Gor Chahal: one hundred names of God
Запись от Гор Чахал размещена 30.10.2012 в 21:09
Russian translation of Teresa Pasterk, published in the journal «Kunst + Kirche»
< br /> Gor Chahal: one hundred names of God and the attempt to combine artistic tradition of Orthodoxy, computer art
image of God in the artistic traditions of Orthodoxy engaged only icon. In it God is present. The icon is a print of prototype, and as such, it has to follow the canon image. But what if the new media images provide new opportunities?
Moscow artist Gor Chahal is one of the first multi-media artists Russia. He is one of the leaders of Moscow's alternative scene of the 1980s in his artistic profile. Chahal argued with many icons of the theory, based, including, to the texts of the Church Fathers. In the end, he raised the question: how can I translate the theoretical concept of Orthodox icons in the space of contemporary computer art?
God - the Father, the Savior, the Shepherd, Love, Almighty Master, Rock, Guardian of our souls, the Creator Creator, the Ancient of Days, the great, eternal, Truth, Peace, Holy God, a jealous king, Live ...
hundred names of God Gor Chahal printed as a screenshot of some flash of the "Explosion" in visual stillness. Simple name - "The name of God." Cyrillic letters of the names of God Chahal pasted on the walls of various exhibitions since 2003. Exposure took place in the Russian Orthodox Church Holy Martyr Tatiana, a former Jesuit college in Graz ... Exhibition in Moscow's Central House of Artists, has caused a huge scandal, probably, because the poet Miroslav Nemiroff and Andrey Rodionov its background reading obscene poetry.
< br /> Red, different sizes letter word spread towards the center, opening the border to, denoting the void freeze. The idea of work is that, of all the naming of God, which are used in the Bible to build a meta-name of God. This meta-name, high or abstract concept, can not be expressed except by character, including all the names of God. With the belief that the name of God is the key to the gates of the kingdom of heaven, every viewer will be able to open the gates.
Linking concepts with the whole cosmos of values and making this space values in a picture, Chahal formally approaches the visual poetry . This space appears here as an oscillating, cyclic expanding, penetrating all the centrifugal system, incomprehensible, as the very name of God.
But how Gor Chahal, raised non-religious in the traditional sense of the word, the parents, so far advanced in employment is Orthodox art? Chahal was born in Moscow in 1961. His mother - a Russian, his father - an Armenian. At the age of 11-15 years, he studied at the art studio of Tatiana Cypress. In 1985, after graduating from the Faculty of Applied Mathematics MiFi way for him, it seemed a foregone conclusion. This is the time Gor Chahal with the poet Arkady Semenov and rock group "polite refusal" founded the group "parallel action" in a program that combined rock music and poetry performances. In subsequent years, interest Chahal various forms of art: he published literary works in the late 1980s did performances in the genre of "pure art" - the audience they were not invited, the action itself is not documented, there were only photographs taken by the artist . Chahal skill perfected in the Moscow underground scene of the 1980s long before he started doing computer art. With the creation of virtual sculptures, which he received in handy mathematical education, Gor Chahal is one of the first Russian media artists.
By the end of 2000 approaches Chahal with Orthodoxy. Churching it happened gradually, through "mediation" culture. He first engaged in religious philosophy, wanting to understand and absorb the ideas, ethics and aesthetics. Over time, there are new challenges, chief of which is the promotion of dialogue between contemporary art and the church, as well as between the secular and sacred art. Determining in an address to the topic of religion in art for Mountain Chahal is his conclusion that a secular society and the arts at an impasse.
In his works from the 2000s, Gor Chahal develops Christian subjects . It is important to note that the artist asks perceive them as Christian, not as a religious work. Gor Chahal is far from realistic images of the object method: Christianity in the modern art means to him, above all, religious philosophy and visual theology. In an interview given Chahal Arseny Steiner "ArtChronika" in 2008, he expanded the scope of religious art scene, attributing any modern religious art. "It's always just a matter of faith - I'm sure that every artist is a believer." 1 Here, on the one hand, felt his direct appeal to the Christian religion as a kind of restriction, on the other hand, his approach to what is called in the small display of energy processes.
