RELIGION & ART

A ONE DAY SYMPOSIUM / St. James Hatcham, Goldsmiths

This event has been postponed until Autumn, 2020

REGISTER NOW VIA EVENTBRITE

GETTING TO ST. JAMES HATCHAM, GOLDSMITHS

 

On the 30th of April, 2020, the MARS Mountain of Art Research Programme in the Department of Art at Goldsmiths University will be hosting an interdisciplinary and innovative symposium. Set in the deconsecrated church of St. James Hatcham, now an art studio, the symposium will feature short presentations from practicing artists, curators, theorists/theologians and graduate researchers from the University of Cambridge, the Centre of Film and Screen Media, University of Essex and Goldsmiths, University of London.

Convened by Nina Danino (n.danino@gold.ac.uk)

Junior Fellows: Murat Agdas (m.agdas@gold.ac.uk) Elena Unger (eu224@cam.ac.uk)

The connection between art and spiritual or religious practice is as old as humanity itself, and the relationship has often been quite paradoxical. As traditional church patronage fell away, artists either moved onto entirely new pursuits or returned to spiritual practice on new, self-defined terms. Artists from Hilma af Klimpt to Malevich to Agnes Martin have returned to the sacred not only as a subject, but in many cases as a method and form of life. The day is pleased to host the participation of the seminal  US feminist performance artist Linda Montano who will talk about her return to Catholicism in her everyday practice of performance. There is a mutual convergence between art practice and the field of theology. There has also been a more serious consideration of the religious and spiritual activity of the artist. More artists are delving deeply into religion to understand what and why they create. Despite this double convergence, there has been comparatively little dialectical discussion between these fields, this conference seeks to be a facilitator of such a discussion. 

SPEAKERS

Jorella Andrews is a Reader in Visual Cultures at Goldsmiths, University of London. Having studied fine art, worked in media, and then trained as an art theorist, her academic work focuses on the relations between philosophical inquiry, the image-world and art practice, with a particular emphasis on phenomenology, notably the work of Maurice Merleau-Ponty. She has published two monographs on this topic, Showing Off! A philosophy of Image (2014) and The Question of Painting: Re-thinking Thought with Merleau-Ponty (2018) both published by Bloomsbury. Her current book in preparation has the working title of How to Turn around Trouble: Aesthetic Strategies for Real Change. She has also written books on Cezanne and Rembrandt for non-academic audiences, edits an ongoing series of books on visual culture published by Sternberg Press and is the book review editor for the Journal of Aesthetics and Phenomenology. In addition, Jorella advocates for art and art history in various contexts—professionally as a Trustee of the Association for Art History and also at grassroots levels though her long-term involvement in community-based and church-based arts activities.

Teresa Calonje is a PhD candidate in the Art Department at Goldsmiths, University of London, currently working on gesture and its appropriation in live art through the work of La Ribot, Tino Sehgal and Luisa Nobrega. She edited Live Forever: Collecting Live Art (2014) and recently curated a series of art interventions at Second Home, London (2016-2017).

Lucy Newman Cleeve is an independent curator and consultant with twenty years’ experience across the visual arts and cultural sector, working with organisations such as: Tate Britain, British Council, Creative & Cultural Skills, an—The Artist’s Information Company, Arts Council England and DCMS. She was the founding director of Man&Eve Gallery (2006-14), where she represented a portfolio of emerging and established artists through a changing exhibition programme, publications, commissions and participation in international art fairs across Europe, Asia and North America. In recent years, her work has become more exclusively focused around her curatorial and research practice: she has a Theology Degree from Cambridge University and a Masters Degree from the Royal College of Art and is interested in work that combines and references both of these disciplines. She is currently engaged as Curatorial Consultant to The Faith Museum at The Auckland Project, and is undertaking doctoral research at King’s College, London where she is exploring contemporary art as public theology.

