Marlena Kudlicka

Marlena Kudlicka - A 0,1% 0,2% 0,2%

Técnica: Acero con recubrimiento en polvo.

Biografía del Artista: Kudlicka is particularly interested in the relationship between precision and error: her sculptures are made with a jeweler’s precision, but at the same time an error is factored into the process of their creation. This relationship leads to a balance—the main theme of her works —not only between, for example, numbers and the written word, or dimensions and color, but also the balance of weights. Kudlicka’s sculptures are based on statistical calculations, which is why they seem to float on air, and why we doubt the force of gravity when looking at them, or walk around them on tiptoes. Just as Katarzyna Kobro, the forerunner of Polish avant-garde art, Kudlicka also derives her sculptures from architecture. Kudlicka refers to the peripheral areas of architecture, as well as to the construction process. Language is also a key element in Kudlicka’s work; the title is always an integral part of her art. Friedrich Meschede writes that "Focusing on the title reveals a crucial core of Marlena Kudlicka’s work. She refers to concrete poetry, a term that can be ascribed to both literature and the fine arts, which transforms the flowing transitions between the medium of language, its visualization using letters as a pictorial form, and sounds as concepts of rhythm into a complex system. The rigid guidelines of grammar turn into a new order through a playful disregard of grammatical regularity. The combinatorics of opposites, and elements that would not initially be thought of as going together, is the technique of collage used for concrete poetry. The vocabulary of construction creates the surprise.” Some of her most recent exhibitions include the group show at MACBA (Buenos Aires Contemporary Museum), a solo presentation at ŻAK | BRANICKA and at La BF15 Lyon, as well as at the MWW (Wroclaw Contemporary Museum) in Poland. Marlena Kudlicka was born in Tomaszów Lubelski, Poland, in 1973. She lives and works in Berlin.

 

Etiquetada como escultura lingüística, la práctica de Kudlicka es resultado de un interés en los mecanismos del lenguaje que nos permiten compartir con otros lo que vemos. Su campo de estudio es por tanto el de la comunicación del mundo que percibimos. Dicha comunicación adopta la forma de imágenes de sonidos, es decir, palabras. Estas nunca llegan a ser exactamente los fonemas que componen la expresión hablada, hay una inevitable discrepancia al igual que sucede entre el concepto generador de una obra de arte y su concreción material. Existe así un objetivo de reconciliar el lenguaje hablado con aquel de las artes visuales. Kudlicka profundiza en el estudio del proceso de desarrollo de formas y reflexiona sobre las limitaciones técnicas que definen el equilibro entre error y precisión. Es este un discurso que evidencia el protagonismo de la tecnología a la hora de definir lo perceptible.