HOLY COW (2017)

"Holy Cow: An Artistic Endeavor by Tom Herck Explores Societal Complexities"

The autonomous project titled "Holy Cow," conceived by artist Tom Herck, stands as a commanding piece of artistic expression showcased within the confines of the Kuttekoven church located in Belgium. Notably, the conception of this work at the age of 33 is redolent of the age at which Jesus Christ was crucified, a subtle yet potent convergence of symbolism.

Central to the installation is a voluminous basin, measuring 81 square meters, brimming with a mixture of water, powdered substances, and milk, totaling 5000 liters. Occupying the expanse, a life-sized sculpture of a cow, cast from the form of a deceased bovine, weighs in at 200 kilograms. The artist's deliberate choice to employ the body of a deceased cow as a foundational reference point underscores his pragmatic approach to anatomical accuracy and conceptualization. This decision is underscored by the paucity of visual references depicting a crucified cow, rendering the work's composition and thematic direction distinctly unique.

The quintessential focal point resides in the cow's suspension upon an 18-foot cross, weighing 500 pounds, eliciting the impression of an inherent struggle. The animal's splayed limbs and protruding chest evoke an evocative parallel to the imagery of Christ's heart in religious iconography, imbuing the spectacle with a compelling sense of drama. The cow's gaze directed skyward on its right flank invokes visual allusions to depictions of Christ or his gaze directed towards Mary Magdalene. To ground his artistic pursuit in a comprehensive understanding, Herck conducted on-site research within dairy and meat farms, intimately acquainting himself with the origins of his sustenance.

The visual identity of 'Holy Cow' is emblematic of Tom Herck's acerbic commentary on contemporary paradigms of food production and distribution. As opposed to the customary cartoonish depictions of cows on dairy and meat product labels, Herck's emblematic logo portrays a lifelike rendition of the creature. This emblem serves as a prelude to the overarching thematic exploration undertaken within the 'Holy Cow' project—a candid exposition of societal flaws bereft of didacticism.

Herck's inaugural visit to the Kuttekoven church engendered a visceral connection to its antiquated grandeur. This emotional engagement engendered the conception of what he dubs the 'Holy Cow-effect,' a narrative ethos inspired by the church's gradual decline juxtaposed against the robust vitality of grazing cattle in its vicinity. The artist thus orchestrated an innovative association between the imposing presence of cows, a ubiquitous sight in the region of Haspengouw wherein he hails from, and the architectural grandeur of churches that often remain unappreciated. The seemingly incongruous placement of the pristine white sculpture within the church's waning splendor is emblematic of Herck's meticulous contemplation of aesthetic and thematic coherence.

In a departure from his prior exhibitions wherein decay was embodied intrinsically within the artwork, 'Holy Cow' orchestrates a reverse dynamic. The immaculate white expanse of the cow's form serves as a striking juxtaposition against the backdrop of the church's gradual dilapidation, encapsulating an overarching metaphorical framework of dissolution.

The installation's thematic intricacies extend towards a dual trajectory of critique. On one hand, it articulates a trenchant commentary on the wastage endemic to the food and meat industry, as indicated by the monumental milk tub and the crucified cow. Concurrently, it underscores the lamentable decline of historically revered religious spaces, akin to the church wherein it resides. This amalgamation of critiques converges into a poignant and thought-provoking opus.

A secondary layer of symbolism is enacted through the milk contained within the installation, an entity subject to gradual evaporation, resulting in residual stains mirroring the hues of the church's environment. This symbolism alludes to the transience inherent in all things, evidenced through the narrative trajectory of the church and the gradual erosion of purity and nutritional value embodied by the diminishing milk.

Ultimately, the legacy of 'Holy Cow' transcends its immediate physicality, encapsulated by the tattooing of the cow's identification number as a tribute by both the artist and the taxidermist involved. This legacy endures in varied forms even post-exhibition, as evidenced by the tattooing of the 'Holy Cow' logo on a friend's posterior—a location traditionally utilized for bovine identification. This mélange of symbolism, exploration, and evocative impact coalesce into a multifaceted masterpiece, serving as a testament to the boundless potential of contemporary artistic endeavors.

"The Polarizing Impact of 'Holy Cow': Artistic Resonance and Confrontation"

The 'Holy Cow' exposition, spanning over the course of five weekends and drawing the attendance of 1,800 visitors, heralded a notable success driven by what has come to be termed as the 'Holy Cow effect.' This effect, a testament to Tom Herck's unique talent for amplification and extension, was indeed a prominent facet of the exhibition's resonance. The viewer experience was often profound, leading some visitors to the brink of emotional catharsis, evident in the evocative spectacle of tears. It is this ability to magnify the inherent essence of artistic expressions, coupled with themes of decline, satire, and notably expansion, that characterizes Herck's artistic directive.

