Katalin Ladik

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Katalin Ladik giving a sound poetry performance at the Chapel Gallery in Balatonboglár, Hungary, July 1973. Photo: György Galántai [1]
Born October 25, 1942(1942-10-25)
Novi Sad, Yugoslavia
Based in Budapest, Hungary

Born 1942 in Novi Sad. Katalin Ladik is a poet who employs various means of expression. She makes collages, photography, sings, acts in the theatre and on film, practices performance art as well as writing novels and poetry.

Ladik studied at the Economic High School of Novi Sad (1961-63), then joined the Dramski Studio [Drama Studio] acting school in Novi Sad (1964-66). Between 1961 and 1963 she worked as a bank assistant. During this time, in 1962, she began to write poetry. From 1963 to 1977 she worked for Radio Novi Sad. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992. In 1992 she emigrated to Hungary. She primarily acted in dramatic roles. Over the years, she also played major and minor roles in various TV films and movies. She led the poetry sections of literary magazines Élet és Irodalom (1993-94) and Cigányfúró (1994-99). Between 1993 and 1998 she taught at Hangár musical and theatrical education center.

Works[edit]

O-pus[edit]


Imre Póth, Katalin Ladik, Attila Csernik, 1972. Download (WEBM)
Video documentation: Attila Csernik. via Artpool

O-pus is a film that combines Ladik's interest in writing, image, sound, and performance. When film’s original soundtrack was lost, a new interpretation of the visual form was recorded. The work – made in Yugoslavia in the early 1970s – transposes the achievements of visual poetry into the world of sounds. The main motif is an image of the letter ‘o’, which is subjected to various transformations. The film, as a visual score created by Attila Csernik, is used to create the vocal performance. Ladik sings, whispers and shouts, exploring the relationships between visual effects and their reflections in sound. The film is a poem, a piece of music, and the documentation of a highly erotic performance, all at the same time. (from David Crowley, Daniel Muzyczuk, Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957-1984, Lodz: Muzeum Sztuki, 2012, p 123)

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