Review
Art
Culture
Ethics
War & peace
5 min read

Can we stop killing each other?

How art, theology, and moral imagination confront our oldest instinct

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A 17th Century painting of Moses and the brazen cross.
Luca Giordano, The Brazen Serpent, c.1690, oil on canvas.
Compton Verney, photography by Jamie Woodley.

What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right. 

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’ 

Can we stop killing each other? includes an installation by Aotearoa/New Zealand artist Anton Forde, a series of new paintings reflecting on the refugee crisis by Ethiopian artist Tesfaye Urgessa; presentations of historical artworks such as Claude Monet’s ‘The Petit Bras of the Seine at Argenteuil’, and an exhibition spanning Shakespearean tragedy to Hitchcockian spectacle, which asks questions of violent stage and screen narratives, plus (from November) ‘Seeds of Hate and Hope’ highlighting personal artistic responses to global atrocities, such as genocides, ethnic cleansing, war crimes and crimes against humanity.  

It starts, however, with a room displaying Biblically themed explorations of this question. ‘Denunciation of Cain’ by G.F. Watts depicts the after-effects of the first murder with Watts viewing Cain as a symbol of ‘reckless, selfish humanity’. A pair of paintings by Luca Giordano then take us deeper into the ambiguities of our human responses to anger and violence. ‘The Brazen Serpent’, tells the story of the Israelites’ journey from Mount Sinai in Egypt to the Promised Land of Canaan. On this journey, a plague of poisonous serpents punishes the Israelites for their disobedience and lack of faith. Moses is instructed by God to make a bronze, or ‘brazen’, serpent that will heal those that repent. The curators ask, ‘Does this portrayal of killing as a punishment set a cultural precedent, or establish a moral code for right and wrong?’ Alongside is ‘The Judgement of Solomon’ in which two women both claim to be the mother of a living child and where the true mother is revealed by means of an order that the child to be cut in half with a sword and shared. The true mother reveals herself as the one who will give the baby away to protect the child’s life. Here, the threat of violence is used to bring about justice.  

William Hogarth’s print series The Four Stages of Cruelty, with verses by Reverend James Townley, reveals how violence escalates and shows how a lack of moral supervision can lead to a life of crime. Finally, Matt Collishaw’s series of thirteen photographic works entitled ’Last Meal on Death Row, Texas’ alludes to the number of apostles at the Last Supper while depicting the last meals chosen by condemned prisoners on death row in the state of Texas, United States. 

The curators suggest that: ‘The artworks in this gallery, and beyond, suggest that there is a choice between peace and conflict and that moral stories exist to guide us towards making ethical decisions in real life. Art provides a powerful connection through which to experience life at its most chaotic and incomprehensible, enabling us to pause and reflect on the darkest aspects of human existence. It can also create vital opportunities for society to mourn and remember victims of violence, and to come together in acts of healing and repair.’  

These images and the Bible stories on which they are based give us more than simple moral guidance, however. They also provide an explanation for the existence of conflict between human beings and reveal God’s subversion of that ingrained human tendency. 

In the story of Cain and Abel, Cain is jealous of Abel and kills him as a result. The anthropologist René Girard suggests that this story reveals the way in which we consistently act as human beings. We desire something that is possessed by someone else and become disturbed through our longing for what we don’t have. We resolve our disturbance by creating a scapegoat of the person or people who appear to have or prevent us from having what it is we desire. When the scapegoat is killed, we can gain what we desire and also release the sense of disturbance that we feel.  

This scapegoat mechanism becomes expressed in religions involving human sacrifices as scapegoats to appease their gods. In the story told within the pages of scripture, it is out of such religions that Abraham is called to form a people who do not sacrifice other human beings, but instead use animals as their scapegoats and sacrifices. Jesus is later born into this people who have subverted the existing practice of scapegoating and he further subverts this practice because, as he is crucified, God becomes the scapegoat that is killed. Once God’s Son has become the scapegoat, for those who follow him, the scapegoat mechanism is undermined and the scapegoating of others should no longer be possible. 

In ‘The Judgement of Solomon’, the threat of violence is used to reveal the desire of the woman who had taken the mother’s child and the self-sacrifice of the true mother. On the cross, the violence meted out to Jesus reveals the full horror of the scapegoating mechanism in the torture and violent death of the wholly innocent one.   

Jesus explicitly equated his crucifixion with the raising up of the bronze serpent that brought healing because in that story, when it is raised, as Jesus also was, the image of the source of the poison in the lives of human beings became the source of healing. That is also the promise that Christianity holds out to us in relation to the effect of Jesus’ crucifixion where he becomes sin for us. It heals us of our absolute need to scapegoat and harm others. 

 

Can We Stop Killing Each Other? Sainsbury Centre: 

  • Tiaki Ora ∞ Protecting Life: Anton Forde, 2 August 2025 – 19 April 2026 

  • Eyewitness, 20 September 2025 – 15 February 2026 

  • Roots of Resilience: Tesfaye Urgessa, 20 September 2025 – 15 February 2026 

  • The National Gallery Masterpiece Tour: Reflections on Peace, 20 September 2025 – 11 January 2026 

  • Seeds of Hate and Hope, 28 November 2025 – 17 May 2026 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief

Column
Comment
Ethics
Football
Politics
5 min read

PSG’s win signals politics over purpose – other institutions take note

When church and football feign neutrality, politics can ride roughshod
A footballer holds up the European cup, behind him fans are jubillant.
PSG fans celeberate.
PSG.TV.

There’s a new name on the Champions League trophy.  

