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 (23.532.45 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.

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 (18871964), 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)


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)

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).


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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