Nina Danino is a filmmaker, artist and writer since the 1980s.  She has made experimental films and the feature film Temenos (1997) with vocalist Sainkho Namtchylak.  Since 2010 she has also made installations including Communion(2010) and the multi media work Sorelle Povere di Santa Chiara (2015-2018).  She made the feature documentary Jennifer (2015) in the Carmelite monastery in Ronda, Spain.  Her films have been shown worldwide including in film festivals, cinemas and museums. They are distributed by LUX and are in the British Film Institute National Archive. She is co-editor of the Undercut Reader (2002). Her most recent film I Die of Sadness Crying For You (2019) was premiered at the London Film Festival and Seville European Film Festival (2019) followed by a contextual event on voice and performance with BIMI/LUX and Cervantes Institute. She has convened the CHASE Religion and Art initiative, Goldsmiths, University. She is Reader in Fine Art, Goldsmiths, University of London. She lives and works in London. See ninadanino.com (portrait courtesy of Rafael Perez-Evans).

Mark Dean has regularly exhibited his video and sound works nationally and internationally since the 1990’s, with work represented in museum collections in the UK and abroad. In 2010 Dean was ordained in the Church of England, and since this time has tried to understand and live out a vocation as artist and priest; recent projects have explored the performative potential of video and sound work, particularly in liturgical and choreographic contexts. https://tailbiter.com

Marie-Anne Maurane Gadeau is a 21 year old French and Ivorian student currently in the BA Fine Art course at Goldsmiths University. Her spontaneity and ambition have always influenced her art practice which could be characterised as eclectic through her use of found objects and fabrics, media like clay or latex but also painting and performance with an important interest in music.

John Harvey is a practitioner and historian of sound art and visual art. He is Professor at the School of Art, Aberystwyth University. His research field is the visual and sonic culture of religion. In art history, his studies engage the visual imagery of popular piety, supernaturalist traditions, and working-class culture. He has written a number of books including The Bible as Visual Culture (2013); Photography & Spirit (2007); The Appearance of Evil: Apparitions of Spirits in Wales (2003); Image of the Invisible: The Visualization of Religion in the Welsh Nonconformist Tradition (1999); and The Art of Piety: The Visual Culture of Welsh Nonconformity (1995). In art practice, his work explores visual, textual, and aural sources of Protestant Christianity, theological and cultural ideas and systemic processes. The work is discussed in The Aural Bible series of CD releases (2015, 2016, 2019), and The Pictorial Bible series of exhibitions (2001, 2007, 2015).

Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.

Adam Neikirk  is a PhD Candidate in Creative Writing at the University of Essex, Colchester campus. His creative dissertation focuses on the intersection of traditional poetic forms, modernity/post-modernity and the idea of history through an exploration in verse of the life and thought of poet and philosopher Samuel Taylor Coleridge (1772-1834). Adam’s previously published work includes a book of poems, Songs for the Dead (Des Hymnagistes Press, 2016), as well as work published in the Coleridge Bulletin and the journal Teaching Philosophy. Before he started his PhD programme he was a lecturer in Philosophy at Westfield State University in Massachusetts.

Kate Pickering is a London based artist, writer and AHRC/ CHASE funded PhD researcher in the Departments of Art and Visual Cultures at Goldsmiths. She investigates the entanglement of body, belief and site through research into American megachurch Evangelicalism. Through experimental writing, performance and installation she aims to recreate the experience of being both oriented and disoriented by the Evangelical narrative through focusing on the specific site of Lakewood, north America’s largest evangelical megachurch, where 52,000 people attend weekly. Pickering has exhibited widely and her writing has been published in Dual Mirage, Misery Connoisseur, Yellow Pages (Copy Press), EROS journal and the online journal K[]NESH Space. She has presented her research at a number of conferences, including ‘Imagining the Apocalypse’ at the Courtauld Institute of Art, ‘Corroding the Now: Poetry and Science Fiction’ at Birkbeck University and ‘Post-Truth & American Myths’ at the University of Essex. Forthcoming is an article titled ‘Expanding Religious Crowds: Containment and Openness in the American Megachurch’ in a special issue of Coils of the Serpent Journal on ‘Crowd(ed) Futures’ (January 2020). See kate-pickering.com.

Chloë Reddaway works in visual theology and Christian art, focusing on the potential of historic works of art for contemporary theology.  She is based at King’s College London (Centre for Arts and the Sacred at King’s) and Duke Divinity School (Duke Initiatives in Theology and the Arts). With a background in the arts sector, she has held posts at KCL, the University of Cambridge (Divinity Faculty) and the National Gallery, London (Howard and Roberta Ahmanson Fellow and Curator in Art and Religion, 2014 -17). She teaches for KCL, Westcott House, Westminster College and Sarum College.  Her publications include Transformations in Persons and Paint: Visual Theology, Historical Images and the Modern Viewer (2016) and Strangeness and Recognition: Mystery and Familiarity in Renaissance Images of Christ (2019), both shortlisted for the A+C/Mercers’ award. She is co-editor of Visualising a Sacred City: London, Art and Religion (I.B. Tauris, 2017), has contributed to various edited volumes. She is the founding co-editor of the Brepols ‘Arts and the Sacred’ series and a member of the Art + Christianity Editorial Board. Her public engagement work includes films for the National Gallery (The Audacity of Christian Art).  Chloë is currently working on ideas of New Creation in images of the Visitation and the visual theology of Thomas Denny’s ecclesiastical stained glass.

Sophie Sleigh-Johnson is a writer, artist and musician. She is the author of Chthonic Index (in collaboration with Timothy Martin) published in 2015. She is currently working on a PhD at Goldsmiths. Recent projects include Cealdwiellla and Drift Fright with New Noveta, and Machine of Instant Utility at Cabinet Gallery (group show). She occasionally broadcasts Chthonic Live on Resonance 104.4 FM and she lives in Southend-On-Sea, Essex. See sophiesleigh-johnson.co.uk.

Elena Unger is a graduate student in Philosophical Theology at the University of Cambridge, as well as an alumnus of Fine Art at Goldsmiths, University of London. Elena is CHASE Junior Research Fellow for Religion and Art Practice Symposium. Elena’s academic work and art practice are inextricably bound. As an artist she combines painting, sculpture, performance, sound, film, and installation to produce immersive, extra-liturgical installations. Her last exhibition, Invisible Church involved the re-consecration of a deconsecrated church turned art studio. Elena is also an artist in residence at Saint Bartholomew the Great in London. In her theological work, Elena is concerned with poesis, kenosis, apophatic theology, and the theology of negative space. The title of Elena’s thesis is “In Anticipation of Nothing: Doxological Spatialization in Nicholas of Cusa’s De Docta Ignorantia”.

SCHEDULE (& ABSTRACTS)

10:30/  Doors

10:40/10:45 Welcome and Introduction, by Nina Danino

10:45/11:00 A tour of St. James Hatcham, led by Elena Unger

The day will begin with a tour of St. James Hatcham, once the parish church of Anglo catholic martyr Arthur Tooth, who was persecuted for ritualism in the 19th century. The church has since been divided and transformed into art studios, though it’s status as a sacred space persists through its architecture as well as occasional interventions, such as this symposium which bridges the divide between the two realities of the space.

11:00/11:15 Nina Danino, ‘Stabat Mater (1990), 16mm — Catholic Iconographies and Experimental Film’

In 1990 I added a saeta – a Spanish prayer of lament sung by my mother to a short film which is fast edited and densely packed with literary and poetic writings from Joyce, Cixous, filming in Gibraltar and personal references. I will talk about this film Stabat Mater in the context of its Catholic iconography and its emblematic impact at the London Filmmakers’ Co-op where it was first shown and I can talk also more generally about what it meant to me in this context. The film initiated a religious ‘semiotics’ in symbiosis with experimental film which proliferates from a matrix of intertextual connections, many of these associations appear and disappear quickly and cannot be grasped or held on to.  Since then, a part of my practice has consistently drawn on Catholic sources as my reservoir. In my writings on experimental film I am interested in the potential for the religious of experimental film and in my practice as an artist and filmmaker I work along the religious borders of secular forms and I will talk about the religious ‘semiotics’ in my practice.