In the most one-sided final in the competition’s history, Paris Saint-Germain trounced Inter Milan 5-0 to lift Europe’s most prestigious club trophy for the first time in their history. 

But this is not the PSG of recent years. Gone are the Galacticos: no Messi, no Neymar, no Mbappe. Where previously PSG resembled a 13-year-old boy’s attempt to win Football Manager by just buying all the best players, this year’s team looks like … well, a team. 

And what a team. Vitinha is metronomic in midfield. The game is played at his pace. He is the jazz instructor in Whiplash. “Not my tempo,” he says, over and over again, until reality bends to his will. Hakimi and Mendes are boundless balls of energy as the two wing-backs. They always threaten and it is no surprise that Hakimi gets the first goal. 

And then there are the forwards. 19-year-old Désiré Doué somehow looks the consummate professional at such a young age. Ousmane Dembélé has a quiet night by his standards, but the Barcelona reject looks born to play for this team. Khvicha Kvaratskhelia is the kind of footballer you imagine yourself as when playing on school playgrounds. So unorthodox, but simply irresistible. The ultimate jumpers-for-goalposts footballer. He may well be the closest thing football has to a personification of what the sport is all about. He is joy and flare masquerading as a 24-year-old Georgian lad. 

At the helm of it all is Luis Enrique. Enrique’s teams are aggressive, fluid, and intelligent. “They pass forward with spite” Steven Gerrard says during the TV coverage of the match. What a line.  

In 2019, Enrique lost his youngest daughter Xana to bone cancer, aged just nine. To hear him talk about his loss is heartbreaking. At full-time the PSG fans unveil a picture of Xana with her dad in a genuinely tender moment of compassion and humanity. 

All this is to say that, wherever you look, this incarnation of PSG is a deeply, deeply likeable one.  

But then, that’s the point, isn’t it? 

PSG were taken over by Qatar Sports Investments in 2011. Qatar’s near 15-year involvement with the club has led to eye-watering sums of money being spent with the stated aim of winning the Champions League. In 2017, they sign Neymar from Barcelona, meeting the €222 million release clause in his contract. A fee so deliberately high no-one would ever meet it. A fee still unsurpassed eight years on.  

While the age of the superstars may be over at PSG, they still have European football’s highest wage budget by some distance (an impressive feat when you remember that Real Madrid exist). Their Georgian talisman Kvaratskhelia only moved to the club in January for a reported €70m. Hardly loose change. 

Paris Saint-Germain is a Qatari ‘sportswashing’ project. An attempt to make a political regime palatable to European sensibilities by assembling a football team that is deeply, deeply likeable.  

And it certainly seems to be working. Rio Ferdinand, on co-commentary for the final, declared that a PSG victory would be ‘good for football’. So did Jason Burt, chief football correspondent for The Telegraph in an article that unironically has a subtitle starting “They may be funded by a nation state but …”. 

This is why I find it so disingenuous when people demand we ‘keep politics out of football’. (And anyway, what people often mean here is that they’d like to keep left-wing politics out of football, like the ‘take a knee’ or ‘rainbow laces’ campaigns). Politics is already in football and has been for quite some time now. If you haven’t spotted it, you simply haven’t been paying attention. 

I like Luis Enrique. I adore Vitinha. Kvaratskhelia makes me misty-eyed about the very nature of football. But PSG winning the Champions League is bad for football, because it’s a political victory before it’s a sporting one

PSG’s triumph is a timely reminder to the Church that it must remember the political nature of the call placed upon its very existence.

As is so often the case, football and religion find parallels in one another. For the Church, too, all too frequently finds itself as a political football. Debate continues about the place of Church of England Bishops in the House of Lords with only 33 per cent of Britons keen for religious leaders to express political opinions.  

But while this would certainly make the Church’s life easier, it’s simply not an option available to it. 

‘Gospel’ is not a Christian term. Not originally. It was a term used to describe an announcement or decree made about the Roman Emperor, a practice the Romans adopted from the Greeks before them. It is, in other words, an intractably political term. It is the ‘party-political broadcast’ of the ancient world.  

In hijacking the term ‘Gospel’ as a description for Jesus’ life and teaching, the early Church announces itself as an irrevocably political entity from its very beginnings. A body of people called to proclaim a political message. Or, at least, a message with significant political implications. Christ is king; Caesar is not.  

This does not mean that the Church is inherently left- or right-leaning. The Church is far older than this simplistic understanding of politics and will surely outlive it, too. But it does mean that the Church has a stake in the politics of the day; that it cannot be politically disinterested without simultaneously compromising something of its most fundamental identity.  

PSG’s Champions League win is not the first by a nation-backed club. Manchester City – principally owned by Vice President of the United Arab Emirates Sheikh Mansour bin Zayed Al Nahyan – won the Champions League in 2023 (also beating Inter Milan in the final; bless them). Depending on what we make of Roman Abramovich’s connections to the Russian state, it’s also worth noting Chelsea’s wins in 2012 and 2021, too. 

But PSG’s win – and the emphatic nature of it over one of the ‘old guards’ of club football – feels like a watershed moment for the sport. It is the culmination of the past 20-or-so years of both football’s internal politics, and the external politics acting upon it. It is a worrying statement of intent of its direction of travel, too.  

When Christianity and football feign political neutrality, they simply invite the dominant politics of the day to ride roughshod over them. Insidious politics will always fill any vacuum available to it. PSG’s triumph is a timely reminder to the Church that it must remember the political nature of the call placed upon its very existence. Otherwise it will find itself a mouthpiece for a kingdom to which it does not belong.  

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief