O God, you are my God; earnestly I seek you;
my soul thirsts for you;
my flesh faints for you,
as in a dry and weary land where there is no water.
SONG: “Tzama Lecha Nafshi” (My Soul Thirsts for You) by Sasha Fishman | Performed by Shai Sol, 2016
Shai Sol is a singer-songwriter from Tel Aviv, Israel, and a Jewish follower of Yeshua (Jesus). Follow her on Facebook, Bandcamp, and/or YouTube.
Artist Stephen Watson (previously) describes his 2013 installation Thirst: “These 2,500+ empty cups are arranged in the shape of a river. Unfilled, they create a dry river bed. In their multitude, they depict the severity of the thirst of an unquenched soul.”
This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.
To view all the Revised Common Lectionary scripture readings for the Third Sunday in Lent, cycle C, click here.
^^ New Gospel-book set promotes aesthetic reading experience: Photographer Bryan Chung and designer Brian Chung, both campus ministers (and no relation), believe that beauty is fundamental to understanding who God is. So they’ve teamed up for project Alabaster: a brand-new design of the holy Gospels, in four volumes, integrated with contemplative photographs. They’ve already well exceeded their funding goal on Kickstarter, which means there’s already a lot of interest in having Bible reading be a visual experience—and at a 7½ × 9½ trim, the books are definitely wieldy, meant to be regularly handled and read! If you want a guaranteed copy, be sure to back the project on Kickstarter, as the number of names in the system will determine the size of the print order. You have until October 7; the publication month is April 2017. This project aligns so well with my mission here at Art & Theology, and I’m thrilled to see it in the works.
^^ 90-year-old man spends lifetime building a cathedral by hand: From Great Big Story: “For 53 years, Justo Gallego has been building a cathedral by hand on the outskirts of Madrid almost entirely by himself. Gallego has no formal architecture or construction training, but that hasn’t stopped him from toiling on this herculean task. At 90 years old, Gallego knows that he will not be able to finish the project in his lifetime. But he keeps at it anyway, day after day, driven by his faith.”
^^ Art installation at Chichester Cathedral speaks to the refugee experience:Shadows of the Wanderer by Brazilian-born artist Ana Maria Pacheco is on display in the north transept of Chichester Cathedral through November 14. A multipiece figurative sculpture in polychromed wood, it has as its centerpiece a young man carrying an elderly man on his back—a reference to the Aeneid’s Aeneas carrying his lame father out of the ruins of Troy. The cathedral has organized events around the installation, including a lecture by Christopher Wintle on the representation of suffering in Pacheco’s art (audio here, transcript here); a series of workshops for schools and colleges exploring the refugee experience, developed in partnership with Amnesty International; a debate titled “Refugees: Problem or Gift?”; an interview with the artist; and a woodcarving workshop. The photo above is an installation view from 2010 inside Norwich Cathedral; to see photos of the work in its current location at Chichester, click here.
Addressing racial injustice as a church: Paul Neeley at Global Christian Worship has compiled an excellent list of resources for churches looking for ways to address racial tensions in America with an eye toward healing, including a prayer service of lament by Paul Burkhart; two litanies by Fran Pratt; a list of relevant hymns, curated by the Hymn Society; an article by Sandra Van Opstal, “Reconciling Witness And Worship: Six Ways To Begin”; and materials from the 2016 Reconciliation and Justice Network conference. I’d like to add to it the lecture series “Race and the Church,” especially Jemar Tisby’s “Understanding the Heart Cry of #BlackLivesMatter,” which I live-streamed with my church back in July. (It definitely sparked fruitful conversation.) For common objections to the movement, like “What about black-on-black crime?” and “Don’t #AllLivesMatter?,” he refers listeners to the video below, produced by MTV.
SONG: “Light a Candle”: Also on Neeley’s website I found a video performance of the song “Light a Candle” by Mary Louise Bringle (words) and Lori True (music). It’s sung here, to a ukulele accompaniment, by Becky Gaunt, director of music and liturgy at St. Jude of the Lake Catholic Church in Mahtomedi, Montana.
