Cat and Rococ
2022-03-17 - 2022-04-22
Cat and rococo
The image Cat and Rococo, despite the complete predominance of whitish white and ash gray tones, stands out for its colorful. All the primary colors - red, blue and yellow - intersect in the typically cordo hints of real and illusory plasticity. A cat that inspired him emerges from the depths of the abstract work. Her eye, sniff or ear are here and they are not. The eye of the viewer paints them in the strokes and touches of the brush. The more times he looks at the picture, the more times he sees it. The work is a spontaneous use by people of their own illusion of clustering. The same, thanks to which the mind sees something in the shape of clouds, haunted shadows, or maps in spilled milk, is the real technique by which it is created. It allows - on the basis of imagination - to perceive the real scene of the undeniably abstract Cat and Rococo. The often underappreciated expressive restraint of the work makes an orderly chaotic play of thousands of meticulous lines and spots. Kordoš's imaginative perception here transcends the boundaries of the canvas - the title of the painting only translates into words what the viewer saw long before you read it.
The painting was completed on the day the cat left forever.
Vladimir Kordos Cat and rococo
Vlado Kordoš (1945) became known as an artist who dealt radically and inventively with his own body. He created "living paintings", of which he was the creator, director and participant, in the manner of persiflages and paraphrases of famous works of art history. He enriched them with contemporary civilization attributes and had them recorded on a photographic or film medium. Appropriation, ie appropriation and the subsequent transformation of templates, especially classical, iconic paintings, played one of the key roles in his work. Kordoš's reinterpretations were characterized by an unbounded invention, playful, funny and sometimes (compared to today) unusually "loving" irony. But sometimes he could mark his face sinisterly to express the dehumanized nature of normalizing immobility. However, many remember him as, for example, a Carravaggio young man with a basket of fruit bitten by a lizard, as he transformed into one of Messerschmidt's character heads, or as the protagonist and director of the "liveliers": Rembrandt's Return of the Lost Son, Atenadil your friends, colleagues and students.
We know him much less - and perceive him - as a painter. Although in relation to the painting and the traditional media, he has long denied iconoclast, respect and admiration for the work of his pedagogue from the secondary school of the arts industry, Rudolf Fila. And that means above all admiration for painting, not only as one's own free gesture, but also for its entire history. Vlado Kordoš started as a painter if he returned to painting periodically, whether he painted with action with light, fire, blind people, hands and his own body, even on the body ... Recently he has been painting more intensively and has already shown his paintings (often quite small formats) friends. Apparently he just plays with colors, feelings, moods, while still likes to go through the history of art, his painting loves, present once in detail, sometimes in references, hints, in small and inconspicuous quotes - materializes in a stain, line, stroke, color gestures glow with inner light. They sound like distant echoes of what he saw somewhere, what appealed to him, dazzled or gripped him. When one looks at his paintings, one can (together with the author) ask the question: "Where did we just see it?" ...
The exhibition at the Roman Fecik Gallery has come up with a kind of unconventional retrospective, a free discussion about his work, which has no beginning or end, which has several trajectories, but flows playfully and naturally. He says that his work has no direction, once he goes to the right, once he turns to the left, other times he may end up in a dead end, - but (!) - the author always gets out of it somehow, and he goes his own way, which he is enjoying the most. .
The project is financed from public resources of the Fund for the Support of the Arts.