Leonardo Franceschini in Arcade:
Q: Recently Donald and Melania Trump requested a Vincent van Gogh painting from the Guggenheim, but the museum responded with a counteroffer, Maurizio Cattelan’s America, a gold toilet. I wonder if your book, which also features a work by the Italian artist in the cover, should also be interpreted as a move similar to Nancy Spector’s (the museum’s chief curator), a provocation and intervention in the public sphere. After all, you call for “existential interventions” through art.
SZ: I’m not certain whether Cattelan and Spector wanted to provoke or educate the Trump family. Either way, Cattelan’s America is a serious work of art that, as we can see, has managed to intervene in the public sphere. The sculpture on the cover of my book is called The NinthHour (1999) and depicts Pope John Paul II lying on the ground after being struck by a meteorite. Recently, Paolo Sorrentino used it in the opening credits of his TV series The Young Pope. The sculpture’s title alludes to the ninth hour of darkness that fell upon all the land when Christ cried out, “Eli, Eli, lema sabachthani?”—“My God, my God, why have you forsaken me?”—but the book’s title paraphrases Martin Heidegger’s famous response when he was asked whether we could still have any influence now that we are so overpowered by technology: “only a God can still save us.” My intention is to point out, now that God is dead and we are even more overpowered, perhaps it's art’s time to save us. The intervention you refer to has to do with demands of art in the twenty-first century, which are linked to our continued existence, that is, our salvation.