Ora et lege

Ed Atkins, Kamilla Bischof, Jesse Darling, Liam Gillick, Martin Kohout, Florian Meisenberg, Slavs and Tatars

Curated by Monika Čejková

At Broumov Monastery, Broumov, Czech Republic

June 19 — September 30, 2021

The exhibition project Ora et lege is a dialogue between contemporary art and the essence of the teachings of the Benedictines, the oldest religious order in Western Christianity. The venue of the exhibition is the Benedictine monastery in Broumov, where artists Ed Atkins, Kamilla Bischof, Jesse Darling, Liam Gillick, Martin Kohout, Florian Meisenberg and Slavs and Tatars have prepared works referring to the history, knowledge, teachings and spiritual culture of the Benedictines. The author of the project is the exhibition curator Monika Čejková, who prepared it based on her discussions with Archabbot of Břevnov, Petr Prokop Siostrzonek OSB.

One of the first questions a contemporary art viewer might ask is why, in a secular age, hold an exhibition inspired by an ancient religious order. The answer may lie in its strong tradition linked to the activities through which the Benedictines have worked hard to develop culture and education in our country. The Benedictine order is still an important representative of spiritual and cultural memory, including values that persist to this day. Last but not least, the exhibition relates to the premises of the Benedictine monastery in Broumov itself, a historically and visually unique place, providing a specific context that is not neutral and thus co-shapes the final form of the exhibited works. Nevertheless, the project Ora et lege is an attempt at a deeper dialogue between contemporary art and the teachings of the Benedictine order. It responds to particular elements that capture the essence of the Benedictine order and various selected elements of the Catholic Church in general.

The title of the exhibition Ora et lege (pray and read) paraphrases the famous motto of Saint Benedict, ora et labora (pray and work), and represents a key factor in the selection of the exhibiting artists. These are internationally renowned artists who in addition to their fine art production have been involved for a long time in writing their own texts. The exhibition touches on topics associated with the monastery, but it also reflects a narrative turn in the visual arts, whereby authorial writing in various forms is brought to the fore, combining different literary forms and genres such as prose, poetry, drama, fiction or “uncreative writing”. Authorial writing is presented at the exhibition in the form of Liam Gillick’s book, Jesse Darling’s e-mail correspondence, the essay by Slavs and Tatars, the incorporation of writing by Kamilla Bischof into her exhibited works and by Ed Atkins into the original monastery furniture, Florian Meisenberg’s software-generated text, and Martin Kohout’s text published online during the exhibition.

The exhibition covers several thematic areas, which are not strictly defined, but rather loosely associated in the works by individual artists. One of the thematic areas could be characterized as the media revolution reflecting mimesis and medieval images – the sacred and its representation (Liam Gillick, Florian Meisenberg, Kamilla Bischof). Another area is hagiography, which has become a means for pointing out the importance of women in the Catholic Church as well as for reflecting on their unequal status in the church hierarchy as an analogy to the state of society in general (Jesse Darling, Kamilla Bischof). This is followed by the ever-present theme of interreligious dialogue in the form of a critical polemic against deep-rooted stereotypes of national identity, power, language and religion (Slavs and Tatars). The last thematic area is a secular or rather an ambiguous relationship to the Church (Ed Atkins, Martin Kohout), which on the one hand honors its tradition and history, but on the other hand prefers or professes secular humanist ideals.

The project will be realized as a site-specific exhibition on the unique historical premises of the Benedictine monastery in Broumov: in the church of St. Adalbert, its sacristy and mortuary chapel, as well as in the monastic library and in the refectory of the monastery.

 

The exhibition is organized by the Broumov Educational and Cultural Center, a non-profit organization founded in 2013 by the Broumov Region Development Agency. Through cultural, educational, and community activities, the agency helps to promote the life of the Broumov Monastery, a national cultural monument, and is a celebrated European institution that encourages creativity, self-confidence, and tolerance.

The exhibition Ora et lege is presented under the auspices of the Archabbot of Břevnov and Broumov, Petr Prokop Siostrzonek OSB.