11:15/11:30 Chloë Reddaway, ‘Jacopo’s Bassano’s Veronica: Revelations and Reflections of an Artist-witness’

Starting from an interest in the ‘recovery’ of historical images for contemporary theology and faith, this paper considers the potential of fabric as a revelatory medium in Christian art and explores the role of St Veronica and her veil in revealing Christ.  It focuses on Jacopo Bassano’s painting of Christ on the Way to Calvary (c.1544-5, National Gallery, London), looking in detail at the presentation of the saint and the ‘blank canvas’ of her veil and noting ways in which Veronica herself reflects Christ in this painting, participating in an act of artistic-witness and allowing herself to be transformed by it.

11:30/11:45 Adam Neikerk, ‘How does Coleridgean theology inform the poetry of his life?’

My dissertation is a creative work which purports to tell (or retell) the life of the poet and religious thinker Samuel Taylor Coleridge (1772-1834) through poetry. The main thesis which informs my work is that we can say things about human life and human values (including religious values) through poetry that are not possible to articulate through traditional prose biographies. One of the things that Coleridge himself theorised about poetry was that its aim was to show “the translucence of the general in the especial” (this was also his theory of the symbol). One of the challenges for me in writing this work is to ask what weight his Trinitarian and dynamic sense of the universe ought to be given, say, in explanations of the events of his childhood, or in young adulthood.

11:45/12:00 Sophie Sleigh-Johnson, ‘Time Cure

A scream opens the mouth of prophecy: the Fifth Monarchist Anna Trapnell’s throat is a chimney through which the weird current flows. How might this prophecy be a different kind of time travel, to counteract a contemporary ontology of prediction? Time Cure, as an archaeology of invocation, a lost radio transmission, a Gnostic performance lecture, enlists the words of Jacobean prophetess Anna Trapnell and her 1654 trance-text and proclamation The Cry of a Stone, which uses ‘entrails of scripture’ as squidgy heat amid the pewter armour of her fortune flesh. These are voices from the earth that also rises from prophetic cuneiform clay tablets as a collision of offal, inscription and a hole in time. Blurred photocopies, burnings, mud, garbed voices are all a necessary, smoky thickness.

12.00/12:20 Coffee Break 

12.20/12.55 Panel Discussion + Questions (chaired by Kristen Kreider, TBC)

13:05/14:05 Lunch + Screening

Seven Lives of Linda Montano (1996) 13 mins

“This tape addresses spiritual closure. Video gave me a chance to examine, see and celebrate the seven spiritual venues, paths, and journeys that I have made: 1) Catholic life, 2) nun’s life, 3) yoga life, 4) Buddhist life, 5) feminist life, 6) natural life, 7) life. Publicly, I am admitting that I am a spiritual materialist—been there, done that—but I am also saying that all of my spiritual experiences have worked together to prepare me for even deeper journeys combining all of the sacred technologies I have learned so that I can re-invent my own way. Using a fairytale format lightens the task of looking at my past.” — L.M.

14:05/14:20 Elena Unger, ‘From the Space of Nothing: Poesis as Participation in the Tzimtzum and Christ’s Kenosis’

Both the Christian and Jewish tradition share the idea that God withdrew godself in order to allow room for creation or in order to redeem creation in the case of Christ’s katabasis. The Tzimtzum, meaning contraction, is a term used in Lurianic Kabbalah to describe Isaac Luria’s doctrine that God’s first creative act was the contraction of his Ohr Ein Sof (infinite light) in order to allow for a “conceptual” or “vacant” space within which finitude could come into being. This is inherently apophatic, because it defines the first creative act as revelation through concealment. The concept of creation through withdrawal took on new meaning in Christianity, as this withdrawal was identified with God’s self withdrawal in human time, through Christ’s birth, death, and descent into hell. In this presentation I will show how the logic of apophasis is at the heart of all poesis. I will also show how a theological or doxological telos is necessary to avoid the nihilism present in certain postmodern construals of nothingness, including that of Derrida and Bataille. Poesis will be shown to be a form of participation in God’s poiesis (making) through the kenotic internal movement of the artist when they produce an iconic object through a revelation rooted in self-withdrawal. It will be shown how, through kenosis, the artist participates in God’s self-withdrawal, and in creation as a whole, as they create.

