“Sacred Ground: Ontology and Spiritual Yearning”
Zenita Komad

Gallery Michael Bella
13.02. – 28.03.2025

by Anne Avramut

The exhibition "Sacred Ground" by Zenita Komad, embedded in the series "Beyond Existence", is dedicated to the question of the existential necessity of spirituality. Spirituality is not understood as an isolated religious act, but as an ontological constant that characterizes the human condition in its entirety. Komad's works open up a space in which rituals, symbols and transcendence come together and allow visitors to reflect on the foundations of their existence.

In "Vita activa", Hannah Arendt describes human life as a threefold activity: work, production and action. While work secures the basic necessities of life and production shapes the world as a permanent work of man, it is action that opens up the space of freedom and meaning. Komad's artistic approach can be understood as an exploration of this third dimension - the space in which human beings strive for meaning beyond mere existence. Her works operate precisely in this field of tension: between the material world that surrounds our actions and the need to go beyond the everyday.

The installation "Prayers go like hot cakes" with the mountain of 613 cakes is located directly in the world of everyday rituals. Bread, a symbol of food, community and spiritual connection, refers here to the essence of life, but also to the fleeting nature of what is perceived as sacred. The reference to production in Arendt's sense is obvious: bread as a product of human activity simultaneously becomes a symbol that points beyond the material. The mountain of rolls piled up underneath creates an abundance that emphasizes both the symbolism of food and the transience of our lives. Here we can also recognize a recourse to art history, for example to the Dutch still lifes of the 17th century, in which bread, wine and other everyday objects always reflect the vanitas theme, the transience of existence.

Bread plays a central role in the Christian rite and is deeply rooted in religious and spiritual symbolism. In Christianity, bread is inextricably linked to the Eucharist, in which it is understood as a symbol of the body of Christ. The symbolic act of breaking bread refers to spiritual nourishment and the community of believers. It becomes a medium through which the sacred becomes tangible and a bridge is built between this world and the hereafter. Bread also plays a central role in Judaism, especially in the rituals of Shabbat and Passover. The braided challah is a reminder of the covenant between God and the people of Israel, while the unleavened matzah symbolizes the escape from Egypt and liberation from slavery. In the Jewish faith, the Ten Commandments form the basis of religious law. In addition, the Torah lists a further 613 "mitzvot": 248 of these are commandments, i.e. religious duties, and 365 are prohibitions.  Komad deliberately built the Semmel mountain out of 613 buns as a quotation. In Islam, bread (khubz) is also a sign of divine provision and is often shared at festivals to symbolize community and gratitude. (Douglas, 2002)

This spiritual dimension of bread points to a fundamental human necessity: while bread as food nourishes the body, it also stands for the spiritual nourishment that humans receive through rituals, prayers and the search for meaning.

Prayer is understood here as an ontological activity - an action that goes beyond mere biological or social necessities and connects people with a higher being. Prayer reflects the existential search for orientation and transcendence, much like bread in its physical form creates a basis for life. In Komad's work, this interweaving of the material and the spiritual becomes visible: bread and prayer appear as equally important pillars of human existence, both necessary to nourish body and soul alike. Her artistic staging - the staging of bread as an object of ritual - leads the viewer back to the question of how the connection between everyday life and spirituality can be regained in our modern lives.

The inscription "Prayers go like hot cakes" adds a humorous layer to the work, which nevertheless refers to the transience of spirituality and the commodification of religious practices. The mountain of 613 rolls reinforces this message by reflecting abundance and consumption, while at the same time reminding us of the fragility of the sacred.

Aesthetically and conceptually, this work can be read in dialog with Maurizio Cattelan's iconic work "Comedian" (2019), in which a banana was attached to the wall with adhesive tape. While Cattelan uses the banality of the everyday as a provocation, Komad transforms the everyday into a space of reflection and ritual. The physical presence of the mountain of bread also refers to the tradition of Baroque vanitas still lifes, in which bread was often used as a symbol of transience and spiritual transformation.