Realization of the exhibition is supported by the Ministry of Culture of the Czech Republic, the State Cultural Fund of the Czech Republic, the Hradec Králové Region, the Czech-German Fund for the Future, the German Embassy, the Polish Institute, the Austrian Cultural Forum, and Hobra-Školník.

Jesse Darling, Our Lady Batman of the Empty Center (Temporary Relief), 2018
spray paint and ink on aluminum and wood, paper cup, cemetery flowers, gold leaf, finger sheaths, ECG stickers, Band-Aid wrappers, Perspex 134 × 65 × 25.5 cm courtesy of the artist and Arcadia Missa Gallery, London
Jesse Darling, Our Lady Batman of the Empty Center (Temporary Relief), 2018
spray paint and ink on aluminum and wood, paper cup, cemetery flowers, gold leaf, finger sheaths, ECG stickers, Band-Aid wrappers, Perspex 134 × 65 × 25.5 cm courtesy of the artist and Arcadia Missa Gallery, London
Jesse Darling, Our Lady Batman of the Empty Center (Temporary Relief), 2018
spray paint and ink on aluminum and wood, paper cup, cemetery flowers, gold leaf, finger sheaths, ECG stickers, Band-Aid wrappers, Perspex 134 × 65 × 25.5 cm courtesy of the artist and Arcadia Missa Gallery, London
Ora et lege, Jesse Darling, exhibition view, Broumov Monastery, 2021
Ed Atkins, Untitled Anonymous, 2021
hand-engraved inscription “silence of the perpetual choire in heaven, 23 June 2041” on a wooden church pew
Ed Atkins, Untitled Anonymous, 2021
hand-engraved inscription “silence of the perpetual choire in heaven, 23 June 2041” on a wooden church pew
Ora et lege, Kamilla Bischof, exhibition view, Broumov Monastery, 2021
Kamilla Bischof, Geschichten aus dem Gardinenwald / Tales from the Curtain Woods, 2020
oil on canvas
150 × 180 cm courtesy of the artist and Sandy Brown Gallery, Berlin
Kamilla Bischof, Campingfragen / Camping Questions, 2020
oil on canvas
150 × 180 cm 
courtesy of the artist and Sandy Brown Gallery, Berlin
Kamilla Bischof, April, 2020
oil on canvas
180 x 150 cm 
courtesy of the artist and Sandy Brown Gallery, Berlin
Kamilla Bischof, Geschichten aus dem Gardinenwald / Tales from the Curtain Woods, 2020
oil on canvas
150 × 180 cm detail courtesy of the artist and Sandy Brown Gallery, Berlin
Kamilla Bischof, Geschichten aus dem Gardinenwald / Tales from the Curtain Woods, 2020
oil on canvas
150 × 180 cm detail courtesy of the artist and Sandy Brown Gallery, Berlin
Ora et lege, Slavs and Tatars, exhibition view, Broumov Monastery, 2021
Ora et lege, Slavs and Tatars, exhibition view, Broumov Monastery, 2021
Ora et lege, Slavs and Tatars, exhibition view, Broumov Monastery, 2021
Slavs and Tatars, Communion (Visit Iraquiam), 2021
reverse painting on glass with acrylic and synthetic paint
32 × 44 cm
courtesy of the artists and Raster Gallery, Warsaw
Slavs and Tatars, Communion (Virgin Buraq), 2021
reverse painting on glass with acrylic and synthetic paint
32 × 44 cm
courtesy of the artists and Raster Gallery, Warsaw
Slavs and Tatars, Communion (Ahl al-Apostles), 2021
reverse painting on glass with acrylic and synthetic paint
32 × 44 cm
courtesy of the artists and Raster Gallery, Warsaw
Slavs and Tatars, Communion (The Guarantor of the Deer), 2021 reverse painting on glass with acrylic and synthetic paint
44 × 32 cm
courtesy of the artists and Raster Gallery, Warsaw
Ora et lege, Liam Gillick, exhibition view, Broumov Monastery, 2021
Liam Gillick, Three Borrowed Gray Rotations, 2021 painted lacquered MDF
