Weekend essay

Art

Climate

Culture

13 October 2023

9 min read

Life Is more important than art

Recent art exhibitions tackle life’s big questions. Jonathan Evens reviews their themes and the roles creators take.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A photo-realistic work of art depicting a fiigure raised on fire wood wearing a colour of large metal rays, against a desertifying landscape of dead trees.

The Prophecy, Untitled No.9, Fabrice Monteiro.

The Sainsbury Centre.

Life Is More Important Than Art claimed the recent summer exhibition at Whitechapel Gallery. Taking inspiration from African-American writer and novelist James Baldwin, who proposed that life is more important than art which is why art is important, the exhibition explored the intersection of art and everyday life and the role of contemporary art institutions in a time of uncertainty and change. As Whitechapel Gallery Director Gilane Tawadros has explained, Baldwin “meant that we have the bare necessities of life - a roof over our head, food to eat and so on - but life should be more than the bare necessities” and that’s “where art comes in.”

The Whitechapel Gallery has not been alone at this time in exploring the place of art in relation to big issues and contemporary challenges. Recent exhibitions at the Gagosian, Hayward and Tate Galleries have each used specific philosophical theories to explore the legacy of colonialism and posit creative ways forward in the future, while Dear Earth, also at the Hayward Gallery, explored themes of care, hope, and emotional and spiritual connection with our environment.

Their approach understands art as alive and capable of engaging people with the fundamental questions of life.

Norwich’s Sainsbury Centre has perhaps been most systematic and ambitious in pursuing this particular trend in exhibition curation. In September, the Centre launched the first of its new Big Question seasons exploring the theme of Planet for our Future: How do we adapt to a Transforming World? The Centre is setting the exploration of big issues at the very heart of their exhibition programming, seeking to empower art to address fundamental societal challenges. Their approach understands art as alive and capable of engaging people with the fundamental questions of life and will see artworks from all over the world travelling to the Centre to pose urgent, global questions to visitors and help them find the answers. Future seasons will ask: What is truth? (Spring 2024); Why do people take drugs? (Autumn 2024); How do we resuscitate a dying sea? (Spring 2025); Can humans stop killing each other? (Autumn 2025); and What is the meaning of life? (Spring 2026).

Planet for our Future has an interconnected programme of exhibitions, interventions, collection displays, an artist residency, museum-late, artist-led workshops, and special projects, taking place across the whole art landscape and out into neighbouring communities. It aims to empower art to generate a living dialogue with visitors, inviting them to consider the global challenges of pollution, environmental destruction, and climate change. The wider aim is to mobilise the Sainsbury Centre as a space of hope through the transformative power of art: a space where we can imagine better futures in which collective human behaviour mitigates the effects of climate change.

Given the extent to which the exhibitions mentioned above include themes of spirituality, it would seem that Greenberg and his ilk were on the wrong side of history in this respect too.

These approaches represent a remarkable success for the arguments that artist and academic Suzi Gablik made in the 1980’s and 1990’s in books such as Has Modernism Failed? and The Reenchantment of Art. Gablik contrasted ‘Art for Art’s Sake’ with ‘Art for Society’s Sake’ whilst arguing for the latter, a prescient choice given the current approaches of curators. At the time, Gablik was challenging the received wisdom of art critics such as Clement Greenberg who “rejected the notion that there is any higher purpose to art, or any ‘spiritual’ point to its production.” Given the extent to which the exhibitions mentioned above include themes of spirituality, it would seem that Greenberg and his ilk were on the wrong side of history in this respect too.

