HOLY COW (2017)

Tom Herck's project, "Holy Cow," is a striking piece of art displayed in the Kuttekoven church in Belgium. Created when he was 33—an age that subtly references Jesus Christ's crucifixion—this installation is packed with symbolism.

At the heart of "Holy Cow" is a huge basin, 81 square meters in size, filled with a mix of water, powdered substances, and milk, totaling 5,000 liters. In the center of this basin stands a life-sized sculpture of a cow, made from a real deceased cow and weighing 200 kilograms. Herck chose to use a real cow to ensure accuracy and make a powerful statement, especially since there are few images of a crucified cow.

The cow is mounted on an 18-foot cross, weighing 500 pounds, creating a dramatic scene. Its pose, with limbs splayed and chest out, draws a parallel to religious imagery of Christ, and its gaze upwards evokes traditional religious artwork. Herck's research into dairy and meat farms added depth to his understanding and portrayal of the subject.

"Holy Cow" offers a sharp critique of modern food production and distribution. Instead of the usual cartoonish cow images on product labels, Herck's realistic depiction forces viewers to confront the realities of the meat industry. The installation also reflects on the decline of historic religious spaces in western European countries, drawing a connection between the grandeur of old churches and the everyday presence of cows in the region.

Herck's first visit to the Kuttekoven church sparked an emotional response that influenced the installation. He contrasted the decaying church with the vibrant presence of cows, creating a powerful visual and thematic impact. The pristine white cow contrasts with the church’s gradual deterioration, symbolizing decay and change.

The milk in the installation slowly evaporates, leaving stains that echo the church's fading beauty. This represents the fleeting nature of all things and the diminishing purity of the milk.

The legacy of "Holy Cow" continues beyond the exhibition. The cow's identification number was tattooed by both the artist and the taxidermist, and the "Holy Cow" logo even made its way onto a friend’s tattooed posterior—a nod to traditional bovine branding. This blend of symbolism and artistic exploration makes "Holy Cow" a thought-provoking and impactful piece.

"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.