Ho Leng
— “The Great Expectation” in fragments

Peter Weiermair
Rede zur Eröffnung der Ausstellung Zenita Komad, Rosmarie Lukasser und Terry Fox am 29.01.2013

Christine Wetzlinger-Grundnig
— Harpyie (deutsch)
— Harpyie (english) 

Peter Gorsen
— The Supremacy of Ambivalent Feelings and
Coquetry with Things

— Die Macht der ambivalenten Gefühle und das Kokettieren mit den Dingen

Nathalie Hoyos
— 80 Days around the World. 10 Years of Zenita City.
— In 80 Tagen um die Welt. 10 Jahre Zenita City.

John Welchman
LBZK: Heart Mistresses

Himali Singh Soin
Eternally, I Am Your Yes – Zenita Komad

August Ruhs
— Back To The Roots oder Anleitung zur richtigen Wurzelbehandlung

Hans-Peter Wipplinger
— On the Insatiable Hunger of a Deeply-rooted Need to Visualise. An Attempt at a Localisation of the Artistic Practice of Zenita Komad.
Über den unstillbaren Hunger eines tief verwurzelten Vergegenwärtigungsbedürfnisses. Versuch einer Verortung der künstlerischen Praxis von Zenita Komad.

Markus Mittringer
— Dear z.
liebe z.
Überall ist Zenita City
— incensed
— im weihrau(s)ch
A solemn mass for the poor hubbles
— Feierliche Messe für die armen Hubbles

Lothar Schmidt
— Eulogy by Lothar
— Eloge von Lothar

Gerald Matt
— Canned Chess! Recollections on the Genesis of Zenita Komad’s “Operation Capablanca”.
— Schach der Konserve! Erinnerungen an die Genese von Zenita Komads Operation Capablanca.
— Interview: I use mayself as material …
— Interview: Ich verwende mich als Material …

Ingried Brugger
Statement (English)
Statement (German)

Margarita Thurn
The Soul of the Child
Kleider machen Leute

Peter Vuijca

Stefan Musil
Marias Pfeil

Lucas Gehrmann
Bildobjekte, Subjekt-Bilder
Poesie der Zeichen
Operation Capablanca, Music-dramatic
Moves with 264 Open Outcomes

Operation Capablanca, ein musikdramatischer
Felderzug mit 264 offenen Ausgängen

Alexander Pühringer
— And Zarathustra climbed back into the mountains, thus to speak no more.
Und Zarathustra geht zurück in die Berge und schweigt

Franz Graf
— Kampfzone

Helen Chang Morris
God Speed your Tongue

Peter Noever
Quotes / Zitate

Ursula Krinzinger
In Conversation with Zenita Komad 

Johannes Rauchenberger
God is Not Nothing (Interview with Zenita Komad)
Interview zur Ausstellung „I Love God“
Be Light unto the World (Galerie Gölles)
Sei Licht für die Welt (Galerie Gölles)

Danielle Spera
Salvation cannot be bought
Seelenheil kann man nicht kaufen

Almuth Spiegler
Zenita Komad: “God Is Not a Cash Machine”
Zenita Komad: „Gott ist kein Bankomat“

Meinhard Rauchensteiner
The Comfort of Questioning
Geborgenheit des Fragens


Felicitas Thun
Rivoluziona la vita! – Zenitas Opfer?

Susanne Längle
At the Beginning was Simplicity

Clarissa Mayer-Heinisch
— Zenita’s Universe – Anleitung zum Glücklichsein


In recent years, Zenita Komad (b 1980) has made a name for herself in the international art market with her outstandingly individual, interdisciplinary work – or rather, with her comprehensive and highly subjective artistic cosmos entitled “Zenita Universe”, centred on the person of the artist herself. Her work Harpyie [harpy] also comes from this colourful, multi-faceted world, as part of a complex, contentually close-knit œuvre marked by intuition, creativity, integrative and anarchic strategies, thirst for knowledge, curiosity, pertness, jocularity and absurdity.

The harpy eagle is the largest and most powerful bird of prey found in the tropical rainforests of Central and South America. In Greek mythology, the harpies are the daughters of the marine god Thaumas and the Oceanid nymph Electra. They are winged hybrids, spirits of the storm winds and virtually invulnerable. Here Zenita Komad transforms the mythological creature – which is described both as a beautiful and as an ugly bird-woman – into a most unusual pictorial equivalent: a textile portrayal that exerts its uncanny suggestive power somewhere between overwhelming monumentality, naïve symbolism and almost humorously appealing representation. The artist combines a number of different processes – painting, object art and handicrafts techniques – and uses traditional resources in unorthodox ways. She sews, shapes, paints and constructs, disregarding artistic conventions; her approach seems at first amateurish, but incredibly enthusiastic, executed with childlike pleasure.

Zenita Komad's wall object is a combination of panel painting, or colour plate, and expansive sculptural elements which appear to emerge from the flat canvas so that the surface is more like a three-dimensional picture support for a strange sculpture-like figure somewhere between fully-formed corporeality and, at the same time, its deconstruction. The body fragments are reduced to essentials, summarising the outward appearance of the fabulous creature: two red horns, midway between them a single large, magically staring eye (symbol of power and of the spirit, the subconscious, all-seeing, confronting the viewer with a fearless gaze), two fierce-looking fangs, a huge mouth (or is it a fathomless, menacing vulva?) between prickly bird-legs, the feet clad in little black velvet shoes. The result is a telling, highly individual work, a strong, archaic-looking, powerfully associative female symbol, overcoming individual and collective fears and, as a mighty protective idol, warding off danger.

Zenita Komad, Harpyie, 2008, acrylic on canvas, 190 × 150 × 20 cm

Zenita Komad – Harpyie (2012) – acrylic on canvas