The disturbed mind of the anti-Israel activist

‘Anti-Semitic art exhibition this way’, announces a sign, held up by a cutesy self-drawn picture of the artist next to a bike. Follow it, and you’ll find that Matthew Collings’s new show in Margate stays true to its word.

Inside the gallery are hundreds of Collings’s furiously hatched colour-pencil drawings, all of them with some connection to Israel or Gaza. One shows Israeli prime minister Benjamin Netanyahu naked, with blood pouring from his mouth and hands, his cock erect, as he hypnotises the world. UK prime minister Keir Starmer is shown meekly taking orders from the Star of David. A pot-bellied and yellow-faced trio called ‘The Lobby’ – the Israeli or Jewish lobby, he presumably means – is sketched above the words, ‘They are nuts but utterly in control’. A scaly green lizard vomits blood with the slogan, ‘Stop Apartheid Demon’. A blood-stained Donald Trump is marked ‘Death’, ‘Epstein’ and ‘Israel’, and is surrounded by hollow-eyed monsters. The caption explains: ‘Trump thinks: “Hmm… Epstein… better invade Iran and murder Muslims”.’ The moment you walk into the gallery, you feel like you’re in that scene in a slasher film, when the victim stumbles into her kindly helper’s man-cave, only to discover his crazy, violent drawings that tell you he’s the villain.

You might have heard of Collings before. He was a critic before he was an artist (if you can really call him that), editing Artscribe magazine and presenting on BBC’s The Late Show in the 1990s. He wholeheartedly embraced the Young British Artists wave, writing Blimey! – From Bohemia to Britpop: London Art World From Francis Bacon to Damien Hirst. He went on to present This Is Modern Art on Channel 4. Collings, like so many tiresome critics, made a name for himself by praising modern art, claiming it to be too complex for the public to understand, while at the same time attacking the Old Masters who most people tend to like. All of this was done in a mockingly cynical manner. He would express his disapproval with a pretentiously raised eyebrow to the camera. It was all a bit glib.

Now that he’s moved from critic to artist, Collings seems to want his artworks to speak to what he considers profound, leading him to embrace the tragedy and horror of Gaza. Like many ageing Boomers, Collings has rediscovered the youthful radicalism he turned away from in his early career, largely with the help of the Palestinian cause. He has grown angrier and more certain in his beliefs, too. Even the grotesque pogrom of 7 October 2023 gave these artist-cum-activists no pause for thought. They had already decided that the Jews were the baddies and the Palestinians the long-suffering martyrs. So when Hamas’s thugs raped, slaughtered and kidnapped Israelis, all the pro-Gaza crowd saw was an act of righteous rebellion.

Collings’s turn from Britpop-loving centrist dad to an uncloseted Israelophobe took him into Jeremy Corbyn’s Labour Party, and then straight out again. He was adopted as the parliamentary candidate for South West Norfolk in 2019. Within a day of his selection, he was suspended from the party for having dismissed allegations of anti-Semitism in Labour as a ‘witch-hunt’, and for calling the late chief rabbi, Jonathan Sacks, a ‘hate-filled racist’. He also shared conspiratorial diagrams on social media, purporting to reveal the ‘influence’ of Jewish businessmen on British politics. That’s right – Collings took things too far, even for the Corbynistas.

The Margate exhibition is laughably titled Drawings Against Genocide. The artworks look childish and this is deliberate. Collings is trying to strip away all artifice to let the unalloyed feelings shine out. The trouble is that, in letting us see directly into his soul, what we see there is repulsive.

Collings would no doubt argue that his ‘art’ is in the tradition of the anti-Vietnam War art of the 1960s radicals, like Michael Sandle’s Mickey Mouse at the Machine Gun (1972) or Leon Golub’s paintings of torture and killing, even though his Margate show is entirely misanthropic and hate-filled.

Some have called for the exhibition to be banned, but that would be a mistake. On the contrary, Matthew Collings has done us a great service by showing us the disturbed mind of the anti-Israel activist. It is good that we all see the depravity that lies at the heart of this movement.

James Heartfield is the author of Britain’s Empires.