Transpositions has an excellent post today by Peter Phillips entitled Embodying Art: Renewing Religion?
Phillips argues that "the Church in the West faces continued decline until it reverses its rejection of artists who can frame and present their own embodied experience and draw their audience into an embodied understanding of the world in which they live or hope to live."
This is because "everything we experience has to be embodied ... every experience we have can only be perceived, received, experienced by a sentient, embodied individual." Art also needs to be experienced; art makes its own statement regardless of its audience but "the produced data (visual, verbal, aural, oral, plastic, moving, multimedia, monomedia) is usually meant to be experienced through the locus of embodiment."
"This was a truth which the medieval European Church understood" that, at its heart:
"religion is better understood as embodied experience than by rational assent. Think of all the sense images in Christianity alone: blood, wine, bread, flesh, sacrifice, baptism, circumcision, eating, drinking, purification, washing, meals, healing, touch, kiss, embrace, bite, devour, the word of God made flesh."
Therefore, "Art embodied, ‘live’ or digital, in all its forms offers an iconographic entry point into a multisensory embodied experience of Christianity itself."
Nicolas Bourriaud argued that relational art takes “as its theoretical horizon the realm of human interactions and its social context rather than the assertion of an independent and private symbolic space” and that a work of art, if it is to be successful, “will invariably set its sights beyond its mere presence in space” by being “open to dialogue, discussion, and that form of inter-human negotiation that Marcel Duchamp called “the coefficient of art”.”
Bourriaud’s Relational Aesthetics suggests that “Art is a state of encounter” and that the role of artworks is that we learn “to inhabit the world in a better way” through participating in “arenas of encounter”, created by the artworks themselves, in which momentary micro-communities are formed:
“Today’s art, and I’m thinking of [artists such as Gonzalez-Torres, ... Angela Bulloch, Carsten Höller, Gabriel Orozco and Pierre Huyghe] as well as Lincoln Tobier, Ben Kinmont, and Andrea Zittel, to name just three more, encompasses in the working process the presence of the micro-community which will accommodate it. A work thus creates, within its method of production and then at the moment of its exhibition, a momentary grouping of participating viewers.”
What such artists produce, Bourriaud argues, “are relational space-time elements, inter-human experiences ... of the places where alternative forms of sociability, critical models and moments of constructed conviviality are worked out.” In other words, such artworks create “relations outside the field of art”: “relations between individuals and groups, between the artist and the world, and, by way of transitivity, between the beholder and the world.”
Richard Davey has a marvellous phrase for the network of relationships which form around any artwork; “respect for the work of art as an object itself made by an embodied human being for embodied human beings."
As Phillips notes in his post, there would seem to be many resonances between what are essentially 'happenings' which involve the viewer as participant (indeed, which move those who are other than the artist from viewer to participant), the art created by 'relational' artists, and what happens in church services.
The Eucharist is a happening which is only completed by the congregation becoming participants and which only has meaning as this occurs. The Eucharist can only proceed if the president receives responses from the congregation to the Eucharistic Prayer and the point and culmination of the Eucharist is when the congregation take the body and blood of Christ into their own bodies. A theological analysis of relationships at this point should conclude that the body of Christ has been both dispersed and gathered among and by the receiving church community. There are significant parallels to significant works of relational art such as Rikrit Tiravanija's shared meal installation.
It is my belief that as Christians we should be seeking to create temporary signs of the Kingdom of God which can be experienced by those in our community but which are only tasters for the fullness of the Kingdom which is yet to come. These are embodiments of the Kingdom. The Eucharist is the central example of such signs which, as David Jones consistently stated, have to participate in the reality which is being signed in order to have validity and meaning.
Again, there are significant parallels to Bourriaud's idea of an endless succession of actions (or 'space-time elements') in which a temporary collective is formed by means of which fairer social relations are permitted together with more compact ways of living and many different combinations of fertile experience.
All this is ultimately about the reality and necessity of incarnation. As Rhidian Brook once said on Thought for the Day:
"... there is no substitute for being there - incarnate or, literally, in the flesh. No amount of words sent by post or by telephone or over social networking sites - can ever match the visceral reality of presence. Face to phone or face to screen will never match face to face."
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Evanescence - Tourniquet.
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