Kristus og Nikodemus 1674

Editor: We're looking at "Christ and Nicodemus" by Johan Keyll, created in 1674 using pen and ink. There's such a stillness, a hushed quality to this drawing. What stands out to you as you consider its significance? Curator: Immediately, the staged setting speaks to the dynamics of power and knowledge within religious discourse during the Baroque period. This is not simply a depiction of a biblical scene, but a carefully constructed space, indicative of class. Note the visual prominence given to interior design—it reinforces social hierarchies. What's illuminated, what's in shadow? Who has access, and who is excluded? Editor: I hadn’t thought about the interior like that, as a reflection of power. What about the figures themselves? Curator: Nicodemus, a Pharisee, approaches Christ in secrecy, under the cloak of night, due to the inherent dangers and restrictions of expressing such heretical religious curiosity openly. The gaze becomes a contested space: look at the slight separation between the two individuals at the table, notice the gaze, who has the authority in this situation. This clandestine meeting speaks to the political dimensions of faith, knowledge production and exchange but, importantly, its inherent risks. Do you consider their racial identities at play? Editor: It seems that issues of belief, knowledge, and race all collide in the pursuit of power in Keyll’s drawing. Thank you. Curator: And what's clear, above all, is that Keyll provides an entry point for continuous dialogue and critical engagement with these timeless questions.