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| FRONT > LORELEY > CV |
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The importance of a feminist position in my art and writing has held a parallel status for me, with the concern over problems of xenophobia and blind spots in history reflected in European society today, particularly Germany, my home since 1993.
I started working on the re-appraisal of Shoah, the Holocaust in Great Britain of the late 80’s. Although this was belated, hardly any British artists were doing that, preferring to engage with Britain’s colonial history and its aftermath, although the Holocaust and its consequence is relevant to British history, principally because the government under Churchill ignored the fact of the concentration camps, which the British could have bombed for humanitarian reasons, preferring to protect their territorial interests with World War 2.
My family was exploited, abused, and murdered, as were many non-Jews. In terms of a feminist approach, the criminalisation of rape in war has only been recognised since the Balkan war of the 90’s, although Nazis systematically perpetrated this crime, a subject that I engaged with in my artwork of the 90’s.
My immediate survivor family were part of a wave of refugee-immigrants to Great Britain from Nazi Germany in the late 30’s. Today, the British Jewish community is 273.500 strong (http://de.wikipedia.org/wiki/Judentum) but I have not observed any particular interest by them or a wider British populace to support a culture of art by “Jewish†artists. I ask myself why this is. Has British Jewry become too comfortable, too assimilated/integrated? Why is a Jewish art culture neglected in the United Kingdom?
In Germany it is a different story. The Jewish community with its 103.000 is smaller than the British one (http://de.wikipedia.org/wiki/Judentum), but a “Jewish†and “Jewish feminist†art culture is nurtured and celebrated. One must also keep alert here however - in “The Right of the Image, Jewish Perspectives in Modern Artâ€, Bochum Museum (D) (2003-04), probably the most comprehensive exhibition of “Jewish†art to be held, only 6% of the artists represented were women.
Although I am not religious in a Jewish sense, I continue to find the examination of contemporary Germany in the face of Shoah important; wider issues are reflected because this capitalist society has benefited from crimes of the recent past, where some truths are repressed, such as the forced labour employed as seamstresses and tailors, to make Nazi uniforms that Hugo Boss exploited during the Third Reich.
Tanya Ury, 2007
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1988 BA HONS in Fine Art, First Class, Exeter College of Art and Design (GB), 1990 Masters in Fine Art, Distinction, Reading University (GB) Fine Art |
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Exeter College of Art and Design, Reading University (GB) |
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1992 False Premises, Play in Camera, Fellowship exhibition, Sheffield Hallam University (GB)
1993 Seduction 2, False Premises, Department of Holography, Royal College of Art, London (GB)
1996 Play it by Ear, Artillerie, Cologne (D)
1996 Triptych for a Jewish Princess Second Generation, Foyer Feminale Women's Film Festival, Cologne (D)
1997 Golden Showers live video/performance, Schauraum Cologne (D)
1997 Golden Showers Installation, City Library, Munster (D)
1997 Hotels, solo exhibition with Doris Frohnapfel, Hotel Chelsea - Köln, SCHULZ Cologne (D)
1998 Solo exhibition (with Doris Frohnapfel, Not Black and White, Hotel Chelsea - Köln, Triptych for a Jewish Princess Second Generation, Play it By Ear, Fotogalerie Brotfabrik, Berlin (D)
1999 Golden Showers Installation, The Lux Cinema Foyer, London (GB)
2001 Hermes Insensed, Ô d'Oriane, Sonata in Sea, Hotel Seehof, Zurich (CH)
2002 Hotel Chelsea - Köln photo series Köln Kultur 30 (D)
2002 Hermes Insensed with reading, Galerie 68Elf Cologne (D)
2002 Jacob's Ladder with performance Red Hot Pokers finissage 9th Nov. 2002, Cologne's Long Museum's Night, Hochbunker Cologne-Ehrenfeld (D)
2005 (22.12) Hotel Chelsea – Köln, video and photographs, 10 year anniversary in the Suite, Chelsea Hotel, Cologne (D)
2006 (26.7.-9.8.) Screenings: Kölnisch Wassser (split screen version), Hotel Chelsea Köln, Golden Showers, Röslein Sprach… Seminars: Who’s Boss, 4 pm 26.-7 in the exhibition, and computer-based screening Theme Park with talk: Theme Park Reconstructed in the exhibition space 4pm. 27.7., Tüzraktér Independent Cultural Centre, Budapest (HU)
2006 (14.8) Promises: Promised Land & Theme Park DVD projections, Seminar: Theme Park Reconstructed 3pm, Fortnight of Solo Shows, Ben Uri Gallery, The London Jewish Museum (GB)
2006 (3.11.-24.11.) 9-12 hours, workshop with pupils from the Anne-Frank-Realschule (secondary modern). Opening 20 Uhr 3.11. Who’s Boss, Bochumer Kulturrat, (D)
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1991-92 Colin Walker Fellowship in Fine Art (& guest lecturer), Sheffield Hallam University (GB) |
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1996 Hotel Chelsea - Köln, VIVA 8 Festival, awarded Best Confrontational Video, London (GB) |
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2007 Promised Land: Beelzebularin awarded a commendation in the International Jewish Artists of the Year Awards, Ben Uri Gallery, The London Jewish Museum of Art (GB) |
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Who’s Boss was presented in the exhibition "Stets gern für Sie beschäftigt..." ("Always glad to be of service…"), at the ifa Galerie, Berlin, the Prora Dokumentationszentrum, Rügen and the Kunstverein Rosenheim (D) (Art Centre) during 2005. The exhibition received 7000 visitors. A catalogue was produced by the ifa-Galerie and a shorter version of this paper appeared as a half page article in the German TAZ newspaper on 1.4.2005.
