Vladimir Kordiukov (1953 - 2009) was a distinguished Soviet interdisciplinary artist, jewelry designer, painter, graphic artist and sculptor. His artistic vision combines diverse materials and techniques, reflecting influences from postmodernism, suprematism and cubism. Kordiukov's visual language is characterized by an exploration of form and color, with surface reliefs adding depth and spatiality to his creations. Throughout his career, Kordiukov gained widespread recognition for his innovative methods, participating in over 100 international exhibitions. His works pushed the boundaries of material experimentation while maintaining a connection to the formal traditions of Soviet art. Kordiukov's legacy is preserved in museums and private collections worldwide, with a significant portion held in Berlin, Germany. His works are housed in the collections of the Vologda Art Gallery, the Vologda State Historical, Architectural and Art Museum, the State Russian Museum, and art museums in Kostroma, Sokol, Yaroslavl, Tomsk, Krasnoyarsk, Barnaul, and Pskov. His art is also part of the collections at the Metropolitan Museum of Art in New York, USA and the Seoul Museum of Art in South Korea. Additionally, his creations are held in private collections in Russia, Finland, Germany, France, Belgium, Croatia, the Czech Republic and the United States.
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Artworks&legacy
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ASSEMBLAGE
Vladimir Kordiukov was a master of assemblage whose works bridge the tactile world of industrial matter with the lyrical essence of music. Rooted in a deep personal reverence for musical instruments—particularly brass and stringed forms—Kordiukov did not merely depict these objects; he reimagined them. In his hands, metal sheets, wires, screws, and fragments of aged wood transformed into lyrical constructions—sculptural echoes of trumpets, guitars, and other beloved instruments.
This passion for music is not incidental—it is the pulse beneath his compositions. For Kordiukov, instruments were not only tools of sound, but vessels of emotion, memory, and form. His assemblages become quiet performances: still lifes vibrating with silent rhythm, improvisations of matter, harmony composed in rust and resonance. Each piece bears the weight of craftsmanship and the intimacy of obsession.
By fusing his musical sensibilities with his sculptural practice, Kordiukov forged a unique visual language—one that sings without sound and plays upon the eye like an instrument strummed by time itself.
Title: Pipe
Medium: Fiberboard, assemblage, mixed media
Dimensions: 66 × 60 cm
Year: 2007
Object Number: 133/St. Petersburg, Russia
Pipe is a sculptural abstraction of sound, drawing on the physicality of brass instruments and the aesthetics of decay. Twisting forms and hammered metal elements evoke the anatomy of a trumpet or horn, emerging from a dense grid of textures. It feels archaeological—like a sound fossil—both relic and relic-teller, echoing the past in metallic whispers.
Title: Serenade
Medium: Fiberboard, assemblage, mixed media
Dimensions: 65 × 61 cm
Year: 2007
Object Number: 127/St. Petersburg, Russia
In Serenade, a fragmented guitar silhouette emerges from a matrix of rust, nails, and industrial textures. The strings—some intact, some frayed—gesture toward a quiet musicality that is both tender and aged. Kordiukov here constructs a still life that sings with the memory of sound, setting soft rhythm against rough surface, abstraction against intimacy.
Title: March of the Slavic Woman, Still Life with Two Trumpets
Medium: Fiberboard, assemblage, mixed media
Dimensions: 65 × 77 cm
Year: 2007
Object Number: 122/St. Petersburg, Russia
This assemblage captures the symbolic weight of brass instruments juxtaposed against a richly layered industrial surface. March of the Slavic Woman evokes echoes of resistance, dignity, and cultural memory. Metal rods and weathered materials pierce through the surface, offering a dialogue between music and machinery, strength and silence. The composition, while static, implies a soundscape—one of forgotten marches and resilient echoes.