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

Eternally, I Am Your Yes - Zenita Komad

Himali Singh Soin

Raw, filial, erotic, curious and conceptual are words that might reveal the depth of Zenita Komad’s art but only in the morphology and movement of the letters themselves. Here is a space where all your expectations will disprove themselves; where your mind and body will fuse and play tricks on your sense of time and space.

You enter THE LOFT, (where Zenita’s work is displayed as part of a residency sponsored by The Fuschia Tree), and everything appears “inside-out”. You pass “drawings” of Zenita’s everyday journal entries, written deliberately on A4 sized sheets of paper in watercolor or ink. Each letter is enunciated, each word emphasized in a new, rhythmic way such that the meaning of the words no longer matter now the image is created from the shape and pressure of the ink itself.

One sheet says, “This drawing is blackmailing your ego”. Drawing, questioning and ego are tightened in bold. The eternal curve of the word ego makes one conscious of its meaning and its convoluted essence. She writes the word in dots: connect them yourself. Beware of losing your way. You continue to where the tea is, but realize that you must backtrack: the art on paper is outside.

Paradoxically, it is Zenita’s site-specific installation, (normally public, outside), that you notice in the corner of the gallery, dimly-lit, a red line, like a vein, moving inwards towards a centre in a labyrinthine maze of connectivity and counsel.

The maze is made from the elements of the earth that comprise us. Sand and water, with red powder spilled over its ridges, but the simplicity of material is deceiving. Each viewer is urged to take his shoes off and enter the installation. Now the lines blur between installation and performance. Beware of losing your way. If you do not look attentively to where you go, you will reach a cul de sac. Each individual weaves his way through the maze often losing sight and making choices, finding his inner voice to lead him to the centre, where the light shines, where truth resides.

Zenita’s art is organic, intellectual, interactive and spiritual. It fuses life, art, nature, religion, time and space and makes you think, makes you content, whilst wanting more. See it, but beware of losing your way.