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Leo Kogan
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Curriculum vitae
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( Zie foto onder aan deze tekst, totaal 5 werken in stock )
Voor curriculum vitae en verdere wetenswaardigheden betreffende deze kunstenaar druk rechtsboven op curriculum vitae en eventueel op de verschijnende link.
Tekst uit Leo’s catalogus ‘A Hunch and a Leverage’, 2004 ( Martine van Kampen )
'NOW is no longer now. True now is almost impossible, now cannot be without immediately being recalled. Now is therefore a continuous and ultimately tedious repetition, always in recall and never fully being. On its own now cannot do much. It’s dependent on soon and before, on a future moment in which another now will come or on a time in the past when now was then. We comprehend now as the result of what already took place and as the introduction to what’s going to happen. That’s how we absorb the shock of change, the repeated pounding of the moment. Only what really is new – unexpected and possibly effecting the future – is keenly considered and added to our comprehension. Seeing is this: the eye registers movement, what stands still is taken for granted. The brain is always aware of the status quo and is only interested in updates.
It is as if there was an explosion that came to a halt right in front of one’s face. In it floats the debris of what with similar force is spat out daily by all possible media: Lara croft, Sumo wrestler, piggy-bank, Saddam, blue jeans, Ron Jeremy, planet, Shania Twain, graph, portrait, the Beckhams, embryo, traffic light, parakeet, chess-board, diamond, 1399,-, SEX WITH THE EX, a man being executed from Goya’s famous executions of 3rd May, 1808. Images that are always residing somewhere, burnt into paper or light, kept in books and on shelves or on tapes and hard disks, in brain cells – referring to events that either shook the world or didn’t. Leo Kogan ( former USSR , 1974 ) paints constellations of details, constellations that in turn contain the echo of the media from which the details have sprung: comic trips and games, films and television, technical and educational drawings, and painting. Leo Kogan strives in his work for the utmost degree of contemporaneity”.
Rendering now is something other than capturing the moment. A snapshot captures a certain instance, in a certain place; but now is everywhere and it is in fact always. Before another lens, to a different eye, in another medium and another language – all the nows from all places and moments belong together. With close-ups and vistas, with realism and symbolism, and with history and current affairs. Kogan conjures his time, his now. All shapes and objects, all the images that stuck to his retina while he was browsing and flipping through his cabinet and his memory were considered. His eye has registered, evaluated, and given them a place – has shattered their order and eventually carefully brought them to a standstill.
A present time viewer seeks entertainment and he is restless, because whether he will find it is unclear – the options are limited. Most media make use of formats and genres, gradations of fiction and mediated truth that at given times have varying manifestations. A game, a drama, a show, a spot, an item – he quickly calculates what he sees and ten decides if it’s good for now or whether to move on further. Browsing or flipping channels is nothing less than the stationary replacement of the horizon, changing your outlook without having to move your body. Eyes love the change, the fingers love control.
In the work of Leo Kogan everything is in motion and at the same time everything stands still. Lights flicker, dials spin wildly, motors roar and speakers are pounding. Everything we see has made a journey, it has a sorce and a goal and at the same time everything is at the same time present. Our senses are alarmed, the eye becomes alert: do not rest assured because change is everywhere. When motion is not motion perception confronts itself. We are looking because something is moving, but also because we are looking something is moving. The outlook shifts, what used to be a reflex or an instant becomes a choice, one choice after another. The hands love the change, the eyes are in control.'
Enkelen uitspraken van Leo, voorkomend in zijn schilderijen, die geheel in de taal van zijn werk passen:
’If it looks like shit, smells like shit, chances are it is shit.’
’Once I had a girlfriend. While I was going through hard times they decided to pull a nasty behind my back. 6 month later they were married. But didn’t they realize a mechanism has been set in motion and I was to be just one of its many instruments.’
’If it wasn’t for your daddy’s connections, slut, you’d be shining shoes not running an art gallery’
’A nose is a nose. !MOVE! The first artist in outer space. The problem is, Leo, you’re to young for a good [our] gallery. Fucking Misinformer. Problems don’t end, they transform.’
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Overige werken
Ivo van der Bent
\"TAART\"
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Maries van Osch
Zonder Titel
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