{"id":5326,"date":"2026-06-16T11:51:41","date_gmt":"2026-06-16T15:51:41","guid":{"rendered":"https:\/\/beaverbrookartgallery.org\/?post_type=exhibition&p=5326"},"modified":"2026-06-17T10:58:06","modified_gmt":"2026-06-17T14:58:06","slug":"andres-serrano-incarnate","status":"publish","type":"exhibition","link":"https:\/\/beaverbrookartgallery.org\/fr\/exhibition\/andres-serrano-incarnate\/","title":{"rendered":"Andres Serrano : Incarn\u00e9"},"content":{"rendered":"

S\u00c9RIE GROS PLAN\u202f: Andres Serrano: <\/strong>Incarn\u00e9 <\/em><\/strong> <\/p>\n\n\n\n

L\u2019un des outils \u00e0 la disposition des artistes pour marquer les esprits est le choc, et nul n\u2019aura mani\u00e9 cet instrument avec plus de jubilation que les Surr\u00e9alistes et, bien \u00e9videmment, Salvador Dal\u00ed. <\/p>\n\n\n\n

Santiago El Grande, <\/strong>Santiago El Grande <\/em>has been a centrepiece of the Beaverbrook Art Gallery\u2019s permanent collection since it was given to the gallery by Lady Dunn in 1959. Beloved as an iconic part of New Brunswick\u2019s cultural heritage, its fame can eclipse its complicated artistic legacy. <\/p>\n\n\n\n

Le tableau, et l\u2019artiste, n\u2019ont pas \u00e9t\u00e9 exempts de controverse. Dal\u00ed a \u00e9t\u00e9 expuls\u00e9 des Surr\u00e9alistes pour avoir refus\u00e9 de prendre parti pendant la guerre d\u2019Espagne. Santiago El Grande<\/em><\/strong> rend hommage au saint patron de l\u2019Espagne, Saint Jacques. Cette \u0153uvre est aussi une ode \u00e0 l\u2019identit\u00e9 nationale de ce pays, \u00e0 la r\u00e9silience de sa culture et \u00e0 la victoire des chr\u00e9tiens espagnols sur les Maures, les musulmans espagnols qui ont dirig\u00e9 le pays pendant des si\u00e8cles. Son nationalisme triomphant a parfois aussi \u00e9t\u00e9 interpr\u00e9t\u00e9 comme une c\u00e9l\u00e9bration du r\u00e9gime fasciste de Franco.  <\/p>\n\n\n\n

To\u00a0provide further context\u00a0for the rich legacy of\u00a0Santiago El\u00a0Grande\u00a0<\/em><\/strong>the Beaverbrook Art Gallery\u00a0will be\u00a0exhibiting\u00a0contemporary art works\u00a0in the Dal\u00ed\u00a0Chapel\u00a0that\u00a0critically\u00a0explore religious themes.\u00a0The first installation\u00a0in the series,\u00a0Andres Serrano : Incarn\u00e9<\/em>,\u00a0includes\u00a0Seranno\u2019s\u00a01987 work\u00a0Piss Christ<\/em><\/strong> (Immersion<\/em>s<\/strong>),\u00a0one of the iconic\u00a0artworks of 1980s\u00a0postmodernism, and\u00a0one of the most controversial artworks of the 20th<\/sup>\u00a0century.\u00a0Its\u00a0simple existence was\u00a0the\u00a0subject of a Senate inquiry in the US, and the agency that funded Serrano\u2019s practice, the National Endowment of the Arts, had its funding slashed in response to the controversy over this work.\u00a0\u00a0<\/p>\n\n\n\n

The photo included in this exhibition, on loan from the Rennie Collection, Vancouver, was damaged in an exhibition in France in 2011 when it was attacked by Christian protestors. The artist and the owner jointly decided to leave that damage visible, as a way of highlighting the power of art to provoke a response, and the limits of attempted censorship.  <\/p>\n\n\n\n

L\u2019imagerie religieuse a toujours fait partie de la pratique d\u2019Andres Serrano. L\u2019exposition comprend deux autres \u0153uvres importantes de la collection Rennie. Blood Cross (Bodily Fluids)<\/em><\/strong> (1985) et Piss Pope, Part I and II (Immersions)<\/em><\/strong> La position de Serrano est sans \u00e9quivoque\u202f: \u00ab\u202fCe n\u2019est pas une attaque contre Dieu ou l\u2019\u00c9glise, mais plut\u00f4t une c\u00e9l\u00e9bration des deux. En plus de croire en Dieu, je crois en l\u2019art religieux ainsi qu\u2019en la beaut\u00e9 et en la puissance de cet art\u202f\u00bb. <\/p>\n\n\n\n

L\u2019ARTISTE<\/strong> <\/p>\n\n\n\n

Andres Serrano est n\u00e9 \u00e0 New York (\u00c9tats-Unis) en 1950. Dipl\u00f4m\u00e9 de l\u2019\u00e9cole d\u2019art du Brooklyn Museum de New York en 1969, il est l\u2019un des artistes contemporains les plus acclam\u00e9s sur la sc\u00e8ne artistique internationale.  <\/p>\n\n\n\n