14:20/14.35 John Harvey, ‘Noisome Spirits: An Audition of Apparitions’

The presentation addresses Edmund Jones’ (1702–93) collection of spirit narratives, published as A Relation of Apparitions of Spirits in the Principality of Wales (1780) and an earlier, now lost volume on the same subject. His books represent the first- and second-hand testimonies of many witnesses to supernatural encounters in seventeenth- and eighteenth-century Wales. The accounts evoke a spiritually dark landscape in which the malevolent dead and damned wandered. They present a fascinating insight into how the eighteenth-century not only visualised but also auditioned the spirit world. It is with this latter aspect of Jones’ narrative that I will be chiefly concerned.  The paper outlines the peculiarities of the spirits’ sonorous manifestations, the auditors’ response to such, and the relationship of the sounds to the landscape in which they were heard. Many of the auditory attributes of spirit noises were adapted from the natural world and everyday experience. The supernatural signification of such was summoned by the fearful context of the phenomena, the often strange and frightening visual accompaniment, and the unnerving modulations, exaggerations, and deformations of the auditory source.  The performance element seeks to make the witnesses’ experience sensible, by presencing the sounds and— following Jones’ own determination—provide a ‘vivid account’ of apparitions. The objective is neither to reconstruct nor create a simulacrum of the original sounds but rather to imaginatively summon the sense of the dread and otherness experienced by the witnesses, abstractly.

14:35/14:50 Jorella Andrews, ‘Circling squares: Phenomenology, change-making, and the idea of the creation as theophany’

“… what may be known about God is plain to them… For since the creation of the world God’s invisible qualities — his eternal power and divine nature — have been clearly seen, being understood from what has been made, so that people are without excuse.”

(Romans, 1: 19)

The theological idea underlying this presentation is an understanding of the creation as theophany (a manifestation of God mediated by sensible matter). Crucially, as insisted upon in the biblical book of Romans, this remains the case in even the most deprived, degraded and hopeless of situations in which the Godly or sacred are notable by their apparent absence. I argue that if change for the better is to occur within such sites of trouble, a revolution must first occur at the level of perception and thought. This is where phenomenology comes in. As a perceptually-grounded philosophical practice, phenomenology transforms vision and thought by requiring our engagement in decolonising processes of epoché (the ‘bracketing’ of biases and assumptions and the suspension of judgement) which can make us receptive to the self-showing of specifically situated life-giving realities (indeed, theophanies) previously unavailable to us. With care, these may become the fragile-yet-robust foundations for radically hopeful futures. My presentation will draw on theoretical ideas and on early-stage empirical research about the potential social impact of a series of small-scale labyrinth-building projects in sites of urban neglect.

14:50/15:05  Teresa Calonje, ‘The impersonal and the sacred: Simone Weil, de-creation and art’

The secularisation of art occurred at the time art appeared as a distinct autonomous thing. God was exiled at the moment the figure of the artist made a room of its own out of a collective anonymity and art acquired its status as a defined work of art. Starting from this modern conception of art, the question here is whether an artwork linked to its artist can be sacred at all, sacred understood as a making place for God. Through a reading of Simone Weil’s profoundly spiritual notions of de-creation and attention, this presentation will seek to put art at risk, as it considers that for art to be a spiritual act, it must be a “waiting”, a tireless waiting without end from the “dark night” and into silence. To reach this potentiality, art must first free itself of artistic authorship and deny its actualisation in a work. Only by removing the artist as an I and the work as a screen that blocks a relation, can art be an empty space fora “tête-à-tête” of God with its creation. Weil considers this de-creation even in the absence of God. Throughout her late work, there is an existential urgency to withdraw the self to the space of the impersonal. The presentation will link the notion of de-creation to other notions of “un-working” (Arendt, Agamben, Pouillaude) both of which carry in their foundation a privation. How can art manifest and at the same time carry in itself the negation of the very possibility of being there?

