Vladimir Korenev’s name (1946-1999) isn’t known to everyone but it doesn’t mean anything – fame, glory, monographs are still ahead. Prior to his sudden death (accident in the south), the artist worked in the Moscow publishing house High School, illustrating foreign literature. He was frequently been exhibited in group shows and he always acted on his own.
By means of relatives and friends his artistic legacy is only now beginning to emerge, like an iceberg, the bulk of which was hidden until now. This is more than 400 paintings as well as drawings and sketches. If all of them once could be put together in a single and well composed exhibition, we would see a strange, mysterious world, probably peeped in some unknown dimensions or spaces, and fixed on canvas. The fact that there are parallel worlds, not intersecting with ours and inaccessible for poor human feelings, humanity guessed long ago , even in the times of Plato and Pythagoras, and even earlier.
For many centuries, poets, artists, musicians have tried their “second sight” to see them, to penetrate the unknown line. Everyone knows the capacious formula of the famous Russian philosopher Vladimir Solovyov:
Dear friend, or don’t you see… that all that’s seen by us… is just a reflection, only the shadow… from sight unseen …
Among our contemporaries the most interesting attempts to breakthrough had been made by “informal” Igor Snegur and Yuri Mironov of the 1970s. Now they are joined by the name of Vladimir Korenev.
His creative work doesn’t fit into any of the modern trends. This is surrealism, fantastic realism and abstract, and metaphysical paintings, and God knows what else, plus something special, it’s Korenevalism.
The content of Vladimir’s works is almost impossible to describe. This is a thick boiling spot of color, geometric shapes, human and animal outlines, faces, hands, legs, eyes, hearts, celestial symbols, and so on. All this is layered on each other, intertwined in an incredible way, split up, connected. It mutually flows, rushes off into chaos. However, a careful examination reveals that this chaos only seems and each leaf is well considered, sense and color poles are skillfully emphasized, and in addition to an idea which lies on the surface, there is a super-idea as well. The one that brings a lot of canvases in a single whole – the reproduction of fantastic worlds, supernatural or parallel, call it the way you want.
Korenev’s creative work isn’t isolated from global and domestic art, it has thousands of threads associated with the spiritual treasures accumulated by the mankind. But its transcript is rather complicated. I’d like to suggest one, not an indisputable one, which may help to open at least some semantic lines.
The key is the book of the Russian writer and philosopher Daniel Andreev (1906-1959) “The Rose of the World” and grand theodicy “Divine Comedy” of the fourteenth century, which is still not completely understood and evaluated, created by Dante during exile. Son of the famous writer Leonid Andreev,
wrote in conditions of Stalin’s camps – in the decaying barracks, with difficulty hiding handwritten leaflets during numerous searches. Often go beyond everyday mind and visions, the author reconstructs a gigantic panorama of the limitless and multilayered universe involving many coexisting worlds, possessing, in contrast to our three-dimensional and simultaneous physical layer, a huge variety of spatial and temporal coordinates. All of them are apartments of an infinite number of monads – indivisible spiritual units, diverse in their vestments of material and ways of life.
The author treats the universal struggle of Good and Evil, as Dante did once – the progress of the world leading human souls to bliss, or worlds of retribution, where sinful souls and criminals repay great. Mighty imagination paints pictures of heavenly cities built by the heroes, geniuses, saints, in one of them is Navna – an ideal collective soul of the Russian people, shining by unearthly gold and white, and opposing them is an underground world – the centre of demonic mankind, his mighty strongholds.
A philosophical treatise is illustrated. I don’t know whether Vladimir Korenev was familiar with Andreev’s book, but anyhow he managed to see the world, described in the “The Rose of the World”, and to reflect them in colors and images. And finally, it’s not necessary to believe in Andreev’s constructions, although the whole societies is considering “The Rose of the World” as a new syncretism religion, but you can use it to describe the creative work of a talented artist. It is a very fruitful method. Again, there may be other interpretations.
Deliberately I don’t cite any specific pictures, the author called them at will or sometimes left unnamed. One thing is clear: deciphering on such complex spiritual phenomenon of Vladimir Korenev’s work is still ahead.
The artist has been in a state, can wander freely between the layers of the world. All we have to believe is his intuition and talent and humbly comprehend the treasures he left to us…
– 為 弗拉基米爾． 科列涅夫 致敬
文 ：奧列格 （新聞從業員/藝評人）
弗拉基米爾﹒科列涅夫(Vladimir Korenev, 1946-1999）的名字並非衆所周知，但也絕非寂寂無名。在意外身亡之前，科列涅夫於莫斯科出版社《高校》（High School）擔任外國文學插圖師。他的作品亦經常出現在群展及個展中。
多個世紀以來，詩人、藝術家、音樂家都嘗試以他們超人的洞察力來突破這一道未知的圍牆。著名的俄羅斯哲學家弗拉基米爾索﹒洛維約夫（Vladimir Solovyov ）曾論述：「……親愛的朋友，你看見的、抑或被看見的，都只是映像、幻影……」七十年代的伊戈爾．斯涅古爾（Igor Snegur） 及尤里．米羅諾夫（Yuri Mironov ）亦曾嘗試同類的探究，結論有趣而突破。時至今日，科列涅夫也加入了他們的行列。
科列涅夫的創作絕不孤立於國際及本地藝術，它仍繼承著人性精神寶藏，不過其詮釋非常複雜。筆者嘗試以俄羅斯哲學家丹尼爾．安德烈耶夫 （Daniel Andreev, 1906-1959） 所著的《世界玫瑰》（The Rose of the World, 1959），和生於文藝復興時代但丁的《神曲》作爲揭開科列涅夫作品謎思的指引。