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Benedikt Gahl & Veit Kowald [Videonale.10]

BENEDIKT GAHL
*1977 in Munich GER, lives and works in Munich GER
Studied at Akademie der Bildenden Künste, Munich GER  


VEIT KOWALD
*1978 in  in Munich GER, lives and works in Munich GER
Studied at Akademie der Bildenden Künste, Munich GER

 

Exhibitions [selection]:

 

Benedikt Gahl  
2013 Pophits & Alptraum, Artspace RheinMain, Offenbach GER
2012 Benedikt Gahl. Home is Where the Hatred is, Galerie Andreas Höhne, München GER [S]
2011 Pop Hits ,Autocenter, Berlin GER
2010 ChasingtheBlickwinkel, Kunstarkaden der Stadt München, München GER
2008 Benedikt Gahl. Mein Körper ist unsere einzige Waffe, Galerie Andreas Höhne, München GER
        Most / Bridge / Brücke - La Fabrika, Prag CZE

Veit Kowald  
2013 Pophits & Alptraum, Artspace RheinMain, Offenbach GER
2012 Veit Kowald, Galerie Andreas Höhne, München GER [S]
2011 Pop Hits ,Autocenter, Berlin GER
2010 Knowhow Center I Opfern. Nicht spenden!, Galerie Andreas Höhne, München GER
        ChasingtheBlickwinkel, Kunstarkaden der Stadt München, München GER
2009 crotla presents - Lothringer13, Städtische Kunsthalle München, München GER
2008 Most / Bridge / Brücke - La Fabrika, Prag CZE

 

Benedikt Gahl & Veit Kowald [Videonale.10] x

Rigor Mortis, 2004, 4:35 Min, colour, sound [Videonale.10]

Rigor Mortis, the rigidity of death ? this ironical self-diagnosis of Gahl & Kowald describes the condition in which a young generation of artists might perceive itself. This gloomy and amusing animated video is inhabited by amorphous creatures made of modeling clay. Its main protagonist runs through various milestones of post-war art in a feat of concentrated effort performed upon its own constantly changing plasticine body: this being, whose form otherwise tends to be of rather organic and undifferentiated nature, must discipline itself into sculptures of Moore, Judd, LeWitt and others, while watching the efforts of a fellow-sufferer on television. This counterpart drags its cross to Golgotha. After having hoisted itself onto the cross, it stiffens as Kippenberger?s sculpturally posed question for the ?Difference between Casanova and Jesus?. Through such repetition, Kippenberger?s iconoclastic gesture transforms from a dead end into a model. It changes from the rigidity of death into a breeding-ground. The artist?s chameleon-like capacity for stylistic transformation seems to have become a life-principle for the plasticine beings. Rigor Mortis presents a humorous run-through of the art-historical canon, to which it seems to be posing the perennial question about the ?chicken and the egg?.

Dorothee Brill

Benedikt Gahl & Veit Kowald