This explanation of the energy potential of religious art finds verbal formulation, including, in the Orthodox tradition. With so sp. Orthodoxy, this force is peculiar to each religious images. Transformation that takes place with the image - the image of the imagination in which the divine is not always visible, but it has to be tangible - releases the energy of light, which seeks to understand a deep dive into prayer Hesychasts from the 14th century, there was also and in Russia. This uncreated light that appeared during the Transfiguration of Christ on Mount Tabor. In this light, open-hand experience of knowing God.
Chahal repeatedly on the story of Mount Tabor. It creates real and virtual models of the mountain or make a symbolic reference to her as the "Sun of Truth, Goodness and Beauty" (2003). In this paper, we use the virtual visual artist embodies the requirements of theology of the icon of the Eastern Church, reports the ratio and transformation of matter and light. On three fire-red panels are three images in gold. Their bodies will never succeed to comprehend fully, under a closer look they are soluble in some gold plates. Virtually created flickering as if the body is surrounded by flames. The figures may seem similar to as "The Three Graces" or "the three youths in the fiery furnace", and three angles to Calvary.
Light plays an important role in "steps", referring to the Prayer focus followers quietism, which is necessary in order to see the uncreated Light. In concentric circles pulsate God Names Trisagion: "Holy God, Holy Mighty, Holy Immortal" - constantly repeated invocation of God in the Orthodox liturgy. They are close to the viewer, destabilizing the real space and draw in the virtual underworld. This other world, it seems, is drifting in the distance.
Since 2009, in his "photographic" works Chahal uses reverse perspective - a technique that is also used in traditional Orthodox iconography and changes the logical perception of the image: The greater the object, the more distant it is from the viewer. Moving away from the traditional image of the canons, Gor Chahal converts them according to the language of contemporary art, thus continuing to form ties with the Orthodox iconographic tradition. In this case, on the one hand, the content of his work sometimes right back to the subject of the Christian story. On the other hand, it is assigned a special ability icons - the concentration of the presence of God in the picture. The monks who write icons must first 40 days of fasting in order to reach a higher spiritual consciousness and be able to express in the presence of the icon invisible force. Gor Chahal does not see any point in creating icons without prior spiritual preparation. But this is not its purpose. Artists sought rather to ensure that the thread between the current image and the inherent ability of religious images to make visible the divine energy. As a result, the light - in Hesychasm character of this energy - occurs on the shimmering surface, the gold glowing numbers or letters in the fire of memories about the Creator of images, or even as the name of God, the Chahal always attempt to investigate the energy potential. In this sense we can talk about the works of the artist as a modern icon.
At the same time work Chahal Mountain can be read in a different context: "The Sun of Truth, Goodness and Beauty" can be interpreted as a reflection on themselves poor state of modern society, which seems to have lost all sense of human. Chahal sees a real need for change in Russian society by restoring the church and Christianity. And it opens the door to these changes. Participation in exhibitions of the artist in the Orthodox churches is an attempt to establish a dialogue with the church. Chahal, in contrast to the radical group of artists who do not adhere to the idea of a confrontation with the church, he is trying to renew through art the ability to communicate with her.
Shows on Christian themes successfully held in museums and galleries, but sometimes ended in scandal. "We believe it is very unpleasant, we would like to build a culture of peace in our land," 2 clarifies Chahal. However, his work is not always well received by the church and artists. In general, the relationship between art and the church in Russia have often been strained. The exhibition, entitled "Caution: Religion," which was held at the Andrei Sakharov Museum in Moscow in 2003, was closed for 96 hours: 42 of 42 artists, whose purpose was to discuss the role of religion in contemporary art, have caused a huge scandal. Orthodox Church of the perceived as extremely offensive was a painting depicting Christ on the background of the logo "Coca-Cola" with the words "Coca-Cola. This is my blood. " The fact that a work criticized the commercialization of religion, not faith itself, was not taken into account.
