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Vuk Vidor (née Veličković; Serbian Cyrillic: Вук Видор, née Величковић; born 1965) is a French-Serbian artist.

Vuk Vidor
Вук Видор
Born
Vuk Veličković

1965 (age 56–57)
Belgrade, SR Serbia, SFR Yugoslavia
Nationality
  • French
  • Serbian
Alma materÉcole des Beaux-Arts
Known forPainting, drawing, sculpture, installation
Notable work
Art History, Serbia Remix, Evils, The Newton Initiative, SuperEgo
Movementsub-realism
Children2
Parent(s)
AwardsIto Ham Prize, International Painting Prize of Vitry-sur-Seine
Websitevukvidor.com/works/

Life


Vuk Vidor is the son of the painter, illustrator and engraver Vladimir Veličković and the older brother of artist Marko Velk. Born in Belgrade, Serbia in 1965, he studied architecture at the Ecole Nationale des Beaux Arts de Paris-Tolbiac (Paris-Tolbiac National School of Fine Arts) and graduated in 1990.[1] He shows several of his utopian and conceptual architectural projects alongside pioneers such as Zaha Hadid, Morphosis, Coop Himmelblau, Eric Moss... In 1992, Vuk Vidor decides to turn to painting.[1] A series of drawing he started in 1989 and entitled " King Ink " often serves as the basis for his works.


Work



Artistic practice


Vidor's work is characterized by its eclecticism.[2] His reflexion about life and death is prominent in a series of paintings entitled " Ascendance " that depicts interconnected skulls.[3] It is a way to represent emotional, historical or even cosmic connexions between beings.[4] His works are full of irony.[5] The " Everlast " series is about the 4 ages of life : childhood, Adulthood, old age and death.[4] He works with several mediums, mostly painting and drawing, but sometimes sculpture or installation as well.[4] In 2000 he contributed to an exhibition about the color red, symbolizing eros, blood and violence.[6]

In 2015, Vuk Vidor created an exhibition around a fictitious industrial and scientist, Thomas Jerome Newton, a character from the 1976 movie The Man Who Fell to Earth.[7] He built a story around the character, pretending that he was about to give an interview to Time Magazine.[8] He feigned to have had access to the character's archives and exhibited documents about him.[9] David Bowie, who impersonates Thomas Jerome Newton in the movie, is omnipresent in the exhibition.[10] Vuk Vidor had previously focused on another icon, the singer and musician Elvis Presley, whose name he had changed to ‘Evils’.[11]

Vuk Vidor has worked with musicians Goran Bregović and Marc Cerrone, and English rock band Duran Duran.[12] He directed numerous music clips in Serbia in the 90s. In 2006, he directed a vido clip about greed for the launch of the Chrysler 300.[13]


Committed art


Vuk Vidor is a committed and political artist. In 2003 he takes side for the Refugees in an installation called Serbia Remix Project. The subject of the installation is a blue, white, and red striped plastic bag. This bag is according to him, a common feature of every victim of modern conflicts.[14] His work is fraught with historical references and frequently deals with the idea of war.[15] He has built a gold statue of himself in an attempt to reflect both on his ego as an artist.[16] and on Serbian nationalism.[17]

In a 2009 series entitled " American Quartet ", he delivers his own vision of the United States.[18] Through figures of weary Superheroes, he denounces the myth of the Frontier and the omnipotence of the US.[19] Captain American becomes an Atlas-like figure, bearing on his shoulder not the world but the American Dream.[20] Jesus is also part of the exhibition, but is shown crucified to Shareholders.[21] The inspiration of his post 9/11 world comes from pop art and American comics – a genre he likes to parody.[22] He twists American symbols and turns heroes into useless villains.[23] He exhibits his works in the United States to force Americans to face their contradictions.[24] He intends to show that today " even super-heroes cannot save us ".[16] Generally speaking, his work constantly interrogates the place of humanity in the universe.[25]


Conception of art


Vuk Vidor's vision of art is sometimes controversial. " Vuillard was better than Bonnard, same for Tapiès, Rauschenberg used to be better, Twombly has always painted crap, Bacon was better when he was alive. ", he said in a 1999 manifesto-like work entitled " Art history ".[26] In 2007 he co-signed an editorial in the French newspaper L’Humanité, criticizing how the French Ministry for Culture was contributing to create a normalized and monopolistic " official art ". He spoke against the " masked puppeteers " who are imposing diktats of fashion and trends in the art world. He asked for a fair repartition of temporary exhibition spaces.[27] His work is transgressive : he even directed erotic videos.[28]

In 2012, Vuk Vidor created the under-realist movement with Kosta Kulundzic, a Franco-American artist of Serbian origin, and the French artist Stéphane Pencréac’h. The movement is a reaction against the over-conceptualisation of contemporary painting. For them, the image is more important than the idea.[29] The under-realism is a grouping of artists who share the same vision of the artist's condition and are trying to free themselves from the diktats of market and trends.[30]


Recognition


Vuk Vidor was awarded the Ito Ham Prize in 1986.