I recently took part in The Art of Creation, a conference held at King's College London and organised through the National Gallery’s Interfaith Sacred Art Forum, which brought together speakers from a wide range of disciplines to explore the intersection of art, theology, and ecology. The conference was part of a year-long series of reflections on three paintings from the National Gallery’s Collection – Claude Monet’s Flood Waters, Vincent Van Gogh’s Long Grass with Butterflies, and Rachel Ruysch’s Flowers in a Vase - which raise ecological concerns. The papers exploring aspects of these paintings drew on an eclectic, yet fascinating, range of sources including: Maori beliefs; the Jewish and Christian scriptures; South African poetry; the Nouvelle Theologie; the theology of resonance; the writings of Gerard Manley Hopkins and Marilynne Robinson; and a range of related artworks including the work of Barnett Newman and Regan O’Callaghan. The conference initiated a dialogue regarding ways in which art and faith together can help us make reparative connections in a fragile world and its approaches suggest ways of engaging with the big issues that artists and curators are exploring.

This relationship with creation mirrors that of artists (in the broadest sense), who are both sub-creators and co-creators.

In my paper, which brought verses from Chapter 38 of the Book of Job into dialogue with the three paintings, I argued that God is calling humanity into a relationship with creation in which we respond with humility, awe and wonder to its abundance and diversity, which always exceeds our grasp however much knowledge of it we gain. I suggested, too, that this relationship with creation mirrors that of artists (in the broadest sense), who are both sub-creators and co-creators. As sub-creators, artists recognise that we cannot create from nothing (‘ex nihilo’) and are, therefore, always in a humble, interdependent state where we are as aware of boundaries, edges and frames as we are of openings, doorways and possibilities. As co-creators, we are called to work with the grain or tend the essence of creation and its creatures, as in the approach of sculptors who seek to be true to the materials they use or in the ideas Gerard Manley Hopkins developed regarding inscape and instress.

This section of the poem concerning Job begins by initiating a dialogue as God challenges Job to stand up and answer the questions he poses about the created order; questions such as, do you know the measurements of the earth or the sources for oceans, light, snow and rain? At the time of writing Job, and the writer of this poem, could not answer those questions, so are left simply in a state of awe and wonder. We, however, are, often, able to answer such questions and are, as a result, able to discuss the meaning of such knowledge while also retaining an awareness of the vast dimensions of the abundance and diversity of creation within which our expanded and expanding knowledge remains infinitesimal compared with the whole. Interestingly, the novelist Marilynne Robinson suggests in an essay on ‘Psalm 8’ that,

“A question is more spacious than a statement, [being] far better suited to expressing wonder”.

Artists have regularly worked with just such a balance through an awareness of being sub-creators and co-creators with God. Artists, including those considered by The Art of Creation conference, have often had a different relationship with the divine and with creation. Whether figurative artists working from nature, as are the three principal artists considered by The Art of Creation conference, or symbolic artists creating secondary worlds, artists are often aware of themselves as co-creators or, in the words of J.R.R. Tolkien, sub-creators. We are sub-creators or co-creators when we recognise that we create from creation, not ex nihilo, which involves humility in order that we tend, rather than dominate, creation.

Claude Monet’s Flood Waters, Vincent Van Gogh’s Long Grass with Butterflies, and Rachel Ruysch’s Flowers in a Vase.

A Monet painting of a flood with bare trees emerging from the grey water.

Claude Monet, Flood Waters.

A Van Gogh painting of grass tufts of green, yellow, lavender, grey and other colours.

Vincent Van Gogh: Long Grass with Butterflies.

A 17th century style painting of flowers in a vase against a dark background

Rachel Ruysch, Flowers in a Vase.

Van Gogh paints an expanse of grass extending beyond his canvas in Long Grass with Butterflies, while Rachel Ruysch’s Flowers in a Vase brings flowers that bloom at different times of year together in one image. Awareness of edges, frames, borders, boundaries and other constraints in regard to their canvasses are used by these artists as an element in contrasting the limits of human understanding and the fecundity of nature. Even when artificially exceeding these boundaries, as Ruysch does, this can be in order to highlight our inability to do so in our primary world.