Many art objects have been made and a book is being produced.
I chose the Boss story to engage with, although many other German companies profited during the war years by exploitation, because Boss was a clothing manufacturer; the idea that a costume doesn't just provide a protective layer but can also be a form of disguise, intrigued me. Hugo Ferdinand Boss made gentlemen's suits in Metzingen, Germany until 1931. Later, when he became a Nazi party member, the firm made uniforms. Now the privatised and highly successful fashion house follows contemporary trends that still conform to an average uniformity. |
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1992-93 False Premises, Moving Message, British Telecom New Contemporaries on tour: Orion in Newlyn, Cornerhouse in Manchester, Angel Row in Nottingham, Orpheus in Belfast (IRL) ICA in London (GB)
1993 Kölnisch Wasser live video/performance, Break the Silence - A Video Diary, 120 Tage Einsamkeit (120 Days of Solitude), Galerie 68Elf Cologne (D)
1993 Seduction 2, False Premises & lecture, Women in Art Practice conference, Exeter (GB)
1995 Hotel Chelsea - Köln, Coincidence, Ignis European Cultural Centre, Cologne (D)
1996 Play it By Ear, Castle of Imagination, Bytow (PL)
1996 Hotel Chelsea - Köln, Whitechapel Gallery, London (GB)
1996 Hotel Chelsea - Köln, Triptych for a Jewish Princess Second Generation, Mensch 2000, Hochbunker Cologne-Ehrenfeld (D)
1998 Blue Danaé I, outfit authentizität und maskerade (outfit authenticity and masquerade), International Photoszene, Kunsthaus, Rhenania, Cologne (D)
1998 Blue Danaé I & 2, Triptych for a Jewish Princess Second Generation, Davka, Jüdisches Leben in Berlin – Traditionen und Visionen, (Jewish Life in Berlin - Traditions and Visions), Centrum Judaicum (D)
1999 Hotel Chelsea - Köln, Crosslinks (Videothek), Berliner Marstall (D)
1999 Golden Showers, Die Gehängten/Hung Up, Menschen Wie Du Und Ich - 4 artists in response to the exhibition: Vernichtungskrieg Verbrechen der Wehrmacht 1941 bis 1944 (Crimes of the German Army 1941-44), Cologne City Museum (D)
1999 Die Gehängten/Hung Up, Davka, Kulturbrauerei Prenslauerberg, Berlin (D)
1999 Die Gehängten/Hung Up, The Jewish Central-Labyrinth, Berlin (D)
2000 Ô d'Oriane, Women Look (with Anna Halm-Schudel), In Focus Galerie, Cologne (D)
2000 Dual(national)ity, Die Gehängten/Hung up, Hotel Chelsea - Köln, Heimat Kunst (Homeland Art), House of World Cultures, Berlin (D)
2000 Hotel Chelsea - Köln and 2 video stills (photos) Gegen den Strich, Museum Ludwig, Cologne (D)
2000 Jack the Ladder, Dual(national)ity, Stechmücke (work in progress as reading), Aesthetik 1,2,3, 68Elf Galerie Photoscene Cologne (D)
2001 wrestlewithyourangel & neonazi, Termini Technici, Trinitatis Church Cologne (D)
2001 Between the Lines or the Three Rs, Rolf Steiner's 'The Wide World' (edition 30): Rupert Walser, Art Cologne (D)
2001 Between the Lines or the Three Rs, Rolf Steiner's 'The Wide World' (edition 30): (with reading 4 pm on December 7th) House of Literature Cologne (D)
2001 Between the Lines or the Three Rs, Rolf Steiner's 'The Wide World' (edition 30): Claus Bittner Bookshop Cologne (D)
2002 Between the Lines or the Three Rs, Rolf Steiner's 'The Wide World' (edition 30): Studio Dumont, Cologne (D)
2002 Hermes Insensed, Ambivalence, Women's Museum Bonn (D)
2002 Hermes Insensed, Ambivalence, Galerie Münsterland Emsdetten (D)
2002 Hotel Chelsea - Köln photo series, Kultur Köln 30 Cologne Ehrenfeld (D)
2002 Dual(national)ity, Transcending the Ladder (reading 16th Oct), Europe Beyond Borders, City of Women, Mednarodni Graficini Likovni Center, Ljubljana (SL)
2002-03 Hotel Chelsea - Köln video still, Annual Exhibition, Köln Kultur 30 (D)
2003 beachcomber, Images against War, Galerie Lichtblick Cologne (D)
2003-04 lesser is me more or less, Jack the Ladder, The Right of the Image, Jewish Perspectives in Modern Art, Museum Bochum (D)
