leeres archiv (empty archive) 2013

Video-instal­la­tion and some printed concrete poetry

2011, Ury created visual images of 17 concrete poems, to be presented online and as print versions (23.5 x 32.45 cm), digital image processing Mirco Sanftleben, two of these poems being femi­ninity and femi­nini­a­tion, the rest being part of the series cement, weißer neger (white nigger), concrete party & oral call, cross word, toned poems, two toned, pommes, taste of space, leeres archiv.

Tanya Ury’s poetry (mainly in English with some German) exists in several constel­la­tions: the impro­vised oral, the written and spoken, together in video form; and within the poems them­selves, there are vari­a­tions on tradi­tional verse, with certain slips of tongue and thought; but also the echoic sound, and concrete poetry (i.e. text as image); and then there the perfor­mance as verbal commu­ni­ca­tion — this poetry has a euphonic quality. 

Tanya Ury has draws her inspi­ra­tion from many sources — in a manner similar to Edith Sitwell she has worked together with musi­cians to create innu­mer­able sound pieces, mostly with impro­vised text and music – occa­sion­ally with a written text.

Dame Edith Sitwell, an English poet (1887−1964), wrote in a broad manner and worked on a collab­o­ra­tive project with the composer William Walton in 1922, to produce ​“Façade – An Entertainment”.

“The poems (Façade), (…) are abstract poems — that is, they are patterns in sound… exper­i­ments… enquiries into the effect on rhythm, and on speed, of the use of rhymes, asso­nances and disso­nances, placed outwardly and inwardly (at different places in the line) and in most elab­o­rate patterns.’”
From the programme notes to Façade, Lyric Theatre Hammer­smith, London. www.auricleensemble.or.…..).pdf

Ury has also created other artworks that might be consid­ered visual poetry. Moving Message 1992, incor­po­rates an LED sign displaying the words: you are why; Sonata in Sea 1999 – 2000 is a photo series combined with poetry and wrestle­with­y­ourangel 2001, is a neon sign produced together with the neon sign neonazi 2001; the title of a double photo portrait lesser is me more or less 2003 plays on the name of the German Post-Impres­sionist Lesser Ury, as does the title of a further double portrait or else 2007, which refers to the German writer Else Ury. The title of a third photo-portrait Beelze­bu­larin 2005 (in the Promised Land series) reveals itself to be an anagram of the biblical Bezalel Ben Uri. half dimen­sional — semi detached 2010, combines the first of the half dimen­sional poems with the photo­graph semi detached.

concrete – a collec­tion of works (including poetry series)


Presen­ta­tion

2012 (11.6) Tanya Ury is the featured artist with new works in the June edition online of Imag­i­na­tions: Journal of Cross-Cultural Image Studies, Univer­sity of Alberta, Canada, with Videos: Inti­macy, cement & dark room; a series of 17 concrete poems, the photo­graph Alibi­jude, Selec­tion from the Who’s Boss series, and 8 photos from Soul Brothers & Sisters, also 3 photos of Occupy in Stras­bourg, from the Fading into the Fore­ground series; further­more 5 toned poems (sounds, music and sound mix Kasander Nilist) and a peer review inter­view (text and Skype video) with Claude Desmarais, (CA)
www​.csj​.ualberta​.ca/im…

2013 (11.7. – 7.9) ​“Righting the Image” — The Liter­a­ture Collec­tion in Cologne (LiK) and the Cologne City Library, present an exhi­bi­tion of Tanya Ury’s work. Opening event — Thursday, 11.7.2013, 8 pm. Intro­duc­tion: Dr. Gabriele Ewenz, Director of the LiK-Archive, with Suspended Beliefs — impro­vised poetry with impro­vised music: Tanya Ury (voice), Gernot Bogumil (trumpet), Kasander Nilist (double bass), Hans Salz (percus­sion), Peter Worringer (e‑guitar).

Collec­tions 

2014 mündliche tradi­tion poster (height 85 cm x width 60 cm) in private collec­tion Jürgen Müller, EL-DE-HAUS, Nazi Docu­men­ta­tion Centre Cologne (D)

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