Zuzana Husárová

Slovakia

Zuzana Husárová is the author of experimental literature across various media, has created sound poetry, interactive digital poetry, poetic performances and transmedia poetry. She is a researcher in the field of electronic literature, teaching at Comenius University (SR) and Masaryk University (CR), an ex-Fulbright scholar at MIT, USA (2011) and an editor of a magazine Glosolália. She has collaborated with Ľubomír Panák on interactive literary pieces (with the use of neural networks: Liza Gennart, Kinect: Enter: in’ Wodies, I: *ttter, Android application Obvia Gaude, digital literature BA-Tale, Pulse). She is a sound poet (e.g. Energy: Sleep), has co-authored with Amalia Roxana Filip transmedia projects liminal and lucent 2012-2014 (visual poetry books, sound poetry and live performances www.liminal.name), with Olga Pek an origami book Amoeba, has collaborated on interdisciplinary performances like Phenomena Research and Souvenir. She co-edited theoretical publications V sieti strednej Európy (2012) and ENTER+ Repurposing in Electronic Literature (2015). Her works were published, performed and exhibited at festivals, events and venues in Europe and USA.


With her (inter)media nomadism, Husárová is an important figure of an emerging wave of central European media poets now in their thirties (other names including Jörg Piringer, Katarzyna Giełżyńska, Łukasz Podgórni, Leszek Onak). The playful, “chameleonic” nature of Husárová’s work is not just a symptom of her personal inquisitiveness, but makes perfect sense within the context of the broader cultural transition towards posthumanism, which brings with it the need to inspect the relations and dialogues between different media, as well as the possibilities of a multisenzoric, synaesthetic experience. The body is examined not only explicitly, as a topic, but also implicitly, as the crossroads of media inputs with their various kinds of materiality; on the other side of the screen, an image of technological synaesthesia is gradually being constructed, highlighting the inherency of such efforts in the concept of the post-human (as exemplified by Vannevar Bush’s writing). Yet the digital text also reflects back on the book whose “diagrammatic” possibilities are explored in the interaction of different media during the live performances – in this, Husárová’s concerns parallel Amaranth Borsuk’s in Between Page and Screen. Last but not least, Husárová’s dialogue with the American scene signals the emergence of a broader global community of new media artists.

 

Olga Pek