Gor Chahal did not take part in this exhibition. At the same time he sought contact with the Orthodox Church, because he wanted to change the existing situation. Conflicts between contemporary artists and representatives of the church, have strengthened his desire to build a bridge between the world of religion and the arts. In 2005, Chahal participates in the exhibition titled "Russia 2", which was held at the Central House of Artists in Moscow and caused subpoenas. But this time, no outrage expressed the Orthodox Church, and a group of nine artists who saw in the papers submitted to a "violation of morality" and a mockery of the Orthodox Church. Actual exposure was a response to the actions of the state and refers to "Russia 1" by offering a critical look not only at the president, Vladimir Putin and the Kremlin, and the Russian Orthodox Church. Among the works in the exhibition were a bronze statue of Putin and head of Mickey Mouse and Jesus against the logo of "Coca-Cola." Chahal exhibited a version of "One Hundred Names of God" and "Sun of Truth, Goodness, and Beauty." Consider the claim, the court dismissed the charges, pointing out that in Russia, the church is separated from the state. For curator Marat Gelman, and for the artists who took part in it, it was the first victory of art.
Gor Chahal chose non-radical way to shake up the rigid structure of the system. It calls for a mutually respectful, honest and open dialogue at the round table, which was initiated, he regularly performed and continues to perform. Hints of this can be found in some of his paintings, such as "Miracle" (2009), which depicts the five loaves and two fish. Bread as a symbol of Christ's body, and the fish as a symbol of the oldest in the history of the church clearly indicate Chahal to return to the Christian tradition. These symbols is also the idea of sharing food consumption, which implies respect for each other and emphasizes the idea of unity. Artist reiterates its call for a dialogue in which both parties are interested - and the church, and art, as well as society as a whole.
Gor Chahal - a complex creative personality. His strong commitment to the Orthodox tradition, seems to be in direct contradiction to the artistic language, which is based not so much on his education, but on mathematical knowledge. When in 1994 Chahal started visual sculpture, some called him a visionary. From this point of view it may be considered as a unique combination of intuitive, modern technology and scientific knowledge.
Chahal aim of the work is not only the initiation of artistic dialogue between the secular and the spiritual world. Rather, they provide food for thought, and it can also lead to domestic social reorganization. And despite the fact that Chahal develops a controversial and sometimes provocative theme as a separate religion, his work has the opposite effect: they are combined, and perhaps even in a new environment can bring to each other as distant poles as art and religion, society and personality.
Teresa Pasterk, 2012.
Translation: Anastasia Honyak
Link to original
< br /> Gor Chahal: one hundred names of God and the attempt to combine artistic tradition of Orthodoxy, computer art
image of God in the artistic traditions of Orthodoxy engaged only icon. In it God is present. The icon is a print of prototype, and as such, it has to follow the canon image. But what if the new media images provide new opportunities?
Moscow artist Gor Chahal is one of the first multi-media artists Russia. He is one of the leaders of Moscow's alternative scene of the 1980s in his artistic profile. Chahal argued with many icons of the theory, based, including, to the texts of the Church Fathers. In the end, he raised the question: how can I translate the theoretical concept of Orthodox icons in the space of contemporary computer art?
God - the Father, the Savior, the Shepherd, Love, Almighty Master, Rock, Guardian of our souls, the Creator Creator, the Ancient of Days, the great, eternal, Truth, Peace, Holy God, a jealous king, Live ...
hundred names of God Gor Chahal printed as a screenshot of some flash of the "Explosion" in visual stillness. Simple name - "The name of God." Cyrillic letters of the names of God Chahal pasted on the walls of various exhibitions since 2003. Exposure took place in the Russian Orthodox Church Holy Martyr Tatiana, a former Jesuit college in Graz ... Exhibition in Moscow's Central House of Artists, has caused a huge scandal, probably, because the poet Miroslav Nemiroff and Andrey Rodionov its background reading obscene poetry.
< br /> Red, different sizes letter word spread towards the center, opening the border to, denoting the void freeze. The idea of work is that, of all the naming of God, which are used in the Bible to build a meta-name of God. This meta-name, high or abstract concept, can not be expressed except by character, including all the names of God. With the belief that the name of God is the key to the gates of the kingdom of heaven, every viewer will be able to open the gates.
Linking concepts with the whole cosmos of values and making this space values in a picture, Chahal formally approaches the visual poetry . This space appears here as an oscillating, cyclic expanding, penetrating all the centrifugal system, incomprehensible, as the very name of God.
