Vladimir Vlahovic was born in 1949. Graduated from the Faculty of Architecture in Belgrade. Professionally engaged in painting since 1984. Spent a six-month study period in Berlin. Member of the Association of Visual Artists of Serbia (ULUS) since 1995. Had numerous individual and group exhibitions. Lives and works in Belgrade.
Analysis of Vlahovicís translating effort
(translating language of music to the language of painting)
and his expressionistic reading of Gustav Mahler
Having in mind that here, we have comparison of different media and problematical nature of convergence of the art for understanding Vlahovicís artistic interpretation of Mahlerís music, itís necessary to scrutinize the thoughts of Theodor Adorno regarding this subject.
Namely, Adorno confronted, in parallel, linguistic elements of painting (he had in mind, first of all, music). Adornoís theory is based on the idea that Mahler abstracts and reifies the material of the romantic Austro-Hungarian music tradition, a language considered to be exhausted, and he makes it speak again for a second time. Adorno sees Mahler's Mannerism not as a desperate attempt at achieving goals analogous to the previous composers of his epoch, whose language he rearticulates for a second time, but as a treatment of form that speaks for itself. By that, Mahler obtains what was later adopted by the emancipated dissonance of Expressionism.
Adorno at Mahler sees ďfrozen gestureĒ which is the most apparent in raptures and intersections. Precisely these, broken and fragmentary musical passages are the basis of Vlahovicís abstract group of paintings inspired by listening Mahlerís music, and they can be found also in Vlahovicís semi-abstractions hidden in the texture of treetops, rocks and snow. Great canvases of ďfrozen gestureĒ, diptychs, empower space for new, different, dynamic reading of Vladimir Vlahovic.
Biljana Sikimic PhD.
Vladimir Vlahovic joined Fine Art America on April 25th, 2011.