15:05/15:40 Panel Discussion + Questions (chaired by Michael Newman, TBC)

15:40/16:00 Coffee Break + Performance

Maurane Gadeau,  a live performance of a song called L’oseille de l’amour  (2019) 5 mins

“Since the sky opened up to me I understood love is the only purpose” claimed Maurane and after researching and interviewing people she wrote a song called L’oseille de l’amour (Sorrel of Love) to express this overwhelming feeling with fun and simplicity. Known for its medicinal and edible virtues, the sorrel is a plant also used in the French slang to suggest money that is immediately available. It is this immediacy Maurane needed to express to invite the audience ​to participate in a moment just full of love! 

16:10/16:25 Kate Pickering, Beyond Belief: Bodily Dis/Orientation in the Megachurch

My practice based, interdisciplinary PhD project examines the embodied experience of the congregant within the spectacular site of the Evangelical megachurch (defined as 2,000+ congregants in weekly attendance) through theory and experimental writing. Evangelicalism is a world-wide, rapidly spreading movement. Megachurch congregation size reaches to the tens and hundreds of thousands globally, the largest being the Yoido Full Gospel Church with 480,000 attendees each week in Seoul, South Korea (Bird, 2018). Within the immersive space of the megachurch, bodily experiences range along a spectrum from fixity to vertiginous freedom. This occurs through the repetition and reinforcement of the Evangelical narrative which, intensified through scale, spectacle, emotive music and compelling preaching, creates embodied affect in the crowd. Bodily and cognitive processes comingle to create a feeling of certainty. Taking bodily orientation as key to belief formation, I examine how the individual within the crowd is dis/oriented within the megachurch. Experimental writing draws on the specific site of North America’s largest megachurch, Lakewood in Houston, Texas, which has a weekly attendance of 52,000 congregants. Informed by cli-fi and speculative fiction, the megachurch building is imagined as sentient. It begins to sweat through pore like openings that appear in its surfaces, creating a weird humid atmosphere that produces collective hallucinations within the crowd. The site is ultimately overtaken by a flood and reimagined in a post-anthropocentric paradigm. Water is utilized as material, metaphor and method within the project, enabling the reader to experience different positions and perspectives. The presentation will include a brief overview of the project and a short reading.

16:25/16:40   Lucy Newman Cleeve, ‘Visual Theology and Curation’

My presentation explores various modalities of ‘visual theology’ in an attempt to draw out a critical framework for reflecting on these practices. I also discuss changing attitudes to religion within the art world (specifically art academia) with reference to my own experiences of making and curating work at this intersection. 

16:40/16:55 Mark Dean, ‘Pastiche Icons’ 

Mark Dean will talk about his work with reference to questions of appropriation and Christianity, isolation and collaboration.

16:55/17:15 Coffee Break + Screening

Linda Mary Montano, Linda Mary Montano Celebrates Mother Teresa’s Birthday (2010) 15 mins   

The Mother Teresa doppelganger performance was born as a result of my chronic illness called Cervical Dystonia. It makes me tremor, scrunch up, spasm and twist with pain. One day I was doing all of that and my inner voice said, “I feel just like Mother Teresa!!!” So of course, having designed the MY ART IS MY LIFE manifesto back in 1969, I became her, as art, every chance I had. For her 100th birthday I performed as her in protest at the Empire State Building because they would not turn on the lights to blue and white to honor Mother Teresa but they did turn the lights on for Sponge Bob. Yellow of course. During the performance, Catholic and non-Catholic visitors/protesters came to me for “blessings” and the ecstasy of incorporating her holiness into ME and sharing that faux-holiness with the Catholics at the ESB was both overwhelming and  radically questioning of the theological politics of the church which does not allow for women priests let alone performance art recreations of Saints! I am left wanting to be her in secret, everyday, in the performance of everyday non-art.” — L.M.

