Database
Vladimír Kordoš
Born January 22 1945, Nemecká ĽupčaSlovak painter, drawer, action and conceptual artist extending into intermedia art and video art. Kordoš belongs to the second wave of Slovak action art (Milan Adamčiak, Lúbomír Ďurček, Peter Meluzín, Róbert Cyprich, Michal Kern, Július Koller, Peter Rónai, Peter Kalmus, etc.), whose pioneers were Alex Mlynárčik, Stano Filko, Peter Bartoš and Jana Želibská. Member of the A-R Group (Avance–Retard).
In 2009, Rudolf Fila, Kordoš’s teacher, characterised his former student’s work as follows: “In connection with the creative output and, above all, the basic disposition of Vladimír Kordoš, the question arises about the action radius of the spectacular principle in art. Especially in the interspace this principle occupies between visual and theatre art. Somewhere here lies the roots of Kordoš’s creativity. His work is dominated mainly by interpretations or reinterpretations of classic artistic impulses. Kordoš removes the image with mimetic potential from its reproductive stagnation and activates it into a ‘living image’ through reincarnation. This is how theatre performances ended in the past. With Kordoš, however, a new image begins. Aware of the danger of perceptive stagnation, the author revitalises the image by doubting without doubt. In this way, he effortlessly solves the interesting problem of the relationship between materialisation and dematerialisation.”
(Ladislav Daněk)
Photo: Archive of SME – Tomáš Benedikovič
In 2009, Rudolf Fila, Kordoš’s teacher, characterised his former student’s work as follows: “In connection with the creative output and, above all, the basic disposition of Vladimír Kordoš, the question arises about the action radius of the spectacular principle in art. Especially in the interspace this principle occupies between visual and theatre art. Somewhere here lies the roots of Kordoš’s creativity. His work is dominated mainly by interpretations or reinterpretations of classic artistic impulses. Kordoš removes the image with mimetic potential from its reproductive stagnation and activates it into a ‘living image’ through reincarnation. This is how theatre performances ended in the past. With Kordoš, however, a new image begins. Aware of the danger of perceptive stagnation, the author revitalises the image by doubting without doubt. In this way, he effortlessly solves the interesting problem of the relationship between materialisation and dematerialisation.”
(Ladislav Daněk)
Photo: Archive of SME – Tomáš Benedikovič