Co-creation is a concept which takes us further in that it involves human creation which is in line with the essence of God’s creation. Another creation story, that of Adam naming the animals, this time from the Book of Genesis, is key to understanding this aspect of creativity. Names in ancient times described the essence of the creature or object so named. That is what is described in this story. In our naming of the animals together with God, we look for the essence of each creature and then name that essence. This suggests a path to exploring possibilities within creation in partnership with God by creating the new in harmony with the essence of the actual.

This process of paying attention to come to know the essence of a thing by imaginatively exploring its various possibilities in order to realise its distinctive essence is what the poet Gerard Manley Hopkins called instress. He also called the essence that we identify the inscape. Ultimately, he suggests, “the instress of inscape leads one to Christ, for the individual identity of any object is the stamp of divine creation on it.” He wrote more about this understanding in the poem ‘Kingfishers catch fire’:

Each mortal thing does one thing and the same:

Deals out that being indoors each one dwells;

Selves — goes itself; myself it speaks and spells,

Crying Whát I dó is me: for that I came.

I say móre: the just man justices;

Keeps grace: thát keeps all his goings graces;

Acts in God's eye what in God's eye he is —

Chríst — for Christ plays in ten thousand places,

Lovely in limbs, and lovely in eyes not his

To the Father through the features of men's faces.

In an essay entitled ‘Wonders Never Cease: Integrity & the Modern Intellectual Condition’, Marilynne Robinson suggests that a theistic vision of the world, like that of Hopkins, “is freer to see the world whole, as it is in itself, so to speak” and she quotes Hopkins who says, “The world is full of the grandeur of God. / It will flame out, like shining from shook foil”. She continues: “Within this great given, that Being is an astonishment, any aspect of being can be approached with an expectation of discovering wondrous things. The slime that comes up from the depths of the sea in fishermen’s nets is a ruined universe of bioluminescence. Microorganisms live in clouds, air moves in rivers, butterflies navigate the earth’s magnetic field. The matter cosmologists call “dark,” which makes up most of the mass of the universe, seems to be non-atomic. Wonders never cease.” As a result, in her essay on ‘Psalm 8’ she gives this credo,

“I have spent my life watching not to see beyond the world, [but] merely to see, great mystery, what is plainly before my eyes … [as] With all due respect to heaven, the scene of miracle is here, among us.”

The approach that Robinson and Hopkins advocate as artists is one that could assist us more generally in relation to the climate emergency, while the sense of wonder found in their work is replicated in the images of Monet, Van Gogh and Ruysch and is, I suggest, what God looks for from us in the questions that are posed in the Book of Job. By responding to a wide range of ideas and sources, The Art of Creation conference demonstrated a similar balance to awe and knowledge, recognising that this attitude and approach opens up reflection on the abundance of the world and cultures that God created and also holds out the possibility that new inspirations will be sparked from the interplay of ideas that ensues. These ways of relating art, creation and faith suggest one approach to engaging with the big issues that artists and curators are exploring and which faith communities, including the Church, have explored throughout the history of humanity.

Explainer

Culture

Freedom of Belief

Migration

11 November 2024

7 min read

From Nigeria’s killing fields to Europe’s shores, the data behind the domino effect

While Nigeria thrives, some left-behind are desperate to escape.

Chris Wadibia

Chris Wadibia is an academic advising on faith-based challenges. His research includes political Pentecostalism, global Christianity, and development.

A data map shows circles of varying size across a map of Nigeria

Fatal attacks map.

ORFA.

Just as every coin has two sides, every soul contains the equal capacity for good and evil. Just like affairs of the soul, migration has the ability to strengthen or weaken societies.

Nigeria, the Giant of Africa, has one of the world’s largest and most professionally distinguished diasporas. Over 17 million Nigerians live in other countries. The most famous members of the Nigerian diaspora, figures like Ngozi Okonjo-Iweala, Chimamanda Ngozi Adichie, Anthony Joshua, John Boyega, Giannis Antetokounmpo, and Wally Adeyemo, have achieved stardom thanks to talents that impact or entertain millions of people globally.

