Katalin Ladik, Phonopoetica, (vinyl audio record, 14'56"), Galerija SKC, 1976 [Shedhalle Zürich. acb Galéria, Budapest. © Katalin Ladik]

Exhibition: Poetry & Performance. The Eastern European Perspective, (group exhibition), Curated Tomáš Glanc and Sabine Hänsgen, in cooperation with Dubravka Djurić, Daniel Grúň, Emese Kürti, Claus Löser, Pavel Novotný, Branka Stipančić, Darko Šimičić, Māra Traumane, Shedhalle Zürich, September 16 – October 28, 2018 On the occasion of ERC Grant Performance Art in Eastern Europe: History & Theory (1950-1990), Curated by Sylvia Sasse

(via Katalin Ladik - Hungarian performance artist (70's - 80's) - all things amazing —)

Hungarian poet, Katalin Ladik (at far R.) - 1974

Katalin LADIK / Gábor FÜLÖP

"Aki Darazsakról álmodik / Bomba-Effektus Le és Föl"

(split LP. PGP RTB. 1989) [HU]

phonopoetica / katalin ladik. 1976

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A fákat mind megnöveszteni!

(részlet)

Mivel egyre kevesebben maradunk

egy szívességet tehetsz az utókornak:

költészeteddel sikeres patkányirtást hajthatsz végre.

Attila Csernik: Bodyprinting with Katalin Ladik, 1971

: artmagazin.hu

Women in Concrete Poetry: 1959-1979

Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Mary Ellen Solt, Susan Howe, Liliane Lijn, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia Edited by Alex Balgiu and Mónica de la Torre

Katalin Ladik. Aria in F Major, 1978

Katalin Ladik, Poemim, (gelatin silver print), 1978/2016, Editions of 5 [acb Galéria, Budapest. © Katalin Ladik]

Katalin Ladik

Ladik Katalin

by Szombat Éva

ŐK KAPJÁK A 2023-AS DÉRY-DÍJAKAT

ŐK KAPJÁK A 2023-AS DÉRY-DÍJAKAT

Ladik Katalin, Mohácsi István, Mohácsi János, Nagy Gabriella és Ilma Rakusa kapják idén az irodalmi kitüntetést A magyar irodalmi élet egyik legnagyobb hagyományokkal rendelkező szakmai elismerésében részesül Ladik Katalin, Mohácsi István, Mohácsi János, Nagy Gabriella és Ilma Rakusa. A Déry Tibor özvegyének végakarata alapján létrehozott díjat a Déry Tibor Alapítvány évente ítéli oda az…

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Kuverta / omotnica  

(design Mihajlo Arsovski)

25x17,5 cm

Mail Art

Na poleđini pečat Filmski autorski studio, Zagreb

GEFF 69, pod naslovom Seksualnost kao mogućnost za novi humanizam, trebao se dogoditi u prosincu 1969., no pomaknut je za travanj 1970. godine. Najavljena Retrospektiva seksualnog i erotskog filma zagolicala je maštu javnosti, ali i politike, tako da je ovo ujedno i njegovo posljednje izdanje. Prva izdanja festivalskog biltena-glasila krasila je fotomontaža Aurore koja izgovara rečenicu: voljela bih da sam hermafrodit pa da mogu i sa ženama, dok je gradske površine ukrašavao plakat za izložbu Renea Hollosa, na kojemu je prikazan stilizirani golemi penis s grčkim podnatpisom fallikos antropos. Kasnije povučen na inzistiranje viših političkih instanci, ovaj plakat najavio je i beskompromisni GEFF 69 koji je, kako je pisao tadašnji Filmski svet, od skromne svečanosti zaljubljenika u film postao senzacija za koju su se ulaznice prodavale kao vruća roba. Najviše zanimanja izazvale su projekcije filmova Andyja Warhola i Paula Morrisseya, gošća festivala Carolle Schneemann pokazala je svoj Fuses, dok je nemali interes izazvao pjesnički performance novosadske umjetnice Katalin Ladik, koja je proglašena i najfinijom damom festivala. Izvor: Željko Luketić

GEFF, Genre Experimental Film Festival, was international experimental film festival organized from 1963 to 1970 in Zagreb, Croatia. GEFF was established after a series of debates between experimental filmmakers held at the Kino Club in Zagreb entitled “Anti-film and Us,” which was led by Mihovil Pansini, leading experimental film author. Anti-film was a type of film that was more focused on the pure acts of research and discovery, delving into its self-reflexive media language rather than any expression or communication happening between artist and viewer. Anti-film represented a radical annihilation of conventional film, its elements, principals and structure. GEFF became a worldwide locus for non-professional and experimental filmmakers. Izvor: Avantgarde museum, Zagreb