Moc zene: Katalin Ladik [antikvár]

!ng,tr, ribing,dis voicing a personal history afa subject. Where does a life begin, and where does a text end, or where does a text begin, and where does the transparence of life end? Signifying order of writing resists conceiving a'figure'to be read, seen, or heard by a reader, spectator or audience, as a particular I or YOU, or HE or SHE. In other words, the order of writing itself resists a comprehensive image of Hatalin Ladik. She is all about movement, change, and mutation - she exists as a subject of multiplicity. Writing her biography starts with opposition to identification of a single consistent and apprehensive 'textual hypothesis' on the subject occupying the place of the existential T - not this author's, but of the subject in question: Katalin Ladik as an artist in her open realms of change. Addressing one's artistic life and work does not necessarily acknowledge one's 'creation': it brings together incompatible cultural traces of hypotheses conceived in order to prove, or at least, demonstrate that I i.e. SHE exists. If a 'monographic study on the artist' is an interpretation, the tekt itself is a residue of multiple events of writing, as opposed to the forms of life escaping our gaze and comprehension. This search outlines a hypothetical space of writing wherein fragmentary and broken references - traces of traces - display, arrange, edit, emulate and exhibit themselves in an illusion of totality: of a creation, image, subject, figure, or 'protagonist': Hatalin Ladik in the socialist Yugoslavia, and Katalin Ladik in the transitional Vojvodina, Serbia, Hungary, or Croatia. Thus, Katalin Ladik as an I, YOU or SHE of a monographic study becomes fictional, indeed, figure OF theory reflected in Other texts and their visual and acoustic analogies and intersections engaged in a dramatic struggle for difference, exception, and human, artistic and cultural authenticity. Life-and-work of an artist is therefore a procedurally determined order of traces df traces in 3 dynamic text among other texts addressing subjectivity in art, society, or culture. Monographic interpretation pertaining to comparative art history is not a literary narrative of one's life story, but a disrupted index classification of disciplines and genres - an isolated chain or map of hypotheses located within other hypotheses and genre potentialities in retrospective rendering of Katalin Ladik's life and work, conceived in complex cultural realms and their overlapping and Intersection. Biography constructs figures from language, notfrom blood, flesh, mud, sperm, amino acids, genes, secretions, or 1 water. Text of a study Is. therefore, plural and always already contains at least e one 'potential I' more than anticipated artistic I, YOU or SHE. The artist (Katalin Ladik) disclosed herself in poems, prose works, interviews, or performances as an T which is more than one I, in the plurality of distinctions between characters, protagonists, or performers. There is an obscene surplus of subjects involved. Interpretative narratives thus disrupt the metahistory - a grand narrative of what is regulated or contractual i.e. normative, concerning this heroine of the art world. Monographic, critical study of Katalin Ladik's work, her elusive biography and, indeed, economy of desire to situate 'life' in the text are mutually confronted - languages circulate, interweave, entangle and disap-pear in the distance and chronology of what has been read i.e. consumed by desire, desire of the Other constructed by that particular I, YOU or SHE bearing Katalin Ladik's inscription. Katalin Ladik was born in a Hungarian family (father Ferenc Ladik and mother Margit Tápai) in Novi Sad, on October 25,1942, in the midst of the wartime chaos and poverty. The war years in Vojvodina were cruel and ominous. She grew up in the circumstances of real-socialism and socialist construction of a 'new society". This was a society of poverty, and of the elaborate techniques of surveillance, control and punishment within the restructured sociality - of public and private life. This, however, was also a society conceiving bilingual or multilingual cultural practice as a token of overcoming ail ethnic and national conflicts, and accomplishment of new social forms of life. Political IDEAS on coexistence of differences were embedded in the political rhetorical apparatus, though not necessarily in the social practices. Katalin Ladik grew up speaking, reading, and writing both Hungarian and Serbian. She came from the working classes of agricultural Vojvodina entering rapid industrialization. Her parents worked as day laborers on the farms of their Serbian neighbors. Her father managed to get a permanent job as a manual worker In the Jugopetrol company, but both of her parents died before their sixties. She had two sisters and a brother. The younger sister died in childhood. Her living siblings Erzsébet "MULTIPLE NA - EXCERPTS