Zenita Komad: (ICH) VERZEIH MIR (UND ALLEN ANDEREN), 2010/2011
geboren 1980 in Klagenfurt, lebt und arbeitet in Wien. Komad studierte an der Hochschule für Angewandte Kunst in Wien Bühnenbild und Grafik sowie Mixed Media an der Akademie der Bildenden Künsteebenda. Studienaufenthalte führten sie nach Bamberg, Los Angeles und Paris. Komads Gemälde und Kollagen sind visualisierte Analysen von Symbolen, Bedeutungen, Sprache, Missverständnis, Spiritualität, Sehnsucht und Bewusstsein. Mittels Wortspielen und Collagetechnik bezieht die Künstlerin ironisch und kritisch zwischen Populär- und Hochkultur Stellung. Die MAK-Schindler-Stipendiatin (2007) wurde 2014 mit dem Förderpreis für Wissenschaft und Kunst der Stadt Wien ausgezeichnet. Ihre Arbeiten wurden u.a. in Wien, Paris, Köln, Berlin, Zürich, Mumbai und Peking gezeigt. Im KULTUM wurde Komad in den Ausstellungen „IRREALIGIOUS! Parallelwelt Religion in der Kunst“ (2011/12), „Zenita Komad: I LOVE GOD“ (2012), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.
born in Klagenfurt, Austria, in 1980; lives and works in Vienna. Komad studied Stage Design and Graphic Design at the University of Applied Arts Vienna, and Mixed Media at the Academy of Fine Arts Vienna. She visited Bamberg, Germany, Los Angeles, and Paris in the frame of study trips. Komad’s paintings and collages are visualized analyses of symbols, meanings, language, misunderstanding, spirituality, desire, and consciousness. By means of puns and collage, the artist ironically and critically takes a stand between popular and high culture. The MAK-Schindler scholarship holder (2007) received the Advancement Award for Science and Art of the City of Vienna in 2014. Her works were exhibited i.a. in Paris, Cologne, Berlin, Zürich, Mumbai, and Beijing. Komad’s works were shown in the KULTUM in the exhibitions “IRREALIGIOUS! Parallelwelt Religion in der Kunst“ (2011/12) and “Zenita Komad: I LOVE GOD“ (2012).
Zenita Komad: (I) FORGIVE MYSELF / ME (AND ALL OTHERS), 2010/2011
In the sand picture by the Vienna-based artist Zenita Komad “VERZEIH MIR” (FORGIVE ME) must be read as a plea in the vertically and horizontally arranged letters. But an ICH (I) is lying on the floor. These letters are lying distributed under a sand picture they had once been part of before they broke off from the picture. Zenita Komad marked this wound with red paint. Horizontally, the letters can be read as “MIR” (ME, MYSELF); vertically they only become accessible to the viewers when they move. They are growing out of the image body, entering intersections and symbioses. Thus the vertical arrangement of letters is congealing into “VERZEIH” (FORGIVE). VERZEIH MIR (FORGIVE ME/MYSELF) is this installation’s first plea, the integration of ICH (I) on the floor is the prerequisite for multi-dimensional reconciliation; “AND ALL OTH ERS” is the consequence thereof. After all, to come to terms with oneself, in compensation for appealing to someone else face to face, is a basis for being able to forgive others: In a totally undisguised manner, the Vienna-based artist, who can already look back at a successful international exhibition career, introduces issues of pardon and forgiveness into our reception of art perception.
Moreover, the expansive multi-part installation directly appeals to our senses: Seven holy substances (camphor, myrrh, incense, mint, rose petals, Styrax, and Boswellia), heaped up in small portions in hollows milled into an otherwise untreated rough granite slab are burned —at first, as the artist’s opening performance, then, during the exhibition by the visitors themselves. “Art is a doctor!“, Zenita Komad’s label in her virtual communication, is extended here to become “Art is a priest!“. Everybody shall be able to burn his or her fragrant heap here. The artist introduces ritual action into the exhibition context for the visitors too. Throughout the entire exhibition period, the fragrance fills the air of the entire gallery space. From the perspective of the phenomenology of religion this act must be situated in the zones of sacrifice. The examination of spirituality in the beginning of this new millennium has not only widened our view of other religions and their cultic practices but has also lifted the confrontation of our own self with questions of personally experienced limits to the level of accomplishment. Reconciliation with the deity, which is what sacrifice is after all about, confronts the self with its ego and its necessary transgression: (I) FORGIVE MYSELF / ME AND EVERYBODY ELSE.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 384-385