“We want to learn for the same reason we want to translate, and I would argue, for the same reason we need to make art: something – maybe something difficult – needs to be communicated.” Marianna Maruyama

Sedje Hémon, Photo by Max Koot, Paris 1956.

 

 

The Sedje Hémon Foundation encourages research and study of Sedje Hémon’s artwork and compositions as well as her theory on the integration of art and music. As part of this aim, in 2016 the foundation invited composer Andrius Arutiunian and artist Marianna Maruyama, both based in The Hague, to research the archives and generate new work drawing from Hémon’s legacy.

Sedje Hémon’s creative resilience, what Vilém Flusser would have called ‘creative exile’ can be seen in her fluidity across media and her strength of character alike. In her remarkable paintings from the 1950s and 60s, and in the scores that emerged from them through a method she invented, Hémon tested the boundaries of disciplines and practices from within an artistic climate steeped in late modernism. Her as yet untranslated Theory of Integration deals with the interconnectedness of all art forms, including music, dance, and visual art. The meticulous notes she kept while developing this theory between 1958-1965 are of particular interest, as they also shed light on the great number of other artists, composers, and scholars she was in regular contact with, such as the art historian H.L.C. Jaffe, and concert pianist Shura Cherkassky.

In January 2017, Maruyama published the first article on Sedje Hémon in English in the Dutch art journal Kunstlicht (Translation as Method no. 3/4, 2016). Order a copy here.

 

@