2004 Ô d'Oriane, Kölnisch Wasser (split screen projection), Lies, Lust, Art & Fashion - Signale der Kleidung (Clothing Signals), Podewil, Berlin (D)
2004 Between the Lines or the Three Rs, Rolf Steiner's "Die weite Welt" (The Wide World), Museum Ludwig Cologne (D)
2004 beachcomber Images Against War, Art School, Hasselt (B)
2004 Who’s Boss: Hair Shirt, Dresscodes, Kunstverein Neuhausen (D)
2005 Who’s Boss: Fashion Victim, Hair Shirt, Art Prize, Röslein Sprach…, Your Rules, Boss Rune (& Boss Rune T-shirts), "Stets gern für Sie beschäftigt…" (â€Always glad to be of service…â€), ifa Galerie, Berlin (D)
2005 (28.1.-end April) Boss Rune T-shirts, Schöne Grüße (Best Wishes), Propeller, Friedrichshain, Berlin (D)
2005 (26.3.-23.4 Opening 24th March 7 pm) Poker Poems & Röslein sprach…, slide reading 20th April 150m3 Largus, Ausstellungs- und Projektraum (exhibition and project room) Mozartstrasse 9, Cologne (D)
2005 (28.5-3.7.) Who’s Boss, Prora Documentation Centre, Rügen (D)
2005 (18.9.-2.10.) Dual(national)ity dibond photos, Contact - Context, Künstlerforum Bonn (D)
2005 (9.11.-6.1.2006) Who’s Boss, "Stets gern für Sie beschäftigt…" (â€Always glad to be of service…â€), Kunstverein Rosenheim (Art Centre), (D)
2005 (2-18.12) DVD Version, Traum und Trauma - Zur Idee des Staates Israel in Film und Video, Haus der Kulturen der Welt, Berlin ((Dream and Trauma - On the Idea of the State of Israel in Film and Video, House of World cultures, Berlin)(D)
2006 (6.5.-18.6.) Promised Land, Jahresausstellung (Yearly exhibition), Kunstverein Rosenheim (D)
2006 (29.8.-31.8) Promised Land DVD projection with discussion, Jerusalem Cinematheque evening of 29.8, Promised Land DVD projection & Theme Park computer-based projection in exhibition, Who’s Boss and Theme Park Reconstructed as seminar presentations, c.sides festival, International Convention Center, Jerusalem. (IL)
2006 (2.9.-end September) Group exhibition, Who’s Boss: Soul Brother Shaheen, Connection, Propeller, Berlin (D)
2006 (9.9-13.10) Pictures and statements from Fading into the Foreground, group exhibition: Emergency Room, curator Thierry Geoffroy Colonel, Galerie Olaf Stüber, Berlin (D)
2006 (6.10.-27.10) Promised Land: 3 photographs: Beelzebularin and
2 digitally handwritten texts in English and German, Virtual Residency, Galeria Biala, Centrum Kultury, Lublin (PL)
2007 (11.3.-9.4.) 4 double portraits: lesser is me more or less, or else, Du bist Einstein, doo bee doo and the video Promised Land, Connected, Jewish Cultural Days, Altes Museum im BIS-Zentrum (Old Museum in the BIS Centre), Moenchengladbach www.connected-mg.de (D)
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1999 Taking on the Mantle article by Ury, images: Moving Message logo, Golden Showers, Triptych for a Jewish Princess Second Generation, AufBrüche - Kulturelle Produktionen von Migrantinnen, Schwarzen und jüdischen Frauen in Deutschland (Marginal Cracks - Cultural Production of Women Migrants, Black and Jewish Women in Germany), publ. Ulrike Helmer Verlag ISBN 3-89741-042-7 (D) |
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2002 Transcending the Ladder article by Ury in 'From Work to Word', publ. Korridor Verlag ISBN 3-9804354-8-2 (D) |
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2005 (6) Das Leiden Anderer Missachten - Disregarding the Pain of Others, article in FILMRI:SS - Studien zum UNTERGANG der Erinnerung (Memory Loss – Studies in the downfall of Memory), Unrast Verlag ISBN 3-89771-435-3 (D) |
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Knowledge of English and German languages.
As an artist:
video, performance, photography, writing, installation, object-making, curating.
Otherwise:
Vegetarian cooking.
Knitting.
Typing. |
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