The exhibition Nom de Dieu: Criticism, Blasphemy, Satire...? is currently on display at Pilar. It showcases works by renowned contemporary Belgian artists who explore these themes through their creations. Kathleen Van Nuffel, a teacher of non-religious ethics, curates the exhibition alongside her husband, Professor Emeritus Willem Elias. "Art doesn’t harm anyone. Why should artists be silenced?"
Visit the exhibition Nom de Dieu, criticism, blasphemy, satire...? atPilar.
You’re curating this exhibition as a couple. How did the idea for the exhibition come about?Kathleen Van Nuffel: “The exhibition unites art with freethought, two pillars central to our lives. We've been discussing these topics at our kitchen table for years. For centuries, people have sought ways to challenge taboos surrounding secular and spiritual power. Artists expose this struggle in a layered, non-uniform way. They are the freethinkers of form. This exhibition shows how they tackle these subjects without intending to shock or offend with the displayed works. It is not a blasphemous exhibition but rather a free exploration of how artists engage with the themes of criticism, blasphemy, and satire in relation to Christianity. Jan Van den Brande and Vincent Declercq from huisvandeMens Brussels have taken the lead in organizing and turned our ideas into reality.”
Kathleen Van Nuffel
Works by well-known artists like Félicien Rops, Wim Delvoye, Pjeroo Roobjee, and Carmen De Vos are on display. How did you put together the exhibition?
"The selection process took years. Our principle was to choose works by artists whose oeuvre consistently explores themes of blasphemy, irony, and criticism. We first selected the artists, then their works. This exhibition focuses solely on Christian iconography. Willem and I know this subject best, and after 2,000 years of Christianity, its traces are most evident in Western culture. We also had to consider practical matters: Can the work be loaned? Is it too large or too small? Is the insurance affordable?
"Ultimately, renowned artists are featured, but the exhibition is not intended to ‘boast’ their works. The goal is to encourage critical viewing. Only artists with such an attitude are featured."
"Art tells more than what you experience at first glance,’ he says."
Some artworks, such as Holy Cow by Tom Herck, have previously drawn sharp reactions for allegedly mocking religion. Even though your intent is not to be blasphemous, do you fear the exhibition might be misinterpreted?
"If you can only display works that are digestible or acceptable to everyone, you no longer have an exhibition. Anything can be misinterpreted: an artwork, a book, a film, an interview... Extract something, frame an image or a sentence, and you have trouble. As curators, we expect visitors to come with an open mind. It’s important to maintain that, to avoid reacting defensively to everything that is said or shown.
"These days, another new story of abuse in the church has surfaced (at the Abbey of Keizersberg in Leuven, editor’s note). That shocks me—that people can do such things to each other. Art, on the other hand, does not harm anyone. Why, then, should artists be silenced? Precisely for these reasons, it’s essential to host this exhibition at Pilar at the VUB. It is the university’s core business to safeguard academic freedom. We must be able to continue discussing and exploring everything."
Holy Cow
School visits are also planned for senior secondary students. This may not be straightforward.
"Teaching itself is never straightforward. Certain topics are no longer addressed because they might stir strong emotions. Teachers question how much they should censor themselves. Students visiting the exhibition must be well-guided, preferably by a teacher of non-religious ethics. Such teachers can engage with the layers of meaning in the artworks from a secular humanistic values framework. Art communicates more than what you perceive at first glance. Discussions about taboos, such as nudity, are an example. Since antiquity, humans have been depicted nude. The figure of Jesus has been depicted naked for centuries. It’s only through the voyeuristic gaze of humans that they started draping him. What does our reaction to that nudity say about us? Artists reveal people’s gaze."
The subject of non-religious ethics is under pressure. The Flemish government wants to replace religious and ethics classes in public schools with interfaith dialogue. What’s your view on that?
"Non-religious ethics is an underrated subject. During those two hours, students bring up questions and fears they cannot express in ‘language or math lessons,’ and we address them. It might be about family disputes or even about death—‘Where do you go after you die?’ for instance. In my class, students can freely share their thoughts and experiences, whether or not they believe in an afterlife.
"Worldviews are more than religion and secular humanism. They involve seeking connections despite differences. If you put all students together for a kind of imposed ‘light comparative religion studies served in a neutral sauce,’ you, as a teacher, will inevitably have to avoid certain topics. This is already happening. I’ve been asked to teach the theory of evolution in ethics classes because it’s challenging to address in other settings. I’m not alone in this. Eliminating us will prove to be a big mistake."
“Artists are not nitpickers. They open our eyes. But people need to learn how to look”
Finally, where does the title of the exhibition, Nom de Dieu: Criticism, Blasphemy, Satire...?, come from?
"It was an idea from Selma, one of our colleagues, and her partner. In Dutch, we often say nondedju, a corruption of Nom de Dieu. This expression can be used pejoratively as a curse or positively as a sign of wonder. In that sense, the title fits the exhibition beautifully. The works carry no moral judgment. Artists are not nitpickers. They open our eyes. But people need to learn how to look. We also don’t want to convey a fixed, clear-cut vision. That’s why there are ellipses and a question mark. We’re not making a statement with this exhibition; we’re asking questions and leaving room for discussion."
Kathleen Van Nuffel and VUB-professor emeritus Willem Elias
Bio of Kathleen Van Nuffel
Art and freethought have been part of Kathleen's life from an early age. As a child, she collected art books, and at 13, she broke away from her Christian upbringing. She stopped attending school for a time but found her place at the Lyceum in Aalst, where she was introduced to freethought. Today, she teaches non-religious ethics in primary schools, volunteers for hethuisvandeMens, and guides tours at the Humanist Sculpture Park at the VUB. She is married to Professor Emeritus Willem Elias, who taught art education at the VUB for many years and is the founder of the Humanist Sculpture Park.
