Sarah ludemann

O autorici:

About the Author:

Rad Sarah Lüdemann staložen je u poziciji između zavodljive senzualnosti i razorne brutalnosti. Njezini radovi kreću se i poigravaju duž delikatnih ravni egzistencije i želje – utoliko što su njezini radovi duboko emotivni, ali i vrlo formalni i analitični. Lüdemann svoje unutarnje prostore izražava kroz krajolike i instalacije. Nevidljivo želi pretvoriti u nešto opipljivo. Lüdemann uči kroz moć utjecaja, grčku mitologiju, duhovnost, pornografiju, spol i rod.

Studirala je likovnu umjetnost, engleski jezik, lingvistiku, psihologiju, filozofiju i pedagogiju na Sveučilištu u Kölnu, nakon čega je živjela u Norveškoj, Italiji, Engleskoj i Nizozemskoj kako bi savladala četiri jezika. Ovi jezični oblici pobudili su i izazvali pojavu niza alter-ega: u estetskom i psihičkom smislu. 2010. godine odabrana je za sudjelovanje na rezidenciji u Španjolskoj s Monom Hatoum te je dobila stipendiju za diplomski studij likovne umjetnosti na Central Saint Martins u Londonu, koji je završila s pohvalama 2011. godine. Njezini su radovi izlagani diljem svijeta na a.o. Printed Matter u New Yorku / Goethe Institutu u Kairu, Egipat / Collegium Hungaricum & Momentum u Berlinu / Hayaka Arti – u Istanbulu u Turskoj / Trafo – u Szczecinu u Poljskoj / LYON Biennale de la Danse – La lavoir public u Lyonu u Francuskoj / Tofiq House Sao Paulo u Brazilu.

Lüdemann’s work stands poised between seductive sensuality, and annihilating brutality. Her works move and play along the delicate planes of existence and desire – insofar as her works are both deeply emotional, as well as highly formal, and analytical.

Lüdemann manifests her interior terrains as landscapes and installations. Seeking to turn the invisible into something tangible.

Lüdemann is informed by the power of affect, Greek mythology, spirituality, pornography, sex and gender. She studied Fine Art, English, linguistics, psychology, philosophy and pedagogy at Cologne University and subsequently lived in Norway, Italy, England and Holland in order to learn four languages. These language forms evoked and provoked a series of alter-egos: aesthetically and psychically. In 2010 she was selected for an influential arts residency in Spain with Mona Hatoum and also received a scholarship to study a Masters Degree in Fine Art at Central Saint Martins, in London which she completed with high distinction in 2011. Lüdemann’s work has been exhibited widely and internationally at a.o. Printed Matter, New York / Goethe Institute Cairo, Egypt / Collegium Hungaricum & Momentum, Berlin / Hayaka Arti – Istanbul, Turkey / Trafo – Szczecin, Poland / LYON Biennale de la Danse – La lavoir public, Lyon, France / Tofiq House Sao Paulo, Brazil.

Katarina Kokkinos-Kennedy

Katarina Kokkinos-Kennedy

SARAH LÜDEMANN

ONES AND ZEROS

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija PM | PM Gallery Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: Srijeda – petak 11 do 19h, subota i nedjelja 10 do 18h, ponedjeljkom, utorkom i blagdanom zatvoreno.

Working hours: Wednesday to Friday 11am – 7pm, Saturday and Sunday 10am - 6pm, Monday, Tuesday and holidays - closed IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | Upravni odbor HDLU/ Executive board of HDLU: Josip Zanki (predsjednik/president), Tomislav Buntak (zamjenik predsjednika/vicepresident), Fedor Vučemilović (zamjenik predsjednika/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet Galerije PM/Artistic board of PM Gallery: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Leonida Kovač, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Martina Miholić | Predgovor/Preface: Sarah Lüdemann| Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod/ Translation: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Copies: 150 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske/The exhibition was is financially supported by the Ministry of Culture of the Republic Croatia.

Otvorenje izložbe - 10. ožujka, 2016. u 19:30 sati | Opening of the exhibition - March 10 at 7.30pm Galerija PM | 10. - 20. ožujka, 2016. | Gallery PM | March 10 - 20, 2016

“Takva je anti-edipovska strategija: ako je čovjek povezan s mašinama svemira, ako je u skladu sa svojim željama, ako je “ukotvljen”, “prestaje se brinuti za prikladnosti stvari, za vladanje svojih bližnjih, […]. Ako mu je korijenje u toku života […] život koji je u njemu očitovat će se u rastu, a rast je beskrajan, vječan proces. Proces je sve.”