However, amidst its commendable reception, 'Holy Cow' was not impervious to generating contention and opposition. The arresting portrayal of a cow upon a cruciform structure was perceived by some as provocative and even blasphemous. Central to the adversarial sentiment was the audacious decision to host the artwork within a church that, despite its decade-long disuse, had not yet been desecrated in the conventional sense. Herck's endeavor elicited a barrage of vitriolic hate mail and antagonistic phone calls emanating from various corners of Europe, catapulting 'Holy Cow' into the realm of international news.

Vandalistic acts aimed at the defacement and destruction of the installation further punctuated the controversy. Just subsequent to the exposition's inauguration, instances of forced entry and tampering became evident. An unsettling pattern of malevolent intrusion persisted, culminating in the igniting of a fire at an ancillary exhibition space, prompting the intervention of the fire brigade and subsequent closure of that portion of the exhibition due to smoke damage.

Simultaneously, the incendiary imagery of a cow tethered to a cross elicited impassioned objection from a segment of devout Catholics, sparking protests and an avowal of blasphemy. The exhibition, perhaps unintentionally, served as a catalyst for a polarizing discourse that spilled onto the streets in the form of vehement demonstrations.

The saga of vandalism continued unabated, characterized by successive acts of intrusion, attempted defacement, and even chemical assaults targeting the central cow sculpture. These incidents, marked by their audacity and intensity, bore witness to the resilience of Herck's vision and the visceral reactions it evoked.

Undaunted, Tom Herck and a dedicated group of companions undertook a vigilant nocturnal watch, persevering through adverse conditions to safeguard the installation from further transgressions. This ardent vigil, conducted amidst frigid temperatures, attested to Herck's unwavering commitment to the preservation of his creative endeavor.

Despite the tumultuous undercurrents, the exhibition remained undeterred, proceeding without disruption, its continuity defiant against the backdrop of adversity.

In the aftermath of the exhibition's conclusion, a purification ritual was conducted within the very confines of the Kuttekoven church, an emblematic gesture of catharsis and renewal that symbolically sought to reconcile the schisms engendered by 'Holy Cow.'

In totality, the 'Holy Cow' exposition stands as an indelible testament to the potential of art to traverse the realms of emotional intensity, catalyzing not only personal introspection but also igniting fervent societal dialogue, however contentious it may be.

HOLY COW (2020)
After 3 years after the first installation, Tom presented the “Holy Cow” again in a new setting.
In this set-up, within the theme of "Beestig?" (Beastly?), Tom Herck looks at his Holy Cow from a different angle: his question shifts from the crucified animal itself to that of the beastly acts that happened around the work. In 2017 the work was exhibited in the church of Kuttekoven. In the short period of one month, it ran into a lot of controversy. It made headlines nationally and internationally through arson and vandalism.

A cow is an innocent animal in itself; it grazes around, it's not hostile, exudes calm and provides milk and meat. It does not harm a fly. Nevertheless, after his death the beast was crucified by the artist to make a mold from it, from which the polyester sculpture later sprang. This sculpture was then, in turn, violently thrown to the ground several times in an attempt to destroy it. Not so much because it was an animal, but because the vandals did not agree with the location where it was exhibited.

Although it was only there for one month, with the permission of the owners of the church. The idol of these people is Jesus Christ and he too was once brutally killed. Yet he didn't hurt a fly either, he just spread love and reconciliation.

The question is who really is the beast in this whole story? Shouldn't we revise history and transform beastly acts into human acts? This sculpture will always be linked to the previous story. The work comes into its own when presented as an artifact. Herck wanted a serene space for the new arrangement of his Holy Cow: an exhibition space with white walls and wooden parquet. Almost clinical, where artifacts often end up after their find. The work is presented hanging, as it was found the first time after beëing vandalized.

The beastly acts now provide inspiration, just as violence is often a source of inspiration for the artist's oeuvre. The windows of the room are covered with translucent prints, showing images of human and cow flesh. This puts the sometimes thin border between humans and animals in the spotlight. We are not only alike in our actions, but also in our appearance if we were to remove our skin, the difference would hardly be visible.We are more connected than we want to admit.

HOLY COW HEAD (2017)

© Text by Mona Thijs and Lara Van Oudenaarde.
© Photos by Sebastien Steveniers, Erik Jamar, Raymond Lemmens.