17:25/17:45  Linda Mary Montano—Skype Session & Presentation

17:45/18.20  Panel Discussion + Questions (chaired by Andrew Renton, TBC)


SCHEDULE (AT A GLANCE)

10:30/—Doors

10:40/10:45—Welcome and Introduction  (with Nina Danino)

10:45/11:00—A Tour of St. James Hatcham (with Elena Unger)  

11:00/11:15—Nina Danino, ‘Stabat Mater (1990), 16mm — Catholic Iconographies in Experimental Film’

11:15/11:30—Chloë Reddaway, ‘Jacopo’s Bassano’s Veronica: revelations and reflections of an artist-witness’

11:30/11:45—Adam Neikerk, ‘How does Coleridgean theology inform the poetry of his life?’

11:45/12:00—Sophie Sleigh-Johnson, ‘Time Cure’

12.00/12:20—Coffee Break

12.20/12.55—Panel Discussion + Questions

13:05/14:05—Lunch 

A screening of Linda Montano‘s short video Seven Lives of Linda Montano (1996) 13 mins

14:05/14:20—Elena Unger, ‘From the Space of Nothing: Poesis as Participation in the Tzimtzum and Christ’s Kenosis’

14:20/14.35—John Harvey, ‘Noisome Spirits: An Audition of Apparitions

14:35/14:50—Jorella Andrews, ‘Circling squares: Phenomenology, change-making, and the idea of the creation as theophany’

14:50/15:05—Teresa Calonje, ‘The impersonal and the sacred: Simone Weil, de-creation and art

15:05/15:40—Panel Discussion + Questions

15:40/16:00—Coffee Break

Maurane Gadeau, a live performance of a song called L’oseille de l’Amour/Sorrel of Love (2019) 5mins

16:10/16:25—Kate Pickering, ‘Megachurch’ 

16:25/16:40—Lucy Newman Cleeve, ‘Modalities of ‘visual theology’ and making and curating religion within the art world

16:40/16:55—Mark Dean, ‘Pastiche Icons’ 

16:55/17:15—Coffee Break

A screening of Linda Mary Montano‘s short video Linda Mary Montano Celebrates Mother Teresa’s Birthday (2010) 15 mins  

17:25/17: 45—Linda Montano, Skype Discussion

17:45/18.20—Panel Discussion + Questions


Image Credits (from top to bottom

Nina DaninoStabat Mater (1990) 16mm film still / Linda Mary Montano (©), EFA Project Space / Nina DaninoStabat Mater (1990) 16mm film still / Hans MemlingSaint Veronica (Right Wing), c.1470-75, Courtesy National Gallery of Art, Washington / S. T. Coleridgedetail of an oil painting by Washington Allston, 1814; National Portrait Gallery, London (Wikipedia) / Sophie Sleigh-JohnsonTime Cure: The Cry of  Well, performance still / Linda Mary Montano, still from artist video ‘Learning to Talk’ (1976-1978), Bomb Magazine / John HarveyThere was Such a Noise as if All About was Going to Pieces, (2020) 3 mins, sound performance documentation / Jorella AndrewsCircling squares: Phenomenology, change-making, and the idea of the creation as theophany (2020), composite image / Giotto di BondoneThe Lamentation of Christ (Detail)c1290s, San Francesco, Assisi / Mark DeanPastiche Icon (2019), infinite loop, three-channel video, still / Linda Mary MontanoLinda Montano Celebrates Mother Teresa’s Birthday (2010) 15 mins, video still.

Religion and Art is funded by Consortium for the Humanities and the Arts South-East England (CHASE)

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