Ludmila is an artist, scenographer and sometimes performer, operating in the fields of sensory experience, architecture and social interaction. She investigates affect, bodily experience and proprioception through the sense of touch, creating spaces, situations and devices to influence, interfere and engage with the audience. Ludmila deploys playful strategies to trigger physical awareness, in a synergy of the senses, where the notions of performance, self-control and enjoyment become blurred. Her works unfold a corporeal dialogue with the public, where everyone becomes an actor.
Ludmila has a background in architecture, dance and martial arts. Based in The Hague since 2009, she has presented her works in TodaysArt Festival (The Hague, 2013), Space Media Festival (Taipei, 2016), Cinekid (Amsterdam, 2016), PlayfulArts (Den Bosch, 2016), Modern Body Festival (The Hague, 2014 and 2016), MARRES (‘Winter Anti Depression Show’, Maastricht, 2014), Rijksmuseum (The Deepest Sense Symposium, Amsterdam, 2014), Schema Art Museum (Cheongju, South Korea, 2016), La Briqueterie (‘The Conscious Body II’ Residency, Paris, 2013), Korzo Theater and Stroom Den Haag (The Hague, 2012).
She runs a studio at Quartair Contemporary Art Initiatives, with partner Mike Rijnierse, and works as freelance designer. Ludmila is also a member at CLOUD/Danslab. Ludmila also lecturers in art academies and organizes events and workshops relating space, design and physical intelligence.
Born in Rio de Janeiro (1979) she has a degree in Architecture and Urban Planing (UFRJ – Federal University of Rio de Janeiro, 2006) and in Arts, by the Artscience Interfaculty, Royal Academy of Art (KABK, The Hague, 2013). Before coming to the Netherlands, Ludmila worked as freelance designer, Art History lecturer and artistic coach at Galpao Aplauso, NGO in Rio de Janeiro from 2007 to 2009. Download CV (PDF).
* Tinamus tao is the scientific name of a rare bird, a blue-grey chicken found in Amazon region, also known as “Azulona”
Spaces, situations and devices for choreographing the audience. Spaces that move you, touch you, conduct you.
I investigate the tactile and the embodied intelligence inherited in our body. I want art experience to be direct and intuitive, rather than a intellectualized ritual. Thus I try to engage the public in playful processes of seeing and being seen, touching and being touched, exploring the space and re-assessing their own perception of the world.
Often working with site specifics and using materials that are friendly to the skin, I propose situations where all participants collaborate, generating a social, ludic dimension. It is crucial to me that the public is spontaneously involved, not forced, and able to discover the experience in the flow. By creating this collaborative context, participants oscillate between public and performers, observers and actors, alone and together.
The sense of touch and the perception of movement (proprioception) are the two foci points of my research – I’m interested in all sensual inputs. The public must actively use their eyes and ears, hands and feet, all muscles to explore the experience. The main transformation occurs within one’s body. And doing so, they also become the piece.
The materials I chose establish corporeal relations, elastics, fabrics, silicone, wood, as means for suggesting movement, allowing the actors to feel, push, pull, stretch, as meta-body, with the space or the situation.
Often drawings and instructions accompany my pieces, in order to inspire and coordinate the action. By becoming active, the audience establishes new relations. They play and they discover something together.
I’m inspired by biological processes, swarms, the apparent chaos of urban space and the emergence of geometric patterns. My interest towards a physical experience is in defense of the embodied intelligence inherent to us all. I approach human perception as a process of all the senses with the world.
During my graduation at Artscience I wrote on phenomenological and social aspects of art appreciation, which became my thesis on The Body of The Audience. This work was printed in 2014 with support of Stroom Den Haag, and published in 2015 by Lambert Academic Publishing. Along the research in 2013, I documented my process and collected a number of findings in the blog Sharing Motions.