65 × 50 × 50 cm (desk)
25 × 30 × 30 cm (stool) courtesy of the artist and Galerie Meyer Kainer, Vienna
Liam Gillick, Three Borrowed Gray Rotations, 2021 painted lacquered MDF
65 × 50 × 50 cm (desk)
25 × 30 × 30 cm (stool) detail courtesy of the artist and Galerie Meyer Kainer, Vienna
Liam Gillick, Three Borrowed Gray Rotations, 2021 painted lacquered MDF
65 × 50 × 50 cm (desk)
25 × 30 × 30 cm (stool) detail courtesy of the artist and Galerie Meyer Kainer, Vienna
Liam Gillick, Between Fable and Parable, 2021
print run of 50 pieces of 48pp books
15 × 10 cm
courtesy of the artist and Galerie Meyer Kainer, Vienna
Ora et lege, Martin Kohout, Florian Meisenberg, exhibition view, Broumov Monastery, 2021
Florian Meisenberg, A Room with a View (What Time Is), 2021
machine controlled permanent marker, oil on canvas 
137 × 137 cm
courtesy of the artist and Wentrup Gallery, Berlin
Florian Meisenberg, A Room with a View (What Time Is), 2021
machine controlled permanent marker, oil on canvas 
137 × 137 cm
detail
courtesy of the artist and Wentrup Gallery, Berlin
Ora et lege, Florian Meisenberg, exhibition view, Broumov Monastery, 2021
Florian Meisenberg, Im tollen Wahn hatt ich dich einst verlassen, Ich wollte gehn die ganze Welt zu Ende,
Und wollte sehn, ob ich die Liebe fände,
Um liebevoll die Liebe zu umfassen. 
Die Liebe suchte ich auf allen Gassen,
Vor jeder Türe streckt ich aus die Hände,
Und bettelte um g’ringe Liebesspende –
Doch lachend gab man mir nur kaltes Hassen. 
Und immer irrte ich nach Liebe, immer
Nach Liebe, doch die Liebe fand ich nimmer, 
Und kehrte um nach Hause, krank und trübe. 
Doch da bist du entgegen mir gekommen,
Und ach! was da in deinem Aug’ geschwommen, 
Das war die süße, langgesuchte Liebe. 2021
machine controlled permanent marker, iridescent acrylic and oil paint on canvas
127 × 127 cm detail
courtesy of the artist and Wentrup Gallery, Berlin
Florian Meisenberg, Im tollen Wahn hatt ich dich einst verlassen, Ich wollte gehn die ganze Welt zu Ende,
Und wollte sehn, ob ich die Liebe fände,
Um liebevoll die Liebe zu umfassen. 
Die Liebe suchte ich auf allen Gassen,
Vor jeder Türe streckt ich aus die Hände,
Und bettelte um g’ringe Liebesspende –
Doch lachend gab man mir nur kaltes Hassen. 
Und immer irrte ich nach Liebe, immer
Nach Liebe, doch die Liebe fand ich nimmer, 
Und kehrte um nach Hause, krank und trübe. 
Doch da bist du entgegen mir gekommen,
Und ach! was da in deinem Aug’ geschwommen, 
Das war die süße, langgesuchte Liebe. 2021
machine controlled permanent marker, iridescent acrylic and oil paint on canvas
127 × 127 cm
courtesy of the artist and Wentrup Gallery, Berlin
Martin Kohout, Glare, and then everything stayed the same, 2021 
4K animated video loop without sound 
courtesy of the artist, Exile Gallery, Vienna, and Polansky Gallery, Prague
Martin Kohout, Glare, and then everything stayed the same, 2021 
4K animated video loop without sound 
courtesy of the artist, Exile Gallery, Vienna, and Polansky Gallery, Prague
Florian Meisenberg, Blowing from the West, Fallen Leaves, Gather in the East, 2016
maxpatch, algorithmic simulation
developed in collaboration with Tommy Martinez, NYC 
courtesy of the artist and Wentrup Gallery, Berlin
Florian Meisenberg, Blowing from the West, Fallen Leaves, Gather in the East, 2016
maxpatch, algorithmic simulation
developed in collaboration with Tommy Martinez, NYC
detail