Filmmaker and Artist (*1955) lives and works in Berlin
They are picture puzzles between pop art and poster art: Bernd Gaul's newest works visually and ironically toy with subjects of key scenes of the film history.
Point of View:
He devours the world visually, combining newspapers, movies, fotos, fashion – in short, everything. His vision is guided not only by excess and humor but also by detail and anecdote. His eye is a magnifying glass.
Gauls incitement is to persistently rethink ideas of taste, cultural appropriaton, and audience - from within the forms of artisitc work itself. Theorizing always at the level of the consumable, working squarely within the rubrics, realities and fictions of the industries in which he performs - movie- making and contemporary art.
Art and Cinema:
According to Gaul, the difference between art and cinema is that movies are „dumbed down“ so that a maximum number of people will make the modest investment of purchasing a ticket, whereas artwork must be „smartened up“ so that a very small number of people will pay a great deal to acquire it.
Nico in Memoriam
24 Crying Beauties
The Velvet Underground
4 Freunde und 4 Pfoten (4 Pals And A Dog Called Mozart)
In Gaul's movie history since the eightes he also cooperated with artists like Chantal Akerman, Martin Scorsese, Christoph Schlingensief and Roland Topor.
2014 he showed his early works (1983-1987) in Berlin at the gallery Erd+Feuer and in Lisbon at he the gallery Belo-Galsterer and at the Goethe-Institut.
2018 he showed the readymade film paintings and clips at the gallery 102 in Berlin.