Adam Chodzko (1965)
2101 Km/Hr (Secretor)
1993, Manifestation juice (food dye and glycerine)
lead, plastic, acrylic and acetate
Arts Council Collection, Southbank Centre, London © the
artist. Gift of Charles Saatchi 1999
Follower of Dieric Bouts (c.1415-1475)
Christ Crowned with Thorns
c.1475, oil on panel
© The Samuel Courtauld Trust, The Courtauld Gallery,
London
Blood Tears Faith Doubt: historical & contemporary encounters at the Courtauld Institute of Arts The exhibition draws parallels between works of art from the 15th century to the present day to address themes of suffering, compassion, devotion and belief. 17 June to 18 July 2010]]>
Source: Courtauld Institute of Arts
BLOOD TEARS FAITH DOUBT stages two encounters: between the works themselves, sparkingdialogue between images of striking or surprising similarity; and between the works and the beholder,whose engagement and empathy with the subject and its portrayal remains central to the enduringpower of religious art. The exhibition unites works from the Western tradition of Christian art andcontemporary works that resonate with that tradition. It explores how these images were used andviewed historically, and considers whether their appropriation in contemporary art can evoke the sameintensity of emotion as they did in the past.
The central themes of BLOOD TEARS FAITH DOUBT are explored in the exhibition in rooms 11 and12 of The Courtauld Gallery in three sections: mother and child; devotion; faith and incredulity. Thefirst section presents images of the Madonna in various attitudes. She is seen as nurturing mother inVirgin and Child with Saint Jerome (1510-30) by Giampietrino, in Mark Fairnington’s The GreekMadonna (1993), and in the disturbing imagery of Grayson Perry’s Spirit Jar (1994). In GiovanniDomenico Tiepolo’s Lamentation over the Dead Christ (18th century), she is presented as a bereft andgrieving figure. The Pietà is further recalled in the sculpted hand holding wilted flowers of Phil Brown’sUntitled (Hand) (1994).
In the pivotal space of the darkened central room, two intimate, small-scale devotional works – ChristCrowned with Thorns by a follower of Dieric Bouts (c.1475) and an ivory diptych (14th century)featuring the Madonna and Child and a Lamentation scene – are presented in a setting which recallstheir original function and power.
In the final space, in striking contrast, life-size works confront the viewer. In Polidoro da Caravaggio’spainting Incredulity of Saint Thomas (1531-35), the disciple demands tangible proof of Christ’sresurrection. Alongside, Siobhán Hapaska’s Saint Christopher (1995) is a disturbingly real andimmediate physical presence. Elsewhere, Adam Chodzko’s Secretors (1993), blood-red droplets of‘manifestation juice’, are a subliminal presence, a ‘seepage from other realities’, as the artistdescribes them.
This innovative exhibition offers the opportunity to experience rarely-seen and diverse works inunusual and provocative conversation.
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