22 Feb - 30 June 2020
When the End is just a New Beginning
The Apocalypse Insight (2019/20) cycle of paintings develops ideas and topics stemmed from a series of work named Gods (2015), manifested by the urge for the visible and (in) tangible, abstract and figurative at the same time. Starting from the fact that the visual conception of God is an absolute abstraction, Milos Todorovic begins to look for a way to make a subtle body shape out of water and clouds, tending to embody an incorporeal being that has the appearance but not fullness of form.
While hovering, the uncreated space between cycles of creation goes beyond the significance of whether the painting is figurative or abstract in its construction.
As for Todorovic, painting is a process by which impulses convey emotional events from his life and provide answers to questions. The need for continual search in the necessary moments of solitude resulted in everyday obsessive recording of situations in notes of various forms, from which, as a reflex, results painting work. Having declared his physical (creative) death and having disappeared from public life (after a very active and successful career he retired and sent a letter to gallerists, collectors and institutions asking them to erase any trace of him, specially from the Internet), Milos Todorovic announced the existence of entity 226 on 13th December 2013. An intense process of introspection occurs during a period of personal drama in which he questions the criteria of importance and a life that is no longer necessary for itself, but requires that we act inside it throughout the contents. The birth of a spiritual entity, which was born on the day of death, has been created through him, like the creative energy beyond his physical existence
The exhibition 226, which followed on from his previous artwork, was shown in Paris in 2015 and was the platform for the paintings that are being created today and that are the artistic link between what Milos had done until 2013 and the thread until his last series of works The Apocalypse Insight (2019/20), which is also his first public appearance after a long-lasting media break. Regardless that fact, Todorovic created and had contact with his collectors on a daily basis. His self-portraits created in the bathrooms of the hotel rooms where he lived in Paris, London, New York, Moscow and Belgrade were projected in the rooms of the Providence Hotel in Paris. These photos evidence the way of life, experimentation with the needs of the body that are minimized (like reducing diet). Physical deconstruction in order to release energy, going beyond the corporeal dimension for spiritual strengthening and the need to experience one’s own limits.
In the Apocalypse Insight series of paintings, an apocalyptic “landscape” occurs in the haze of the underworld. A setting reduced to clouds, water and smoke forms the environment for the dark depths that haunt the artist, a place where the non-existence finds a refuge in the disappearing light while an energetic eruption sets off in that hazy shadow. Rebirth (regeneration) in Milos’s work corresponds to the endless cycle (which is painful) in Buddhism known as samsāra, the teachings that a person’s actions lead to a new existence after death, such as the Universe, which will one day be reborn through infinite oscillations in the cycles of creation and destruction.
In the process of creation, the materialization of the entity sometimes results in a quantum leap that the artist describes as a magical action in which he loses control of the outcome, a contrast occurs in the direction in which he intends to move, “making inexplicable moves inconsistent with the way of his works”, it does not resist, but allows the creation of the nonexistent. Ease of the move and the intensive energetic centers of paintings make him possible to achieve effects that characterize several authors throughout art history; such as El Greco’s free strokes with white light accents, Rembrandt and Velazquez combinations of light and shadow, Rothko’s light center of a painting and monochromatic blending surfaces; in terms of the atmosphere and melancholy tones obvious are references to Caspar David Friedrich and Edward Munch, where colors spill over into a cool gray-blue range of colors dominated in the paintings of Professor Vladimir Velickovic in the 1960s and 1970s, on whose surface the forms emerge as on Men Ray’s photograms in the process of solarization of dark surfaces.
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About The Artist
Born on June 26, 1971 in Belgrade.
1993-1999 Ecole nationale supérieuare des
Beaux-Arts (MFA), Paris
Class of prof. Vladimir Veličković
1991-1993 Faculty of Fine Arts, Belgrade
2006 Pierre Cardin Award, Academie des Beaux
2005 Antoine Marin Award
1997 Cannes International Film Festival / Poster
1992 Best Nude Study Award – Faculty of Fine
2020 Apocalypse Insight, Drina Gallery, Belgrade
2010 Made in Hell, Gallery RX , Paris
2010 Love Hurts, Gallery Marcel Strouk, Paris
2009 Art & Public Gallery, Geneva
2008 Marcel Strouk Gallery, Paris
2007 Marcel Strouk Gallery, Paris
2006 I.S.Thomas Gallery, Paris
2005 I.S.Thomas Gallery, Paris
2004 I.S.Thomas Gallery, Paris
2003 Cultural Centre of Serbia, Paris
2002 I.S.Thomas Gallery, Paris
2001 I.S.Thomas Gallery, Paris
2000 Arte & Mestiere Gallery, Porto San Giorgio
1999 I.S.Thomas Gallery, Paris
1998 Cultural Centre of Serbia, Paris
1993 Gallery of Fine Arts Academy, Belgrade
SELECTED GROUP SHOWS AND FAIRS
2019 Artists in Focus 2, Drina Gallery, Belgrade
2009 – 2011 Marcel Strouk Gallery Paris
Several group exhibitions including works by Andy Warhol, Keith Harring, Roy Lichtenstein, Jasper Johns, Jean Michel Basquiat, Erro, Combas, Damien Hirst, Mel Ramos, Douglas Gordon, Jeff Koons etc.
2008 International Art Fair Art Paris, Marcel Strouk Gallery – Grand Palais, Paris
2006 Antropography III – Frissiras Museum, Athens
Fresh Ground – Thanassis Frissiras
Pierre Cardin Award – Espace
Pierre Cardin, Paris
2005 I.S.Thomas Gallery, Paris
2002 Cultural Center of Serbia, Paris
2001 International Art Fair Lisbon /FAC/
Enes Arte Contemporanea Gallery
1999 I.S.Thomas Gallery, Paris
1998 Progres Gallery, Belgrade
1997 Foundation Lefranc Bourgeois, Paris Salon of Contemporary Art Vitry – Vitry sur Seine
1996 May Salon, Paris
Vitry Salon – Vitry sur Seine Portraits,
Académie des Beaux-Arts, Paris
CCY Gallery, Paris
1995 May Salon, Paris
Vitry Salon – Vitry sur Seine
Rencontres 95 – Julio Gonzales Gallery – Arcueill
1994 May Salon, Paris
1992 Fine Arts Academy, Belgrade
1991 Drawing Biennale, Belgrade Youth Center
Frissiras Museum (Athens), Aforge Finances (Paris), S.E.T (Paris), Zepter collection (Monaco), James Lubowitz collection (Taos, New Mexico), Bernard and Cornette de Saint Cyr (Paris), Aforge Finance Foundation (Paris), Pierre Cardin Foundation (Paris), Four Seasons Hotels&Resorts Corporate collection, Jean Luc Bideau collection (Geneve), Albin Michel editions (Paris), Collection of Petar Stojanović (Belgrade), Collection of Dakis Joannou (Greece), Philippe Marin collection (Paris), Milan Beko (Belgrade), Pozzolini Flying Circus (Florence), Ann&Vivian Horwitz collection (London) and other private collections worldwide.