The work is also reminiscent of Felix Gonzalez-Torres' iconic installation "Untitled (Portrait of Ross in L.A.)" (1991), which featured a large pile of colorful candies wrapped in cellophane. While Gonzalez-Torres' work refers to the theme of loss and the AIDS epidemic - with the sweets representing the weight of his partner and physically disappearing through the viewer's interaction (Goldmann, 2009) - Komad's work takes up the element of consumption and disappearance by focusing on bread as a symbol of nourishment and spiritual practice. Similar to Gonzalez-Torres, Komad's installation challenges the viewer to reflect on transience and the transition between individual and collective experience. The mountain of bread rolls stands for abundance, but also for the fragility of rituals that often appear mechanical or trivialized in contemporary everyday life.

The work "The Sleeping Woman", with the figure surrounded by modern technology, represents another dimension of spiritual desire: the techno-spiritual. While the digital world is often seen as a distraction or alienation from the essential, Komad creates a critical reflection that questions the relationship between technology and spirit. The sentence "You are wherever your thoughts are. Make sure your thoughts are where you want to be" invites you to take control of your own mental processes and is reminiscent of classical philosophical approaches, such as Descartes, who found the basis of being in thinking. At the same time, one can see a reference here to Byung-Chul Han, who in his writings, particularly in "The Burnout Society" and "Vita Contemplativa", analyzes the excessive demands of modern society and calls for a return to contemplative calm - a central basis for spiritual growth.

The sword of Damocles hanging over the bed takes the tension between spirituality and existential fear to a new level. The symbolism of the sword, which goes back to the ancient story of Damocles, focuses on the fragility of human existence and the constant awareness of one's own mortality. Here, Komad draws on art-historical traditions ranging from the Middle Ages to Romanticism and shows that spirituality often arises from the confrontation with one's own finiteness. In conjunction with the sleeping installation, this work is also reminiscent of baroque vanitas motifs, which raise awareness of death as an omnipresent reality.

The scenic staging: from image to performance

Zenita Komad's artistic practice transcends the boundaries of two-dimensionality and unfolds in a performative dimension. Her works are not just static objects, but concepts that manifest themselves in space and time, in which image, body and action merge into a living experience. This is particularly impressive in the scenic realization of the sleeping figure, which is embodied in the exhibition by Franz Hautzinger, the trumpeter. During the preview of the exhibition, the musician lies in bed, seemingly still in a state of rest or dreaming. But then he picks up the trumpet and breaks the silence with his playing - a sonic awakening that marks the moment of transition.

This production leads the audience into a narrative structure in which the work extends beyond the boundaries of the pure object. The sound of the trumpet becomes a symbol of awakening, a metaphor for consciousness and transformation. This performative layering shows that Komad's art not only wants to be viewed, but also experienced. The images become actions, the concepts become living processes. In this interplay of visuality and physicality lies a quality that goes beyond the traditional work of art: Komad's works open up a space in which the viewer becomes not only a witness but a participant in an experience.

The dramaturgical line: an inner journey

The entire exhibition follows a profound narrative structure that runs like a common thread through the works. It tells the story of a person's inner journey - a journey that begins with sleep, with unconsciousness, with an existence that is characterized by automatisms and repetitions. But what happens after awakening? Is there an awakening at all? These questions pervade Komad's works and invite the audience to find themselves in them.

The trumpet playing becomes a key moment here: the sound tears the sleeping figure from its rest, forcing it to make a choice. The actual existential tension of the exhibition lies in this choice. It poses the question of the possibility of spiritual growth, of the decision between awareness and repression, between transformation and stagnation. This closes the circle to the theme of spirituality, which manifests itself not as an abstract concept, but as a real possibility of development in one's own life.

Zenita Komad's works combine these themes with a subtle layer of humor and absurdity. The slightly playful yet serious tone of her works is reminiscent of the art of the Fluxus movement, in which everyday objects and interactive elements were used to question the boundaries between art, ritual and life. Komad's ironic treatment of sacred symbols and everyday objects reflects the paradoxical nature of human spirituality: deep and serious on the one hand, yet often trivial and ephemeral in its embodiment.