We cannot continue to let language divide us. We cannot continue to let language distract us from loving one another. We cannot continue to let words like “black lives matter” or “all lives matter” cause us to keep missing the point!
I’m sad and tired. And you probably are too. But now is NOT the time to be neutral! The Sun may be shining outside, but we need to come together and light a candle in this oppressive darkness. This beautiful song by Lori True (amazing text by Mary Louise Bringle) is my prayer right now. I invite you to pray this with me.
After years of hesitance, I’ve finally decided to try out this whole Twitter thing. My handle is @artandtheology. I will be sharing posts from the blog as well as retweeting others in the field. Feel free to engage with me there.
Van Gogh’s Olive Trees reinterpreted as earthscape for aerial viewing: Last year the Minneapolis Institute of Art commissioned earthworks artist Stan Herd to recreate Vincent Van Gogh’s Olive Trees, an important painting in its collection, on a 1.2-acre plot of land so that people flying into the Minneapolis–Saint Paul Airport could look down from their windows and be welcomed to the city (and invited to the museum!). Watch Herd at work on the project in the video below.
Deconstructed flower garden suspended in air: To herald the start of spring, London-based installation artist Rebecca Louise Law has suspended 30,000 live flowers from copper wire in the atrium of the concept shopping mall Bikini Berlin in Germany, giving shoppers a perhaps unexpected taste of natural beauty. Natural materials, especially flora, are Law’s specialty. Visit her website to view more of her stunning works (The Yellow Flower from Sasebo, Japan, is probably my favorite), or stop by Bikini Berlin anytime through May 1 to experience Garten.
Last month the six front columns of Berlin’s historic Konzerthaus were decked out with fourteen thousand bright orange life jackets—an installation by Chinese artist Ai Weiwei, titled Safe Passage. A tribute to those who have risked their lives on the Mediterranean Sea to escape persecution in the Middle East and North Africa, the work was made to coincide with Cinema for Peace’s annual award gala on February 15, part of the Berlin International Film Festival. The money raised at this year’s gala was used to purchase five thousand rescue blankets and one thousand emergency baby kits (for births that have taken place at sea), which the Cinema for Peace Foundation delivered this past week to the Greek island of Lesbos, the most popular port of entry for people fleeing to Europe through Turkey.
Weiwei visited Lesbos in December to see for himself the human faces of the current refugee crisis. He shared on Instagram photos and videos he took inside a refugee camp, to show the world what’s going on in Lesbos, and has opened an additional studio there.
One thing that visually struck Weiwei were the giant mounds of life jackets heaped up on the beaches. Refugees shed them as soon as they disembark their boats, setting foot, at last, on land, and ready to start their new lives. Seeing in them a poignant symbol of the crisis, he asked the mayor of the island if he could take a small portion—and yes, fourteen thousand is only a small portion—with him to Europe to use for an art installation. His request was granted. Wrapped around the grand facade of Berlin’s nineteenth-century concert house, they bear witness to the scale of the crisis and even allude to its human cost: last year, a reported 3,770-plus refugees died while attempting to cross the Mediterranean, and the death toll for this year has already exceeded 400. Some of these deaths were due to defective life jackets sold to migrants by a Turkish company looking to cut down on production costs.
While some have questioned the efficacy of staging such a large awareness raiser in Germany, a country that has taken in more refugees than any other European Union member state, others point out that several antirefugee organizations have emerged there, such as Patriotic Europeans Against the Islamization of the West (PEGIDA), which calls on the German government to enact stricter asylum laws. Not all the German people are proud of the measures its country has taken to invite in Syrians, Afghans, and other huddled masses yearning to breathe free. Instead they fear the repercussions. Weiwei’s Safe Passage protests against that fear-based mentality that denies and excludes.
Weiwei has not been the first person to recycle used life jackets into art. Last December British artist Arabella Dorman incorporated three life jackets into her installation Flight in St. James’s Church in Piccadilly, London, which has them tumbling out of a capsized dinghy hanging from the ceiling. She also filled the Christmas crèche at the front of the church with a few dozen more: they cushion the ground where the sculpted figures kneel in adoration of the newborn Christ child. Continue reading “Discarded life jackets used by artists to raise awareness of refugee crisis”→