Filomela (Nightingale) presents the recent production of the young German artist, Julian Cording, within the framework of the residence program Zona_Seis from Galería Luis Adelantado. Graduated from the Academy of Arts in Dusseldorf, Cording brings together in his work the influence derived from the tradition of this school (Blinky Palermo, Imi Knoebel, Gerhard Richter) with a clear interest in the precepts of the Bauhaus, namely Josef Albers and his research on the form and the plane in the pictorial field.
The exhibition takes as pretext the figure of the nightingale, from the Greek myth of Procne and Philomel, which involves significantly nostalgia and betrayal of love. In the myth, the act of spinning replaces the voice of the narrator and describes the tragic events, articulated in a purple frame symbolically reifying the transgression suffered by the character silently and indirectly.
The imbricated poetics by the artist shown in his proposal correspond to a particular interpretation of the poem The Nightingale by Paul Verlaine, in which chromatic and emotional rapports are established, which allow a glimpse of a “landscape” or natural setting for the development of the poem (in fact, a night landscape). More relevant than the allusion to Filomela is the association of colors in the poetry of Verlaine, corresponding to the use of certain tones and the lyric that deals specifically with heartbreak. Thus, literary and mythological references in the work of Cording encode color and give rise to unexpected relations by interaction of the chosen materials and the development of poetics established in accumulation, transparency, density and—though not apparently—a rigorous system of assemblage, as well as the elements that embrace it.
Thus, thematic considerations in his work operate tacitly and subjected to the matter and form. Spun from the experimentation with materials with a high degree of plasticity in dialectic between two—dimensional, three—dimensional, along with their iterations and sites in a particular place.
The visitor will find distributed in the gallery three bodies of work reflecting on what has already been described. First, the work developed during the residence, which consists of material experimentations with resin, industrial colored paper and color canvas. Second, a series of small—formatted two—dimensional pieces
worked with bronze plates and other elements that give texture to the material to continue formal reflection of the whole.
It concludes with the third group: an installation at the center of the gallery, to concatenate our experience of the space through a collection of hybrid objects and supports that strike us in the manner of Philomel, who narrates her tragedy using a thread. Cording displays the power of his work to punctuate his fundamental concerns: form is content and color is the plot that establishes a fact, a landscape, even better: a poetic.