(Miller, Sexus)

“Such is the anti-oedipal strategy: if man is connected to the machines of the universe, if he is in tune with his desires, if he is “anchored”, “he ceases to worry about the fitness of things, about the behavior of his fellow-men, […]. If his roots are in the current of life […] [t]he life that’s in him will manifest itself in growth, and growth is an endless, eternal process. The process is everything.”

(Miller, Sexus)

Ones and zeros.

Ones and zeros.

To je moja Biblija. Zen je poziv na primirje. Povlačim jednu crnu liniju a zatim drugu. Dnevna vježba, manifest a la Kierkegaard.

Isto, ali nikad. Zbirka leži tamo, priče, ispričane svojim osobitim pravopisom. Pročitaj me. Dolazim na višim frekvencijama. Izoštri svoje prijemnike i izgradi nove dekodere. Raspleti kozmičke strukture u stalnom strujanju; složena, podrhtavajuća mreža žarulja, poput krijesnica. Upaljena i ugašena, Fortuna Rapida.

There lies my bible. Zen is a peace offer. I draw one black line and then the other. A daily exercise, a manifesto a la Kierkegaard.

Same, but never. A collection there lies, of stories, told in their own idiosyncratic orthography. Read me. I come at higher frequencies. Sharpen your receivers and build new decoders.

Unravel cosmic structures in constant flux; complex, shivering networks of light bulbs, like fireflies. On and off, Fortuna Rapida.

Ja sam cijela košnica. Obuzdaj svoje vojnike, matice! Shvati ustrojstvo svoje vlastite prirode. Ti si vrhovna božica pravde; napunjena nekom tajanstvenom moći. Racionalnost kao mistični susret. Svi bismo mogli biti bogovi.

I am the whole hive. Get your soldiers in order, queen bee! Understand the construction of your own nature. You are the governing goddess of justice; charged with some uncanny power. Rationality as mystic encounter. We could all be gods.

Perzefona i Afrodita. Smrt i Život. Kodiranje, igra, tvoja igra. Ti si svoja vlastita noćna mora i svoj ispunjeni san. Neka vrsta providnosti. U osnovi cinično gledište, ničeanski spektakl neuroznanstvene monstruoznosti. Zaista božansko ludilo. Smrskaj sve u komadiće, kako bi se moglo izdići nanovo. Odaberi svoju životinju, ali uzmi ih obje. Vrati se u prošlost i otkači svoje ljudsko, ponovno instaliraj svoj cerveau bestial zbog toga što vodi u požudu, čežnju i smijeh. Karta upisana u tvoje tijelo. To, pravo znanje o svijetu. Ti si svoj svemir – tvar u pokretu.

Persephone and Aphrodite. Death and Life. A coding, a game, your game. You are your own nightmare and your dream come true. Providence of sort. Essentially a cynic outlook, a Nietzschean spectacle of neuroscientific monstrosity. Truly divine madness.

Smash it all to pieces, to erect afresh. Choose your animal, but take them both. Go back through history and detach your human, re-install your cerveau bestial for its guidance into lust, longing and laughter. The map inscribed in your body. That, the true knowledge of the world. You are your universe - matter in motion.

Bog je mrtav, ali bogovi i božice žive i pulsiraju u nama. Ova je izložba prvi pokušaj materijalizacije lude ljubavi prema izmišljanju mističnih priča i prepuštanju sindromu Alise u zemlji čudesa, ne u smislu zdravstvenog stanja, nego dječjeg prihvaćanja svega što naiđe (bez obzira koliko bizarno bilo) takvim kakvo jeste, ni dobro ni zlo. Zamišljena je kao predigra stvaranju sve složenijih, nadrealnih prizora koji spajaju radove nastale u različitim medijima, uključujući i eksperimentalnu fotografiju, opsesivno crtanje, dugotrajni performans, video projekcije, skulpturu i pisanje kao artefakte evokativnih narativa. Naslov aludira na Leibniza i njegovu binarnu aritmetiku, koja je uvelike crpila inspiraciju iz I Chinga (Knjige promjena), najstarijeg kineskog klasika, utjecajnog priručnika za proricanje.

God is dead, but the gods and goddesses are alive and pulsating within us. This exhibition is a first attempt at materialising a mad love for the fabrication of mystic stories and indulgence in the Alice-in-Wonderland syndrome, not in the sense of the medical condition, but rather as a state of childish acceptance of all that is encountered (bizarre as it may be) as given, neither good nor evil. It is meant as a prelude to the creation of increasingly more complex, surrealistic sceneries that assemble works of various different mediums, including experimental photography, obsessive drawing, durational performance, video projections, sculpture and writing as artifacts of evocative narratives. The title refers back to Leibniz and his binary arithmetics, which drew heavily on the I Ching (Book of Changes), the oldest of the Chinese classics, an influential divination manual.

Sarah Lüdemann

Sarah Lüdemann