Kenor (Barcelona)- “Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.
Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.
Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular "Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.“
Title: Desconstruccion Energia 195 x 130 Barcelona
Bohdan Burenko-“One day I came across pictures of the soldiers injured during the First and Second World Wars, their faces were completely mutilated by wounds. Some parts of their faces were just absent. The surgeon made everything possible in order to restore the faces of soldiers, they were patched with tissues from other parts of the body. They were given terrible wooden dentures for the face. I have never seen more grotesque and disturbing images. My stomach was filled with fear, and my heart was hanging in the terrible emptiness. At this point, I experienced a terrible inconvenience and discomfort. The image of these poor fellows landed down in my head for a long time. Later I realized what a powerful catalyst of emotions the destruction of the form is. I merged the idea of creating destructive portraits with my style and eventually a cycle called "Gentlemen” appeared.Visual image plays a major role in my creative work. I am trying to achieve the maximum emotional impact on the viewer with its help. For me, the person is the main theme and the main subject of art, so I depict portraits of people and human figures. I explore the nature of human existence, the relationships of people, human drama. In order the portrait to be as expressive as possible, I spend a lot of time searching for the ideal shape, and later I spend lots of time on its destruction. Correct forms or accurate representation of reality is a boring and uninteresting occupation for me. It seems to me that there is a special appeal in ugly and wrong objects. It’s hard for me to look away from the person with disabilities. I feel dreary, uncomfortable, but I can not stop looking at such a person. In my opinion, the ugliness and destruction are catalysts of strong feelings and they are also serious instruments to influence the viewer. Art should act as the causative agent, a kind of a kick, and it does not matter what kind of emotions the viewer really experiences. The most important thing is that he does not remain indifferent, and all means are good in this respect.“