“Set Your Fears on Fire”: Fire as a symbol of renewal

The work "Set Your Fears on Fire", a large-format canvas with matches forming the word "FIRE", is a powerful appeal for individual and collective transformation. Komad uses the motif of fire as a universal metaphor for purification, destruction and renewal, which runs through various religious and cultural traditions.

In Judaism, fire is a central symbol of divine presence and purification. The burning bush, as described in the Torah, represents God's unchanging power and his will to liberate. The Hanukkah festival of lights, which is celebrated with the lighting of candles, also emphasizes the spiritual significance of fire as a symbol of resilience and hope. In Christianity, fire often stands for the Holy Spirit, as in the story of Pentecost, in which "tongues as of fire" come upon the faithful and bring about spiritual renewal. In Islam, fire refers both to God's justice and to the purification of the soul.

Komad's work takes up these universal meanings and transfers them into a contemporary, participatory perspective. The physical presence of the matches, which actually have the potential to be ignited, points to the active role of the individual in the transformation. The invitation "Set Your Fears on Fire" invites the viewer to consciously confront their fears and use them as a catalytic element for personal growth.

In an art historical context, the work is related to Yves Klein's works such as "Fire Painting" (1961), in which Klein used fire as a creative medium to visualize his immaterial concepts. Jannis Kounellis also used fire in his installation "Untitled" (1969) to create a link between industrial aesthetics and spiritual symbolism. Komad's work extends this tradition by combining the spiritual dimension of fire with a universal call for personal empowerment.

The large-format canvas and the clear message emphasize the urgency of dealing with fears, while the physical materiality of the matches reinforces the connection between concept and action. In the context of the exhibition, "Set Your Fears on Fire" represents a central point of reference that invites viewers to actively reflect and transform.

Ontological questions between collage, techno-spirituality and transcendental reflection

Zenita Komad's artistic practice moves between a centuries-old artistic tradition and the pressing issues of the present, which are characterized by technology and spirituality. Her works combine the technique of collage, whose history is deeply rooted in the avant-garde of the early 20th century, with themes such as techno-spiritual thinking and ontological questions. This interdisciplinary approach allows Komad to inscribe himself in a broad art-historical and cultural discourse that explores the boundaries of the material and immaterial.

The technique of collage, which was first introduced by Pablo Picasso and Georges Braque during the Cubist experiments at the beginning of the 20th century, marked a decisive moment in art history. With papier collé, fragments of newspaper, wallpaper or other industrial materials were integrated into the picture surface in order to break up the two-dimensional representation and open up new visual and content-related dimensions (T. J. Clark, 1982). This process established collage as a method that enables both formal and narrative disruption, a practice that serves as the centerpiece of Komad's artistic strategy.

A particularly significant point of reference within the collage tradition is Hannah Höch, whose works clearly demonstrate the deconstructive and political potential of this technique. In her work "Schnitt mit dem Küchenmesser Dada durch die letzte Weimarer Bierbauch-Kulturepoche Deutschlands" (1919-1920), fragments from newspapers, machine pictures and caricatures are combined to create a critical reflection on the socio-political tensions of the Weimar Republic (Lavin, 1993). Komad's methodical approach to collage, which also relies on the combination of heterogeneous elements, can be interpreted as a continuation of this tradition by visualizing existential and spiritual themes of the present.

In the field of contemporary art, the work of John Stezaker is a relevant point of comparison. Stezaker's collages, such as his "Marriage" series, use found photographs to create surreal, often disturbing visual narratives. His practice of recontextualizing image fragments points to collage's ability to question identity, time and memory (Smith, 2013). Komad's works, which also operate with a transformative rearrangement of fragments, have an analogous relationship to Stezaker's methodology.

Techno-spirituality: art between technology and transcendence

In addition to the collage technique, the exploration of techno-spirituality plays a central role in Komad's work. This term, which describes the connection between technological and spiritual dimensions, has been explored many times in contemporary art. The work of Nam June Paik, whose work "TV Buddha" (1974) addresses the convergence of Eastern spirituality and Western technology, is particularly striking. The installation, in which a Buddha statue gazes at its own image on a television screen, offers a meditative reflection on the relationship between past, present and media mediation (Sooke, 2018). Komad's works address similar issues by incorporating technological elements not only as tools, but as integral components of a spiritual and ontological discourse.

