Bucolic Paintings
(or... Why not paint landscapes today?)
Raúl Cordero, born in La Habana, Cuba, in 1971 and based in Mexico City, is a multidisciplinary artist, with a background in art and design. His early work was focused on the uses of videoart, installation and photography in relation to how painting establishes a dialog with these new artistic languages. In the last decade, Cordero has approached painting from a post-conceptual position, incorporating two problems, which have always been present in his practice. On the one hand, the question about how we coexist with images, and on the other, the unfolding of visual production strategies’ inclusion into the perverse, arbitrary and contradictory global universe of contemporary art.
In order to do so, he uses a strategy of distraction, in which he combines his exemplary Post-Richter mannerism of Wet on Wet painting, incorporating written inscriptions where words take a significance beyond the purely...conceptual and they enter the field of discourse. The gesture of investigating the historical genres in pre-modern painting becomes obvious after his obsession with The Avenue at Middelharnis, 1689, from Meindtert Hobbema, which to this day can be seen as an ironic strategy to raise a bucolic way of facing the pictorial fact, in a result which is disturbing, given its perfectionism – from the formal point of view – and intelligent – from the narrative point of view –. These works have the qualities of “transitory poetics” and show an undisputable maturity that offers the necessary freedom to keep painting today, instead of doing something else.
Imágenes de la Exposición
Vista de la exposición
Entrada actualizada el el 28 abr de 2016
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