MARLENA KUDLICKA BOOK PRESENTATION
Art Basel Miami Beach 2016 (NOVA | Booth N9), Florida, Miami, 12/03/2016
ABOUT
Revolver Galería is pleased to host Marlena Kudlicka's book presentation on Saturday, December 3rd, at Art Basel Miami Beach 2016 (NOVA | Booth N9). The book, with essays by Octavio Zaya, Dorota Monkiewicz, Miguel von Hafe Pérez and Friedrich Meschede, is Marlena's first publication and it presents a survey of recent work with information on the conceptual considerations that underlie them. The book presentation will be monitored by Octavio Zaya, and the artist will be present for book signings.
Earlier this month, the gallery presented Marlena’s first solo show in Latin America, “Actual size f=different”, an exhibition with her newest series of work, f=different, developed during her participation at Residencia de Al Lado between March - June 2016 in Lima. The show includes two large scale glass and powder-coated steel sculptures, as well as a sculptural wall composition and collages. The exhibition will be open until March 3rd 2017. Marlena Kudlicka lives and works in Berlin. Her works have been exhibited in museums such as Kunstmuseum Bochum, Wroclaw Contemporary Museum in Poland, Museum of Contemporary Art in Zagreb, Zacheta National Gallery in Warsaw, Museum of Art Lodz in Poland, Ludwig Múzeum-Museum of Contemporary Art Budapest, Skulpturenmuseum Glaskasten Marl in Germany and CGAC in Santiago de Compostela. Kudlicka completed residencies at the Cité Internationale des Arts in Paris, the Akademie Schloss Solitude in Stuttgard, the ISCP in NY, the Art Omi in NY, the Location One in NY, the LMCC in NY.
"Standards and errors are precisely the origins of the series of sculptures that Kudlicka has produced in Lima (...) She presents her works as if they were standard propositions - universally quantified claims - constructed from basic units analogous to the three sizes of units found in language and logic: those of words, sentences, arguments - these last (beliefs or judgments) being understood, in general, as the principal units of epistemology.
Kudlicka knows that linguistic, scientific, and philosophical understandings are not just a result of inductive associations from unadulterated perceptions. She knows that linguistic, scientific, and philosophical concepts are often significantly different from what we understand as common sense, and need to be formulated through difficult experimentation and theory formation, requiring new forms of thinking and mathematics and new regimes for experiment, checking, and proof. That is, this new thinking and new experimentation are strictly organised and controlled to minimise error.
Kudlicka’s work is not far from concrete poetry, from typographic representations, from some Constructivist architecture or even from some of the best works of her compatriot Katarzyna Kobro (1898–1951). In some cases, it uses points, letters, digits, and words, within interacting lines and volumes, to create what amounts to drawings in space. In other cases, it privileges some elements over others. But in all the cases, we could say that it arranges different forms of knowledge in its search for a potential, in its thinking through a form of thought. Kudlicka’s work does not follow a narrative or discursive thought. We can say the same about any poem: It is not a thought “as the explicit procedure of thought or as the thought that can be exposed only as thought,” as in mathematics or philosophy. There is no clear link or singular deduction that traverses the work. The work “refers to [or is the result of] the transition through different states with incompleteness caused by error,” as the artist says. Thus, Kudlicka’s work is not a path but a threshold. This entrance into what Mallarmé called the mystery of unprecedented light does not give away the key to understand it, and it does not help us to understand it, but it always compels us to think."
(Excerpt from Octavio Zaya's essay, written for Marlena Kudlicka's artist book)
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Revolver Galería is pleased to host Marlena Kudlicka's book presentation on Saturday, December 3rd, at Art Basel Miami Beach 2016 (NOVA | Booth N9). The book, with essays by Octavio Zaya, Dorota Monkiewicz, Miguel von Hafe Pérez and Friedrich Meschede, is Marlena's first publication and it presents a survey of recent work with information on the conceptual considerations that underlie them. The book presentation will be monitored by Octavio Zaya, and the artist will be present for book signings.
Earlier this month, the gallery presented Marlena’s first solo show in Latin America, “Actual size f=different”, an exhibition with her newest series of work, f=different, developed during her participation at Residencia de Al Lado between March - June 2016 in Lima. The show includes two large scale glass and powder-coated steel sculptures, as well as a sculptural wall composition and collages. The exhibition will be open until March 3rd 2017. Marlena Kudlicka lives and works in Berlin. Her works have been exhibited in museums such as Kunstmuseum Bochum, Wroclaw Contemporary Museum in Poland, Museum of Contemporary Art in Zagreb, Zacheta National Gallery in Warsaw, Museum of Art Lodz in Poland, Ludwig Múzeum-Museum of Contemporary Art Budapest, Skulpturenmuseum Glaskasten Marl in Germany and CGAC in Santiago de Compostela. Kudlicka completed residencies at the Cité Internationale des Arts in Paris, the Akademie Schloss Solitude in Stuttgard, the ISCP in NY, the Art Omi in NY, the Location One in NY, the LMCC in NY.
"Standards and errors are precisely the origins of the series of sculptures that Kudlicka has produced in Lima (...) She presents her works as if they were standard propositions - universally quantified claims - constructed from basic units analogous to the three sizes of units found in language and logic: those of words, sentences, arguments - these last (beliefs or judgments) being understood, in general, as the principal units of epistemology.
Kudlicka knows that linguistic, scientific, and philosophical understandings are not just a result of inductive associations from unadulterated perceptions. She knows that linguistic, scientific, and philosophical concepts are often significantly different from what we understand as common sense, and need to be formulated through difficult experimentation and theory formation, requiring new forms of thinking and mathematics and new regimes for experiment, checking, and proof. That is, this new thinking and new experimentation are strictly organised and controlled to minimise error.
Kudlicka’s work is not far from concrete poetry, from typographic representations, from some Constructivist architecture or even from some of the best works of her compatriot Katarzyna Kobro (1898–1951). In some cases, it uses points, letters, digits, and words, within interacting lines and volumes, to create what amounts to drawings in space. In other cases, it privileges some elements over others. But in all the cases, we could say that it arranges different forms of knowledge in its search for a potential, in its thinking through a form of thought. Kudlicka’s work does not follow a narrative or discursive thought. We can say the same about any poem: It is not a thought “as the explicit procedure of thought or as the thought that can be exposed only as thought,” as in mathematics or philosophy. There is no clear link or singular deduction that traverses the work. The work “refers to [or is the result of] the transition through different states with incompleteness caused by error,” as the artist says. Thus, Kudlicka’s work is not a path but a threshold. This entrance into what Mallarmé called the mystery of unprecedented light does not give away the key to understand it, and it does not help us to understand it, but it always compels us to think."
(Excerpt from Octavio Zaya's essay, written for Marlena Kudlicka's artist book)
For More Information