taste of space 2012 – 2013


A DVD (4:50:00 minutes) of the poem layout with voice-over sound­track for projec­tion was created in 2013 (image format 4:3) 

Poetry, design & recording Tanya Ury
Video edit Mirco Sanftleben
Correc­tion of German parts Amin Farzanefar 

In a similar manner to her other poetry series Tanya Ury’s taste of space is written off the cuff, what­ever comes to mind during the day, or a mixture of misheard parts of conver­sa­tion, misread found texts, one’s own mistakes while writing.

For example I write on post cards, oh well I write on post cards. I” begins again with a repro­suc­tion (say, I just wrote repro­Suc­tion: have you noticed that I make more and more strange mistakes, is it fatigue or age, occa­sion­ally the spelling goes, phonetic writing comes back in force, as in elemen­tary school where it did not happen to me more­over, only to others whom I confus­edly looked down on – plus the lapsus or slips” obvi­ously). And by means of a repro­duc­tion itself repro­duced seri­ally, always the same picture on another support, but an iden­tical support, differing only numéro.”
p. 27, The Post Card – From Socrates to Freud and Beyond” Jacques Derrida, 1980 trans­lated by Alan Bass, The Univer­sity of Chicago Press, 1987


Like half dimen­sional poems 2009 – 2011, cement 2011, weißer neger (white nigger) 2011, oral call 2011, cross word 2011 – 2012, toned poems 2011 – 2012, and pommes 2012, taste of space is prose poetry, written in English and German. In style and sense these are concrete poems, a collec­tion of jumbled abstract thoughts, misun­der­stood conver­sa­tion and misread text, which, reflect the daily life and tempera­ment of the Jewish artist. This piece, unlike Tanya Ury’s other concrete poetry will however be presented with several actors and thema­tises Jewish iden­tity and life in Germany today.

Tanya Ury


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.

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 and since 2011 Tanya Ury recorded 6 of the more tradi­tional poems (toned poems: 5.54 minutes) to be found in the poetry series, together with Kasander Nilist (double bass, sound and mix), also for the June edition online of Imag­i­na­tions – Journal of Cross-Cultural Image Studies, Univer­sity of Alberta (CA) with Ury as featured artist.

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)


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) 

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