Collings’ work reminds me of Max Beckman especially the latter’s Hölle Der Vögel (1937-38) (Bird’s Hell) which, nine years ago at Christie’s, sold for £36 million (it is believed to Jewish American billionaire financier Leon Black friend of Jeffrey Epstein).
Beckman originally called it The Country of the Insane as a reference to the brutality and popularity of the Nazi regime. There’s a lone, human figure being tortured in the foreground interpreted as the Nazi's assault on the rights of the individual and its use of political violence.
Hitler hated Expressionism and deemed it degenerate. Beckman’s work was confiscated; he had to flee Germany and never returned.
How does Beckman’s work differ from what Collings is trying to say about the brutality of Israel and its assault on the the people of Palestine (and now other parts of the Middle East)?
Collings makes it very clear (image attached) that he sees Zionism and the Jewish faith as two different things, which they are. He says: Zionist irrational hate for Palestinians is my target … Zionism has caused so much misery to the Palestinians that nobody with a heart can stand it any more. Do people condemning this exhibition disagree with that?
Collings has a right to criticise Israel’s belligerence under Netanyahu. Indeed there have been several threads here extremely critical of his actions and Trump’s support. How is that different?
Sometimes art is created deliberately to shock and generate debate. You might like to read this by Aaron Rosen, Professor of Religion & Visual Culture and Director of the Henry Luce III Center for the Arts & Religion at Wesley Theological Seminary, Washington, DC and Visiting Professor at King’s College London:
www.theguardian.com/artanddesign/2015/oct/23/offensive-art-holy-book-bomb-chocolate-jesus
www.kcl.ac.uk/people/aaron-rosen
Note what he says about Gregor Schneider’s work whose exhibitions were cancelled to avoid offending Muslims and as a security measure against terrorist retribution.
Whether Muslims really deem an artwork offensive often gets obscured by what non-Muslims think Muslims will feel. The potential threat posed by a tiny, yet flagrantly violent, minority dictates the discussion. It has become increasingly difficult (especially in the wake of the Charlie Hebdo attack) to discuss in any nuanced way if, how, and why certain images might be offensive to Muslims.
The idea of artists as iconoclasts on a quest to offend is compelling. Yet it tells only a fraction of the story. Art should challenge us. It should perforate our pieties, religious or otherwise … The people who need it to be offensive are the ideologues, who may never set foot in a gallery.
It seems to me that outrage is being shown in some parts of the media and here without seeking to understand what Collings is saying about war and genocide - not so different to Beckman or indeed Picasso’s depiction of the bombing of Guernica by Nazi Germany and Fascist Italy and Dumile Feni's African Guernica about living under apartheid, also now on display at the Reina Sofia in Madrid.
I imagine I will be flamed for this but I am simply trying to put the work into perspective.