He was awarded the International Painting Prize of Vitry-sur-Seine in 1996.[1]


Exhibitions



Solo shows



Group shows



References


  1. "Vuk Vidor". Artnet. Retrieved 10 January 2019.
  2. Miller, Harlan (June 2009). "I'm still standing". Soho House, London.
  3. "Focus sur la Louise Alexander Gallery". Art Media Agency. 29 March 2013. Retrieved 10 January 2019.
  4. Debailleux, Henri-François (31 October 2001). "La mort leur va si bien". Libération (in French). p. 38.
  5. Azimi, Roxana (18 October 2004). "L'art contemporain affiche des prix en hausse". Le Monde (in French). p. 2.
  6. Debailleux, Henri-François (15 December 2000). "Un bon coup de rouge". Libération (in French). p. 43.
  7. ""The Newton Initiative" de Vuk Vidor". Le Parisien (in French). April 2015. Retrieved 10 January 2019.
  8. "Vuk Vidor. The Newton initiative". Wall Street International (in French). 18 March 2015. Retrieved 10 January 2019.
  9. "Vuk Vidor, the Newton Initiative". Arts in the City. 7 April 2015. Retrieved 10 January 2019.
  10. Giraud, Brigitte (1 May 2015). "Sous l'étoile de Bowie". Le Magazine Littéraire (in French). p. 22.
  11. Duponchelle, Valérie (2 December 2005). "La frénésie acheteuse semble sans limite pour l'art contemporain". Le Figaro (in French). p. 34.
  12. "Duran Duran – David Bowie, footage by Vuk Vidor". 12 January 2016. Retrieved 10 January 2019 – via YouTube.
  13. Lupieri, Stephane (1 April 2006). "Conseil : l'entrée des artistes". Les Echos (in French). p. 76.
  14. "La foire de Madrid dans l'ombre de la guerre". Le Monde (in French). 18 February 2003. p. 27.
  15. "Drawing Now, le dessin contemporain tient salon au Carrousel du Louvre". Art Media Agency (AMA) (in French). 9 April 2013.
  16. "Vuk Vidor – Superheroes – galerie Magda Danysz". Artistik Rezo (in French). 7 December 2019. Retrieved 10 January 2019.
  17. Chalumeau, Jean-Luc (10 December 2009). "Vuk Vidor et son SuperEgo". Visuel Image (in French).
  18. Karma Cubina, Silvia (November 2007). "Superheroes Can't Save Us Now! by Vuk Vidor". Art Press. Retrieved 10 January 2019.
  19. de Santis, Sophie (9 December 2012). "Vuk Vidor". Le Figaro (in French). Retrieved 10 January 2019.
  20. "Vuk Vidor". Magda Danysz Gallery (in French). Archived from the original on 12 June 2018. Retrieved 10 January 2019.
  21. "Vuk Vidor". Centre Culturel de Serbie (in French). Retrieved 10 January 2019.
  22. "La Face Sombre de l'Amérique". Paris-Normandie Grand Rouen (in French). 8 September 2010. p. 8.
  23. "Even Superheroes can't save us now! by Vuk Vidor" (PDF). Cueto Project. August 2007. Retrieved 10 January 2019.
  24. Duponchelle, Valérie (23 February 2007). "Le tour des galeries". Le Figaro (in French). p. 32.
  25. "Vuk Vidor er tilbage". Gallery Poulsen (in Danish and English). Retrieved 10 January 2019.
  26. Chalumeau, Jean-Luc. "Vuk Vidor". Anne Perré (in French). Retrieved 10 January 2019.
  27. "Nous sommes tous des engagés volontaires pleins d'énergie". L'Humanité hebdo (in French). 5 May 2007. p. 13.
  28. de Rochebouet, Béatrice (2 April 2004). "Art Brussels, la fleur du plat pays". Le Figaro (in French). p. 26.
  29. Rellinger, Marine (22 September 2015). "Sous-réalisme : un nouveau courant en forme de "gang bang pictural"?"". Télérama (in French). Retrieved 10 January 2019.
  30. "Réaliste, mais pas trop". Midi Libre (Catalogne) (in French). 31 July 2013.
  31. "Vuk Vidor Galerie Anne Perré" (PDF). Anne Perré. December 2014. Retrieved 17 January 2019.
  32. "Vuk Vidor". Mazel Gallery. Retrieved 17 January 2019.
  33. "Cueto project -Vuk Vidor" (PDF). Cueto Project. Retrieved 17 January 2019.
  34. "Vuk Vidor". Magda Danysz Gallery. Retrieved 17 January 2019.

На других языках

- [en] Vuk Vidor

[fr] Vuk Vidor

Vuk Vidor, de son nom d’état civil Vuk Veličković, est un artiste franco-serbe né en 1965 à Belgrade, en Serbie.


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