The works of Rafael Lozano-Hemmer, in particular "Pulse Room" (2006), also expand this perspective. Lozano-Hemmer's installations use biometric data such as heartbeats to visualize individual and collective presence. This interface between biological intimacy and technological abstraction points to the possibilities of generating spiritual and transcendental states through technology - an approach that is also reflected in Komad's works.

Relevant exhibitions with a similar thematic focus provide further contextual anchoring for Komad's work. The exhibition "The Spiritual in Art: Abstract Painting 1890-1985" (1986, Los Angeles County Museum of Art) examined how artists such as Wassily Kandinsky and Piet Mondrian established the spiritual as a central category of their abstract painting. This historical perspective was expanded in the exhibition "A New Age: The Spiritual in Art" (2023, Tel Aviv Museum of Art), which was dedicated to contemporary positions and emphasized the continuing relevance of the spiritual in art.

Parallel to this, the exhibition "Technoschamanism" (2021-2022, Hartware MedienKunstVerein HMKV Dortmund) focused on the connection between technology and shamanic practices. It not only critically examined the cultural appropriation of such practices, but also explored the transformative power of modern technologies in ritual contexts. Komad's works, which merge technological and spiritual elements, can be placed within these debates and expand them through their specific perspective on humans.

The theoretical basis for Komad's examination of techno-spirituality is strengthened by scientific considerations such as those of Heidi A. Campbell. In her article "Problematizing the Human-Technology Relationship through Techno-Spiritual Myths Presented in The Machine, Transcendence, and Her"(2016), Campbell analyses how techno-spiritual myths are negotiated in popular cultural narratives. This perspective enables a deeper understanding of how artistic works such as Komad's reflect the relationship between humans, technology and transcendence.

The debates surrounding techno-shamanism also offer theoretical points of reference. Works such as "Shamanism and New Media" (Lombard, 2020) analyze the cultural and aesthetic transformation of shamanic practices through digital media and establish a connection between traditional and contemporary forms of spiritual art.

The decision: animal instinct or spiritual healing?

Komad's art is more than a reflection on the spiritual - it is itself a tool of awakening and healing. The sleeping figure is not just a symbol, but an image of every human being at a crossroads. The exhibition points to a fundamental choice: does man follow his purely animalistic needs, does he surrender to the ego, to consumption, to the satisfaction of his immediate urges? Or do they transcend this level and open themselves up to a deeper, healing connection with the infinite?

This existential tension is condensed through the work with the knotted knife "Transformation". The sword hovering above the bed is not only a symbol of the constant presence of death, but also of the responsibility that comes with every decision. It reminds us that true freedom is always a choice - and that healing does not just happen, but must be consciously sought. This juxtaposition reveals the central message of Komad's work: the spiritual journey is not a state, but an act of choice, a constant struggle for awareness, transformation and inner growth.

Anne Avramut

References

Campbell, Heidi A. „Problematizing the Human-Technology Relationship through Techno-Spiritual Myths Presented in The Machine, Transcendence, and Her“. 2016.
Clark, T. J. „The Picasso-Braque Collaboration“. In Modernism and the Paris Avant-Garde. Princeton University Press, 1982.
Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. Routledge, 2002
Goldmann, Judith. Felix Gonzalez-Torres: Specific Objects Without Specific Form, Steidl, Göttingen, 2009.
Lavin, Maud. Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch. Yale University Press, 1993.
Lombard, Mathew. „Shamanism and New Media“. Routledge, 2020.
Los Angeles County Museum of Art. The Spiritual in Art: Abstract Painting 1890–1985. Ausstellungskatalog, 1986.
Lozano-Hemmer, Rafael. Pulse Room. 2006.
Nam June Paik. TV Buddha. 1974.
Stezaker, John. Marriage Series. Ausstellungskatalog, 2017.
Tel Aviv Museum of Art. A New Age: The Spiritual in Art. Ausstellungskatalog, 2023.
Hartware MedienKunstVerein (HMKV) Dortmund. Technoschamanismus. Ausstellungskatalog, 2021.