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

Ursula Krinzinger in conversation with Zenita Komad

UK: How would you describe the relationship between the different media of painting, installation and film in your work taken as a whole?

Z: They are all part of the same spiritual body and directly dependent on one another. Each work contributes to the visualisation of this mystery!

UK: You very often use texts in your painting and installations. Language also plays a large part in your films. Can your visual world be separated from language?

Z: not really … perhaps in a few years … who knows …

UK: Many of the texts you use have a literary source. You lift the texts from their original setting and then imbed them in your own context. Which authors interest you here? Do you just happen to come across a few lines and then use them or do you actively search for them?

Z: I am very attentive and constantly searching for contents which concern my surroundings in an intensive way. I tap into many sources, sometimes waking up in the middle of the night to note down a sentence. No word is really safe from me: I combine it and expect something new!!!

UK: Your exhibitions and films are always very cleverly thought out. It seems that you place a great of value on how the viewer responds to your exhibitions and showings – to what extent would you say the aspect of production is decisive in you work?

Z: Research and preparation for the exhibitions develop a unique dynamic with a nobleness of heart which, at certain point is then transmitted to the public. The production, with its rules and what it has to offer then facilitates the freedom to be multi-dimensionally surrounded and as part of a whole. Just like the game of chess, for example, a formally comprehensive framework conceals within it such an infinite number of movements, levels and moves.

UK: To what extent do you see yourself as part of your work?

Z: I am a slave to my work.

UK: You very often work with friends of people close to you – how important is it for you to work within familiar surroundings?

Z: Familiar surroundings come about during the course of the work cycles. Very clear affinities of soul, loves and friendships have developed over time. Naturally! During the work on films and productions, a collective vision develops! The heart is the master!

UK: You exhibited in Vevey together with Marina Abramovic and Otto Muehl. Do you see a connection to Actionism?

Z: After Actionism comes Operationalism! I have been able to personally and very intensively experience all the Vienna Actionists (apart from Schwarzkogler, who died far too early) and have been full fascination and curiosity for them and their work. At some point it was time for patricide.
They have meanwhile become friends of mine … things move on!!! …