However, these famous figures merely represent the glorious one percent of the Nigerian diaspora. Their success can easily distract observers from the grim reality of why so many Nigerians desperately seek to leave a country known for producing world changers.

Seeking data on violence

In October 2019, researchers at the Observatory of Religious Freedom in Africa started a project exploring the nature and impacts of of religious violence in Nigeria. The project spanned four years and generated many significant findings. Terror groups in Nigeria killed 31,000 civilians in 7,000 attacks in just four years, the Fulani Ethnic Militia (FEM) accounting for 39 per cent of these killings (a figure dwarfing the killings perpetrated by ISIS and al-Qaeda affiliates), So called “land-based community attacks,” a concept referring to instances when actors like FEM invade small Christian farming settlements to kill, rape, and abduct Christians and burn their homes, accounted for 82 per cent of civilian killings in the study, Christian death tolls far exceeding Muslim death tolls (2.7 Christians killed for every 1 Muslim killed) in the reporting period, and 6.5 times as many Christian murders compared to Muslim murders relative to average state populations.

The methodology of the study set out to find data on all the people, regardless of their religion, negatively affected by terrorist violence. However, with every new batch of data collected, disturbing patterns emerged. Since the 2009 birth of the infamous Boko Haram insurgency, global media coverage of the terrorist violence has consistently argued Muslims rather than Christians disproportionately bear the brunt of this Islamist extremist violence. The findings of the study suggest otherwise.

ORFA data map of fatal attacks across Nigeria.

Source: ORFA.

Shouldn’t the government do something?

Historically, Nigerian governments have been reticent, even reluctant, to condemn violence in the north associated with the Fulani ethnic group. Former presidents like Muhammadu Buhari, a member of the Fulani, have even gone as far as to dismiss the issue of Fulani ethnic violence as just “cattle rustling.” However, in Nigeria, mere “cattle rustling” to some is a seriously grave situation for others.

Findings by the Observatory researchers suggest Nigerian security operatives, most of whom belong to the Fulani and Hausa ethnic groups, have a suspiciously selective way of engaging with terrorist violence in northern Nigeria, often leaving Christians distinctively vulnerable. Roman Catholics in Nigeria have even accused Nigeria's military of being a jihadist force. Churches in northern Nigeria live in a constant state of terror and acutely distressing fear.

In Nigeria, the federal government alone, led by the president, has the final say on matters concerning security and the army. Incumbent President Bola Ahmed Tinubu has notably appointed far more Christians to senior government offices than his predecessor, Buhari. The Nigerian government is famously opaque. Despite its nominally democratic visage, family dynasties and networks continue to dominate political life and business affairs.

Understanding the religious geography and reaction

Religion in Nigeria is divided along geographical lines. The northern half is dominated by conservative Islam. Catholicism and Anglicanism reign supreme in the southeast. The southwest functions as a geographical melting pot of Islam (albeit a more secular variety compared to the north) and Christianity (especially Pentecostalism). The north contains a surprisingly large number of Pentecostals. Many Pentecostal pastors and choirs in the north have been kidnapped by the mercilessly violent Islamist extremists.

The overwhelming majority of Christians in Nigeria live in the southern half of the country. However, in a Nigeria which has suffered from one oppressive government after another for decades (most of these led by conservative Islamic military and civilian presidents), most Christians struggle to survive and lack the energy to speak up for their northern kin. Despite their weariness, the Southern Nigerian Church (the collective population of Christians living in the south) has a sacred responsibility to awaken and demand greater protections from the federal government and the military for Christians living in the north.

Local causes, global effect

Over the last two decades, commentators have routinely pointed to climate change as the primary factor facilitating violent encounters between Muslims and Christians. Fulani cattle herders, guided by the desire for better grazing lands for their livestock, have often encroached on land owned by Christian farmers in the north and middle regions. The findings by researchers at the Observatory suggest significantly more is going on to facilitate these violent clashes than just climate change. Ascribing the challenge of religious violence in Nigeria to just climate change provides a get-out-of-jail free card to the men of violence linked to the orchestrated killings of Christians.

