Amos Gebhardt: Night Horse

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BIOGRAPHY

Amos Gebhardt brings a cinematic force to large scale, moving image installations and photography, collaborating with performers, choreographers and musicians. Exploring intersections between culture, nature and the body, Gebhardt gives power to both human and non-human narratives.

Gebhardt is the recipient of the inaugural Adelaide Studios Artist Residency (2019), presented by the South Australian Film Corporation in partnership with SALA (South Australian Living Artists) Festival. The resulting moving image work Small acts of resistance premieres on 16 October 2020 at Samstag Museum of Art and the Adelaide Film Festival in October 2020. Family portrait, from the related photography series, is a 2020 Bowness Photography Prize finalist.

Recent works include the video installations Lovers (2018) and Evanescence (2018), both selected for the 2018 Adelaide Biennial of Australian Art, and There Are No Others (2016) presented at Gertrude Contemporary, Melbourne.

A Sidney Myer Creative Fellow (2014) and Masters graduate of AFTRS, Gebhardt’s work has been exhibited at M+ Museum, Hong Kong; ACMI, Melbourne; MONA, Hobart; Monash Gallery of Art, Melbourne and screened on SBS and ABC. Gebhardt created visuals for Kate Miller-Heidke’s 2016 Helpmann Award-winning concert with the Tasmanian Symphony Orchestra at Hobart's MOFO Festival.

Gebhardt directed Second Unit on Justin Kurzel’s Macbeth (2015), starring Marion Cotillard premiering in competition at Cannes Film Festival.

Amos Gebhardt pictured with the Night Horse installation at Sydney Contemporary 2019
Amos Gebhardt's Night Horse solo exhibition at Carriageworks, Sydney Contemporary art fair 2019. Photograph by Zan Wimberley

Amos Gebhardt
Open Cluster, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Night Horse 2019

Night Horse examines the powerful currents between horses as they negotiate consent and desire during mating season. Shot in the heat of a February summer’s night, on the artist’s birthday, the charged atmosphere is palpable.

Amos Gebhardt
Umbra, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Fetlock, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Modern equine reproduction is now often a supervised insemination process, or between a mare and stallion who are performing on cue. Night Horse captures a rarely seen ritualised courtship, where the protagonists experience heightened states of being ‘for themselves’.

Amos Gebhardt
Flank, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Midnight, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Gebhardt says, “The images are raw, showing the mess of body fluids and muscle, giving vivid dimensions to the physical language of the body as an archive of story, to suggest a dramatic arc in horse terms.”

Amos Gebhardt
Gravity, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Crest, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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The image titles – MidnightFetlockHaloParallaxZenithUmbra – evoke the night, the horse, or the universe, interweaving the anatomical with the universal, the body with the stars. In observing these complex dynamics, Night Horse challenges the dominant anthropocentric view, capturing the undeniable force of non-human narratives.

Amos Gebhardt
Parallax, 2019
Archival inkjet pigment print
122 x 163 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Halo, 2019
Archival inkjet pigment print
163 cm x 122 cm, framed
Edition of 5 + 2 AP

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Night Horse (2019) continues themes explored in Gebhardt’s recent video installations Lovers (2018) and Evanescence (2018), both selected for the 2018 Adelaide Biennial of Australian Art, and There Are No Others (2016) presented at Gertrude Contemporary, Melbourne. They thread a trajectory of connected ideas concerning nakedness as the barest form of identity, deep time cycles of matter – life, death, decay.

Amos Gebhardt
Zenith, 2019
Archival inkjet pigment print
159 x 122 cm, framed
Edition of 5 + 2 AP

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Amos Gebhardt
Wraith, 2019
Archival inkjet pigment print
159 x 122 cm
Edition of 5 + 2 AP

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An excerpt from Lovers (2018), 3 channel 4K video installation with multi-channel sound, 12 minutes (loop). Edition of 3 + 1 AP. Premiered at the 2018 Adelaide Biennial.

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