Al Manaar Muslim Cultural Heritage Centre, Grenfell, and mosques in Britain today
This report looks at Al Manaar’s response to Grenfell, in the light of wider questions pertaining to the Muslim presence in contemporary public life.
In time for Easter, Anna Wheeler reviews Bill Viola’s moving–image art installation at St Paul’s Cathedral – ‘Martyrs’.
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On the Saturday before Palm Sunday, I went to see Bill Viola’s video art installations at St Paul’s Cathedral. The two moving–image works, Martyrs and Mary, are gifted to Tate and are on permanent loan to St Paul’s. I will in this piece focus on Martyrs because talking too much about Mary would be a great spoiler – its meaning is only in seeing it, and reading anything descriptive about it will destroy its impact. You will understand if you go and view it.
Born in 1951, when Viola was 6 years of age he fell into some water and nearly drowned. Looking back many years later, he says that while he was under water, he was able to register the beauty of this new world that he witnessed. The notion of the ‘real’ being under the surface is a key theme throughout his work, and this draws from his early experience with water.
He says ‘Art is, for me, the process of trying to wake up the soul. Because we live in an industrialized, fast–paced world that prefers that the soul remain asleep.’ There is no more of an appropriate time for this than Easter. The installations, parts of which can be seen here, begin with, in Martyrs, humans in the process of beginning to be martyred, and in Mary, new life – a baby, but ending with death. It got me thinking: the Christian faith is about Crucifixion followed by Resurrection, and recalling these events in Holy Week is a prime opportunity for us to start over and ‘wake up’. But actually, in our daily lives we are presented with such opportunities constantly but so often allow them to pass us by, and so the moment has gone – and we fall asleep again.
Viola sees cameras as keepers of the soul because of what they capture – an example being the filming of his mother as she died (she was in a coma). He read St John of the Cross aged 16 which, like the experience with water, was highly influential and is evident here where his work seems to have an integral feeling of bringing back the numinous and focussing on the interior landscape of the human person.
The use of film to communicate to the audience is significant – we are used to being spectators but in this instance, we are not to be controlled by this usually controlling medium. Going back to the theme of being asleep, in our daily lives we have allowed screens to dictate far too much to the point of being so addicted that an alien visiting earth would think our souls were stored in our phones rather than in our very being. Well, these installations remind us that it is the latter: yes – I hate to break the news but your soul is not in your phone. The essence of the humans in these installation is so intense – we are not controlled by them, or the screen in which they reside, but rather we are at one with them, as the tangibility of the flesh behind the screen is raw.
In Martyrs four actors are shown left to right, in isolation. One is a man buried under earth, who gradually stands up and pushes through the soil; the second is a woman bound at her feet and wrists, and hanging from them as she is blown in the wind; the third is a man sitting on a chair surrounded by a circle of flames encroaching on him, and the fourth is a man hanging upside down with water pouring down on him, his arms outstretched.
Viola does not say what anyone is supposed to see in these or in what time period they are set. The man in the earth has overtones of Adam (man made from the earth) – or it could be a civilian caught in an earthquake; and the man hanging could be St Peter who was crucified upside down – or it could be someone undergoing waterboarding. These are just some of the reactions St Paul’s has received from the many visitors to the installation. There is a phrase which is something like ‘comfort the distressed and distress the comfortable’ – this work is an example of this process. The point is we should be affected in some way – not indifferent. It is the encounter that matters.
Whatever we think, as viewers we look and then walk away. Which is exactly what we do in life, at our peril. We condemn those who torture or kill others, and apparently empathise with the victims, but these actors within the screen seek to reflect us back to ourselves (as all good art does) and show our failings, which in this case is inaction – and force us to re–examine the term ‘martyr’. It can be ill used in today’s world.
The main issue I had with the martyrs is that there is no evidence of pain in their faces – even when a martyr accepts death willingly (alone, in order to stand for the truth – they do not impose this on others or wish to destroy others in their death), they would physiologically feel the agony of flames, or the horrendous pressure on their body hung upside down battling to breath with water blocking their air passages. Perhaps suffering is aestheticized, and too gentle in these installations? Are these martyrs too archetypal – to the point of being unreal?
But maybe that is the point – we don’t need to be ‘controlled’ by being shown four actors screaming and writhing in agony. We know this to be the case – and having to think for ourselves about these four human beings who appear peaceful and serene only makes manifest the real life current situation – it is the peaceful who have become martyrs at the mercy of many a brutal regime. Viola’s film medium has indeed subverted the idea of control – we have got it wrong if we are controlled by it and become its puppets. This is about what we do in response, as are the daily news pictures on our screens…
The study of Theology, in general, throws up more questions than it provides answers. Likewise with these installations, and likewise with Easter. We simply cannot know answers to everything and it is increasingly difficult to find meaning in everything. If we are constantly looking for rational explanations for our experiences, including our sufferings, then we are missing the point. It is far more important to engage with the situation and in that moment, take a note of how we feel, and react. How we react makes us real, and if we don’t react we are perhaps the ones who are unreal. As Disraeli said, ‘never apologize for showing feeling. When you do so, you apologize for the truth.’
Anna Wheeler is Operations and Events Manager at Theos.
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Theos researches and investigates the intersection of religion, politics and society in the contemporary world.