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Art as sacrament

dc.contributor.authorBarnard, Marcelen_ZA
dc.date.accessioned2021-02-18T11:02:45Z
dc.date.available2021-02-18T11:02:45Z
dc.date.issued2019
dc.identifier.citationBarnard, M. 2019. Art as sacrament. Stellenbosch Theological Journal, 5(2):13-28, doi:10.17570/stj.Supp. 2019.v5n2.a01
dc.identifier.issn2413-9467 (online)
dc.identifier.issn2413-9459 (print)
dc.identifier.otherdoi:10.17570/stj.Supp. 2019.v5n2.a01
dc.identifier.urihttp://hdl.handle.net/10019.1/109571
dc.descriptionCITATION: Barnard, M. 2019. Art as sacrament. Stellenbosch Theological Journal, 5(2):13-28, doi:10.17570/stj.Supp. 2019.v5n2.a01.
dc.descriptionThe original publication is available at https://ojs.reformedjournals.co.za/stj
dc.description.abstractInspired by Johan Cilliers’ roots in the silence and emptiness of the Karoo, Marcel Barnard explores in this article to what extent Christian Boltanski’s modern art exposition AFTER/NA in the Oude Kerk (Amsterdam) can be viewed as “sacramental art”. To do this, Barnard makes use of Louis-Marie Chauvet’s sacramental theology, in which the power of language to call beings – including human symbols – “into presence” has a central place. It is shown that Boltanski’s interventions in the Oude Kerk call the unseen, the absence, into presence – by remembering the thousands of dead buried beneath the floor, by making wilting life visible and by raising the question of what absence means. By doing this, Boltanski makes the visitor aware of the scandalous, ambivalent and vulnerable character of the sacrament. Barnard concludes that Boltanski’s installations may be called sacramental works of art.en_ZA
dc.description.urihttps://ojs.reformedjournals.co.za/stj/article/view/1935
dc.format.extent16 pages
dc.language.isoen_ZAen_ZA
dc.publisherPieter de Waal Neethling Trust
dc.subjectSacramental arten_ZA
dc.titleArt as sacramenten_ZA
dc.typeArticleen_ZA
dc.description.versionPublisher's version
dc.rights.holderPieter de Waal Neethling Trust


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