Typed computer version 2007, German poem 2011

Etching (29 cm width x 37 cm height, framed: 43 cm width x 51 cm height) and poem, English and German version, unpub­lished

Poster: height 85 cm x width 60 cm

2011, Ury created visual images of 17 concrete poems, to be presented online and as print versions (23.532.45 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.

This poem dedi­cated to Tanya Ury’s sister Nini, whose name is contained in the word femi­ninity, first saw life as an etching and early student work of the artist when she commenced her BA HONS in Fine Art studies in 1984, as a mature student. 

The written (and etched) form of the poem is that of a fan. The poem itself is an allit­er­a­tive medi­ta­tion on the letter and sound of f” (and ph”).

femi­nini­a­tion, a German poem written in the form of a fan was completed in 2011. The poem is an allit­er­a­tive medi­ta­tion on the letter and sound of f” (“pf“/“v“ and ph”)

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In its style and inten­tion the concrete poetry is a collec­tion of jumbled, abstract ideas that reflect the day-to-day life and mood of the artist. Above all, it is impro­vised and written down imme­di­ately — in essence it is auto­matic writing.

Tanya Ury’s written poetry may be regarded as concrete” because of its visual design, and uncon­ven­tional aural effect when spoken — the texts thereby gain in dimen­sion beyond accepted meaning.

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 including femi­ninity & femi­nini­a­tion.

Collec­tions

1984 Etching (29 cm width x 37 cm height, framed: 43 cm width x 51 cm height) in private collec­tion Nini Ury, Vancouver (CA) 

2014 femi­ninity, poster (height 85 cm x width 60 cm) in private collec­tion Reem Akl, Beirut (LB) 

2014 femi­ninity, poster (height 85 cm x width 60 cm) in private collec­tion Nini Ury, Vancouver (CA)

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