Austria, and Budapest, Hungary.

Solo Exhibitions (selected):   

2010     “Dóra Maurer. Schwerelos”, MUWA Museum der Wahrnehmung, Graz, Austria

2009     “Dóra Maurer - Concise Œuvre”, Ludwig Museum, Budapest, Hungary

2008     “Querschnitt”, Ludwig Museum, Budapest, Hungary

2007     “Fotoworks”, Vintage Gallery, Budapest, Hungary

2005     “Fotogenia”, Mai Mano Fotohaus, Budapest, Hungary

2004     “Farbräume”, Lindner Gallery, Vienna, Austria

2003     “Farbräume – Dunkelkammer“, Galerie Hoffmann, Friedberg, Germany

2002     “Sphärische Schuppen“, Collegium Budapest, Budapest, Hungary

Group Exhibitions (selected):

2012     “How to Make - Ideen, Notationen, Materialisierungen“, Kunsthaus Dresden, Dresden, Germany

2011     “Untitled”, 12th International Istanbul Biennial, Istanbul, Turkey

2010     “Malerei: Prozess und Expansion. Von den 1950er Jahren bis heute“, MUMOK Museum moderner Kunst Stiftung Ludwig, Vienna, Austria

2009     "Akzent Ungarn“, Neue Galerie Graz, Graz, Austria

2008     “Gegenstandslos“, Gesellschaft für Kunst und Gestaltung, Bonn, Germany

2007     “FOR A SPECIAL PLACE”, Austrian Cultural Forum New York, New York City, Austria

2006     “SQUARE Eröffnungsausstellung“, Museum Ritter, Waldenbuch, Germany

2005     “Works on the Edge”, Ludwig Museum, Budapest, Hungary

2004     “COLLECTED VIEWS FROM EAST OR WEST”, Generali Foundation, Vienna, Austria

2003     “Vzdálená blízkost”, Olomouc Museum of Art, Olomouc, Czech Republic

2002     “Vision Image and Perception”, Mücsarnok Kunsthalle Budapest, Budapest, Hungary

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

Books/Exhibition Catalogues


Kortárs Magyar Fotográfia I = Contemporary Hungarian Photography. 2010. Text by Aknai Katalin. Budapest: Vintage Galéria.


Dóra Maurer. 2008. Texts by Bálványos Anna et al. Budapest: Ludwig Múzeum.


Fotómunkák = Photoworks: 1971-1993. 2007. Text by Károly Kincses et al. Budapest: Vintage Galéria.


Maurer, Dóra, ed. 2002. Párhuzamos életművek = Parallele Lebenswerke = Parallel œuvres. Győr: Városi Művészeti múzeum.


Beke, László, Ronte, Dieter, eds. 1994. Works: 1970-1993. Budapest: Present Time Foundation.


Maurer, Dóra, ed. Maurer Dóra: Traces 1970-1980. Texts by István Antal et al. Krakow: Dominik Art Projects Foundation. [Exhib. Cat., Bunkier Sztuki Krakow (Nov. 14-Dec. 23, 2011)]





Rappolt, Mark. Art Review, issue 57 (2012)

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