But how Gor Chahal, raised non-religious in the traditional sense of the word, the parents, so far advanced in employment is Orthodox art? Chahal was born in Moscow in 1961. His mother - a Russian, his father - an Armenian. At the age of 11-15 years, he studied at the art studio of Tatiana Cypress. In 1985, after graduating from the Faculty of Applied Mathematics MiFi way for him, it seemed a foregone conclusion. This is the time Gor Chahal with the poet Arkady Semenov and rock group "polite refusal" founded the group "parallel action" in a program that combined rock music and poetry performances. In subsequent years, interest Chahal various forms of art: he published literary works in the late 1980s did performances in the genre of "pure art" - the audience they were not invited, the action itself is not documented, there were only photographs taken by the artist . Chahal skill perfected in the Moscow underground scene of the 1980s long before he started doing computer art. With the creation of virtual sculptures, which he received in handy mathematical education, Gor Chahal is one of the first Russian media artists.
By the end of 2000 approaches Chahal with Orthodoxy. Churching it happened gradually, through "mediation" culture. He first engaged in religious philosophy, wanting to understand and absorb the ideas, ethics and aesthetics. Over time, there are new challenges, chief of which is the promotion of dialogue between contemporary art and the church, as well as between the secular and sacred art. Determining in an address to the topic of religion in art for Mountain Chahal is his conclusion that a secular society and the arts at an impasse.
In his works from the 2000s, Gor Chahal develops Christian subjects . It is important to note that the artist asks perceive them as Christian, not as a religious work. Gor Chahal is far from realistic images of the object method: Christianity in the modern art means to him, above all, religious philosophy and visual theology. In an interview given Chahal Arseny Steiner "ArtChronika" in 2008, he expanded the scope of religious art scene, attributing any modern religious art. "It's always just a matter of faith - I'm sure that every artist is a believer." 1 Here, on the one hand, felt his direct appeal to the Christian religion as a kind of restriction, on the other hand, his approach to what is called in the small display of energy processes.
This explanation of the energy potential of religious art finds verbal formulation, including, in the Orthodox tradition. With so sp. Orthodoxy, this force is peculiar to each religious images. Transformation that takes place with the image - the image of the imagination in which the divine is not always visible, but it has to be tangible - releases the energy of light, which seeks to understand a deep dive into prayer Hesychasts from the 14th century, there was also and in Russia. This uncreated light that appeared during the Transfiguration of Christ on Mount Tabor. In this light, open-hand experience of knowing God.
Chahal repeatedly on the story of Mount Tabor. It creates real and virtual models of the mountain or make a symbolic reference to her as the "Sun of Truth, Goodness and Beauty" (2003). In this paper, we use the virtual visual artist embodies the requirements of theology of the icon of the Eastern Church, reports the ratio and transformation of matter and light. On three fire-red panels are three images in gold. Their bodies will never succeed to comprehend fully, under a closer look they are soluble in some gold plates. Virtually created flickering as if the body is surrounded by flames. The figures may seem similar to as "The Three Graces" or "the three youths in the fiery furnace", and three angles to Calvary.
Light plays an important role in "steps", referring to the Prayer focus followers quietism, which is necessary in order to see the uncreated Light. In concentric circles pulsate God Names Trisagion: "Holy God, Holy Mighty, Holy Immortal" - constantly repeated invocation of God in the Orthodox liturgy. They are close to the viewer, destabilizing the real space and draw in the virtual underworld. This other world, it seems, is drifting in the distance.
Since 2009, in his "photographic" works Chahal uses reverse perspective - a technique that is also used in traditional Orthodox iconography and changes the logical perception of the image: The greater the object, the more distant it is from the viewer. Moving away from the traditional image of the canons, Gor Chahal converts them according to the language of contemporary art, thus continuing to form ties with the Orthodox iconographic tradition. In this case, on the one hand, the content of his work sometimes right back to the subject of the Christian story. On the other hand, it is assigned a special ability icons - the concentration of the presence of God in the picture. The monks who write icons must first 40 days of fasting in order to reach a higher spiritual consciousness and be able to express in the presence of the icon invisible force. Gor Chahal does not see any point in creating icons without prior spiritual preparation. But this is not its purpose. Artists sought rather to ensure that the thread between the current image and the inherent ability of religious images to make visible the divine energy. As a result, the light - in Hesychasm character of this energy - occurs on the shimmering surface, the gold glowing numbers or letters in the fire of memories about the Creator of images, or even as the name of God, the Chahal always attempt to investigate the energy potential. In this sense we can talk about the works of the artist as a modern icon.