Ses photographies ont r\u00e9cemment fait l\u2019objet d\u2019expositions individuelles au Mus\u00e9e Maillol (Paris, 2024), au Forum Groningen (Pays-Bas, 2024), au centre d\u2019art contemporain DOX (Prague, 2023) et au Fotografiska (Tallinn, 2023). Elles ont \u00e9t\u00e9 pr\u00e9sent\u00e9es dans des \u00e9tablissements et \u00e9v\u00e9nements de premier plan comme la biennale Whitney (New York), le mus\u00e9e Barbican (Londres), le Mus\u00e9e d\u2019art de Helsinki et le Museo Reina Sof\u00eda (Madrid). Ses \u0153uvres figurent dans plus de 70\u202fcollections publiques dans le monde entier, notamment au Museum of Modern Art (MoMA) de New York, dans la collection d\u2019art contemporain du Vatican, au Rijksmuseum (Amsterdam), \u00e0 l\u2019Art Institute of Chicago et au Mus\u00e9e des beaux-arts de Vancouver. <\/p>\n\n\n\n

Andres Serrano a \u00e9t\u00e9 nomm\u00e9 chevalier de l\u2019Ordre des Arts et des Lettres (France, 2017) et acad\u00e9micien national (\u00c9tats-Unis, 2015). Il vit et travaille \u00e0 New York. <\/p>\n\n\n\n

LA COLLECTION RENNIE<\/strong> <\/p>\n\n\n\n

La collection Rennie est reconnue pour le calibre de ses diverses \u0153uvres d\u2019art contemporain. Fond\u00e9e par Bob Rennie, elle se donne pour mission d\u2019acqu\u00e9rir, de pr\u00e9server et d\u2019exposer des \u0153uvres d\u2019artistes accomplis et \u00e9mergents du monde entier, et de collaborer avec des \u00e9tablissements d\u2019art \u00e0 l\u2019\u00e9chelle internationale. Selon l\u2019un des principes chers \u00e0 Bob Rennie, \u00ab\u202faucune \u0153uvre n\u2019est ajout\u00e9e \u00e0 la collection si elle ne parle pas \u00e0 la collection\u202f\u00bb. <\/p>\n\n\n\n

Appuyant des artistes de diff\u00e9rentes disciplines qui \u00e9tudient et remettent en question les enjeux soci\u00e9taux, politiques et culturels de notre \u00e9poque, la collection Rennie leur offre une plateforme pour exprimer leur point de vue et leurs id\u00e9es. Pour citer Bob Rennie\u202f: \u00ab\u202f(\u2026) toute \u0153uvre doit \u00eatre regard\u00e9e \u00e0 la lumi\u00e8re \u00e0 laquelle elle a \u00e9t\u00e9 peinte\u202f\u00bb. La Collection met ses \u0153uvres \u00e0 la disposition du public du monde entier \u00e0 la faveur d\u2019un vaste programme de pr\u00eat \u00e0 de nombreux \u00e9tablissements et de collaborations avec diff\u00e9rents organismes consacr\u00e9s aux arts. <\/p>\n\n\n\n

This exhibition was made possible thanks to support from The Council for Canadian American Relations.<\/strong> <\/p>\n\n\n\n

Image: <\/p>\n\n\n\n

Andres Serrano<\/strong> 
Piss Christ (Immersions)<\/em> 
1987\/printed 2007 (vandalised 2011) 
cibachrome print face-mounted to Plexiglas, in artist's frame 
framed: 65 7\/8 x 45 1\/8 in. <\/p>\n\n\n\n

\u00a9 Andres Serrano. Courtesy of the artist and Rennie Collection, Vancouver <\/p>","protected":false},"excerpt":{"rendered":"

FOCUS SERIES: Andres Serrano: Incarnate   One of the tools artists can use to make an impact is shock, and perhaps no artists wielded that instrument with more glee than the Surrealists, including, of course, Salvador Dal\u00ed.  Dal\u00ed\u2019s Santiago El Grande has been a centrepiece of the Beaverbrook Art Gallery\u2019s permanent collection since it was given to the gallery by Lady Dunn in 1959. Beloved as an iconic part of New Brunswick\u2019s cultural […]<\/p>\n","protected":false},"featured_media":5327,"menu_order":0,"template":"","eh-category":[],"class_list":["post-5326","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/exhibition\/5326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/types\/exhibition"}],"version-history":[{"count":5,"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/exhibition\/5326\/revisions"}],"predecessor-version":[{"id":5335,"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/exhibition\/5326\/revisions\/5335"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/media\/5327"}],"wp:attachment":[{"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/media?parent=5326"}],"wp:term":[{"taxonomy":"eh-category","embeddable":true,"href":"https:\/\/beaverbrookartgallery.org\/fr\/wp-json\/wp\/v2\/eh-category?post=5326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}