Ethno-religious violence has quietly become commonplace in northern Nigerian life. The single solution capable of curbing this violence is unprecedented, cross-party, interethnic, and interreligious security reform. Strength of security affects every person in Nigeria. From the richest to the poorest, no one is immune from a sudden kidnapping, suicide bomb, or violent act of banditry negatively changing their life forever.

Nigeria's neighbours in Europe cannot afford to continue slumbering and must wake up. Readers in Europe feeling insulated from the violence the data records are just as susceptible to the shockwaves that a collapse of the Nigerian state as other West African neighbours. Such an event would imperil the security of citizens in countries like Italy, Spain, and Greece just as much as it would people living in Mali, Chad, and Cameroon.

Nigeria has never been nearer to a civil war or state collapse since the Biafra War of the late 1960s. Ethno-religious violence disproportionately targeting northern Christians is one of the greatest and most overlooked factors contributing to Nigeria's dysfunctionality. In an unprecedentedly connected world, such a collapse would, in turn, trigger further collapses. The European Union (EU) does not grasp the severity of how such a collapse would affect its own security and stability. At a time when every day brings news of small boats carrying migrants to European shores, Nigeria's collapse would trigger one of the greatest avalanches of mass migration in modern African history.

A modern Middle Passage

Nigeria has a population of over 235 million, the largest in Africa and sixth largest globally. If just 10 per cent of the population attempted to flee in the event of another civil war or a destabilising political event, that is 23 million Nigerians desperately fleeing into any country they reason might welcome them. Many of these millions would gamble by voyaging on the tempestuous Atlantic Ocean in small boats with the goal of beginning new lives in European countries. Some would inevitably perish in what might evolve into this century's Middle Passage. Nigeria’s collapse would destroy the EU by overwhelming its borders and social services. The average population of an EU country is just under 17 million, or the size of Nigeria's diaspora. The unprecedented connectedness of our world means catastrophic destabilisation in one country can have significant consequences for the stability of other countries globally. The EU has a geopolitical responsibility to invest in improving Nigeria's security situation. Abductions, killings, and displacements in Nigeria might trigger instability in Europe and beyond.

However, the collapse of Nigeria would not only destabilise the EU. ISIS affiliates like ISWAP (Islamic State West Africa Province) have a strategic interest in Nigeria's collapse, because it would open the door for them to expand their control throughout West Africa.

A team of researchers guided by the goal of better understanding terrorist violence in Nigeria simply followed the breadcrumbs of organically emergent data to show why the broader world should take seriously violence against Christians in the Giant of Africa. Living in an unprecedentedly connected world comes with new privileges and new responsibilities. To simply indulge in these new privileges without standing strong and shouldering these new responsibilities would be foolish, selfish, and nearsighted.

English poet John Donne once famously wrote,

No man is an island,
Entire of itself,  of the continent,
A part of the main.
If a clod be washed away by the sea,
Europe is the less.
Every man is a piece.

The “old self” understanding of global connectedness, ruled by selfishness and ignorance, must give way to the “new self” model of prosperity and security via proactive collaboration. For every one Okonjo-Iweala, Boyega, or Antetokounmpo, millions of Nigerians suffering from the effects of a rapidly destabilising state dream of emigrating abroad. Global Christianity and global security stakeholders each have an interest in a stable Nigeria. A stable Nigeria functions as a wellspring of human capital for the benefit of the entire world.

Donne, in the same poem, wrote,

Each man's death diminishes me,
For I am involved in mankind.
Therefore, send not to know
For whom the bell tolls,
It tolls for thee.

The world is involved in Nigeria and Nigeria is involved in the world. The death of Nigeria would pave the way for the death of the EU. The bell tolls for the EU community to awaken from decades of neglectfully overlooking its interests in a stable and secure Nigeria.