At the same time work Chahal Mountain can be read in a different context: "The Sun of Truth, Goodness and Beauty" can be interpreted as a reflection on themselves poor state of modern society, which seems to have lost all sense of human. Chahal sees a real need for change in Russian society by restoring the church and Christianity. And it opens the door to these changes. Participation in exhibitions of the artist in the Orthodox churches is an attempt to establish a dialogue with the church. Chahal, in contrast to the radical group of artists who do not adhere to the idea of a confrontation with the church, he is trying to renew through art the ability to communicate with her.
Shows on Christian themes successfully held in museums and galleries, but sometimes ended in scandal. "We believe it is very unpleasant, we would like to build a culture of peace in our land," 2 clarifies Chahal. However, his work is not always well received by the church and artists. In general, the relationship between art and the church in Russia have often been strained. The exhibition, entitled "Caution: Religion," which was held at the Andrei Sakharov Museum in Moscow in 2003, was closed for 96 hours: 42 of 42 artists, whose purpose was to discuss the role of religion in contemporary art, have caused a huge scandal. Orthodox Church of the perceived as extremely offensive was a painting depicting Christ on the background of the logo "Coca-Cola" with the words "Coca-Cola. This is my blood. " The fact that a work criticized the commercialization of religion, not faith itself, was not taken into account.
Gor Chahal did not take part in this exhibition. At the same time he sought contact with the Orthodox Church, because he wanted to change the existing situation. Conflicts between contemporary artists and representatives of the church, have strengthened his desire to build a bridge between the world of religion and the arts. In 2005, Chahal participates in the exhibition titled "Russia 2", which was held at the Central House of Artists in Moscow and caused subpoenas. But this time, no outrage expressed the Orthodox Church, and a group of nine artists who saw in the papers submitted to a "violation of morality" and a mockery of the Orthodox Church. Actual exposure was a response to the actions of the state and refers to "Russia 1" by offering a critical look not only at the president, Vladimir Putin and the Kremlin, and the Russian Orthodox Church. Among the works in the exhibition were a bronze statue of Putin and head of Mickey Mouse and Jesus against the logo of "Coca-Cola." Chahal exhibited a version of "One Hundred Names of God" and "Sun of Truth, Goodness, and Beauty." Consider the claim, the court dismissed the charges, pointing out that in Russia, the church is separated from the state. For curator Marat Gelman, and for the artists who took part in it, it was the first victory of art.
Gor Chahal chose non-radical way to shake up the rigid structure of the system. It calls for a mutually respectful, honest and open dialogue at the round table, which was initiated, he regularly performed and continues to perform. Hints of this can be found in some of his paintings, such as "Miracle" (2009), which depicts the five loaves and two fish. Bread as a symbol of Christ's body, and the fish as a symbol of the oldest in the history of the church clearly indicate Chahal to return to the Christian tradition. These symbols is also the idea of sharing food consumption, which implies respect for each other and emphasizes the idea of unity. Artist reiterates its call for a dialogue in which both parties are interested - and the church, and art, as well as society as a whole.
Gor Chahal - a complex creative personality. His strong commitment to the Orthodox tradition, seems to be in direct contradiction to the artistic language, which is based not so much on his education, but on mathematical knowledge. When in 1994 Chahal started visual sculpture, some called him a visionary. From this point of view it may be considered as a unique combination of intuitive, modern technology and scientific knowledge.
Chahal aim of the work is not only the initiation of artistic dialogue between the secular and the spiritual world. Rather, they provide food for thought, and it can also lead to domestic social reorganization. And despite the fact that Chahal develops a controversial and sometimes provocative theme as a separate religion, his work has the opposite effect: they are combined, and perhaps even in a new environment can bring to each other as distant poles as art and religion, society and personality.
Teresa Pasterk, 2012.
Translation: Anastasia Honyak
Link to original
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