Gor Chahal: THE NAMES OF GOD, 2007
geboren 1961 in Moskau, lebt und arbeitet in Moskau. Er studierte Mathematik und Grafik. Aus der Off-Szene Moskaus stammend, war er einer der ersten Multimedia-Künstler Russlands. Dabei beschäftigt er sich mit altkirchlichen Bildkonzepten, die er mit Hilfe der neuen Medien zeitgenössisch umsetzt. Er stellte unter anderem in Moskau, Wien, New York und Rotterdam aus und war bei der 53. Biennale von Venedig vertreten. Im KULTUM wurde Chahal in den Ausstellungen „GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007), „Gor Chahal. GRACE MAJOR“ (2007) und „RELIQTE“ (2010), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.
born in Moscow in 1961; lives and works in Moscow. He studied Mathematics and Graphic Design. Coming from the Moscow off-scene, he was one of the first Russian multimedia artists. Thereby he examines early Christian pictorial concepts which he realizes in contemporary ways using the new media. His works have been exhibited i.a in Moscow, Vienna, New York, and Rotterdam, and he took part in the 53rd Venice Biennale. Chahal’s works were shown in the KULTUM in the exhibitions “GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007), “Gor Chahal. GRACE MAJOR“ (2007), “Gestures of Infinity“ (2007) and “RELIQTE“ (2010)
Gor Chahal: THE NAMES OF GOD, 2007
How is God described? Which of his names are known? The Moscow-based multimedia artist Gor Chahal, who takes up a remarkable intermediate position between the vibrant Moscow art scene, which is so critical of the regime and the Church, and the adaptation of the spiritual resources of Orthodoxy for contemporary pictorial thinking, raises this question on the level of digital image production. He developed his artistic profile in the Moscow off-scene of the 1980s and the computer art emerging at the time—he was one of the first artists in Russia who created virtual sculptures. Then Chahal very soon became interested in unearthing the submerged spiritual traditions of his country and Orthodoxy and dealing with them in his art. Pictorial energy, light and transfiguration take center stage. For this he studied a large number of spiritual texts, above all by Dionysius Areopagita (early 6th century), Theodore the Studite (9th century) or Gregory Palamas (early 14th century), and also published them on his website. The latter is the founder of Palamism, which placed light in the center of theological thinking and Orthodox theology. This image energy is traditionally linked to the icon. From then on, the question of how the transformation process of the body into light and energy can be processed by means of contemporary media, has been the driving force in Chahal’s art. For example, the artist lets human bodies appear in pulsating light; gold, fire, rotating hands (of God) define the spheres in his multimedia installations, which can be experienced both as screens or projections and, in an analog version, as prints on canvas. The screenshots in the explosion mode of the Flash program too are visualized in the form of real spatial installations, like in the case of the work presented here in a historical room in the former Jesuit College, where Chahal lets the names of God, as they show up in the Bible, explode: the father, the savior, the shepherd, love, the almighty, the instructor, the rock, the supervisor of our souls, the creator, the fabricator, the old age, the majesty, the eternal, truth, peace, the saint, the supreme, the zealot, the king, the living ...
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 952-955.