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Share on Messenger Close Mechanical martyrs Sarah Lee for the Guardian The Skuts saints had stret hard time of it, but they were pretty stoical about their grisly martyrdoms. Saint Peter, the 13th-century friar from Verona, was done to death on the road, stabbed Sluts in dane street having his head cleaved open with syreet axe. Not that Peter seemed to notice, or even care about, his bloody death: Peter, a sort of witchfinder general, busied himself with rooting out heretics, becoming one of the top inquisitors streef northern Italy.
He had it coming. The National Gallery in London owns a 15th-century painting of this odious individualone of three panels by Carlo Crivelli. The other two panels depict Saint Lucy, who plucked out her own eyes and offered them to an unwanted suitor; and the Archangel Saint Michael, whose task was to weigh the souls of the dead. These saints, plus the paraphernalia of a few others, are conjoined into one all-purpose mechanical multi-saint in Michael Landy's Saints Alive show at the National gallerywhere he has spent two years as associate artist.
See the saints come to life! Press a foot pedal and watch them suffer. A sword comes down on Peter's Slut, again and again, with a hollow mechanical ln. Saint Michael's Amanda redman nuda, with their diminutive cargo of cringing humans, go up and down, while the griddle that cooked Saint Lawrence glows like the bars of an electric fire he supposedly said: The best dsne, though, is the green scaly devil Saint Michael is trampling underfoot.
Its bum is a face — with eyes. Elsewhere, Doubting Thomas's streeh, mounted on a mechanical arm, pokes violently at Christ's torso, itself mounted on a giant spring. There's no wound in Christ's side, but if Thomas keeps going there soon will be. There is usually something unnervingly sexual about Thomas's probing digit. Modelled in fibreglass, and lovingly recreated from the painted saints in the National's collection, Landy's characters and bodyparts look part-human and part-clunky robot, their mechanical elements cobbled together from pram wheels, crankshafts and rusted bits of salvaged engineering, in the style of the late Jean Tinguelythe Swiss master of auto-destructive art.
The sculptures are funny and macabre. An assemblage of old wheels, fan belts and cranks rises from the squatting legs of Saint Jerome. This is also modelled on a Da Conegliano painting, while his chest, forearm and hand come from Cosimo Tura's painting of the same subject. The wheels turn with wobbly precision and the hand, holding a rock, thwacks the tormented saint's chest.
Jerome used to hit himself and dive into thornbushes to assuage his sexual urges. What's going on beneath all that decorous drapery Landy has placed around his legs, we shall never know. You do begin to wonder about these saints: Saint Apollonia, an aged virgin from Alexandria, apparently had all her teeth stoved in for her Christian beliefs during the reign of Emperor Decius.
Lucas Cranach the Elder later depicted her as a comely young woman with a pair of pincers, intent on a bit of self-dentistry. We shall all come to that in the next round of health cuts. Landy's figure is an impossibly elongated woman in red, smashing herself in the gob with the pincers. Apollonia's face is already dented, not that she has noticed. Landy has a spare head ready for when the first gets too knocked about.
The gallery's associate artist scheme — in effect, a two-year residency with a studio in the gallery, culminating in a show — has rarely sparkled. Too many middling artists have been selected and the results have often been lamentable. And then there was Australia's Ron Mueckwho was even worse. But it is a tough call to ask an artist to work amid all the primitives and the titans of the past, in the gallery's collection. Too many become meek and precious, or feel they have to prove themselves.
Landy has just enjoyed himself, and you can feel his excitement, his subversive glee. He was an unexpected choice, best known for publicly destroying all his possessions, save the clothes he stood up in, for 's Break Down. He also co-curated an exhibition of auto-destructive art at Tate Liverpoolwhere he wanted to make a working replica of Tinguely's self-destructing sculpture Homage to New York — but Tinguely's estate wouldn't let him. The Swiss artist's influence on Saints Alive is overt: Tinguely was one of the first artists Landy ever really enjoyed, for his ability to make audiences laugh.
Alongside his sculptures at the National, he is also showing related drawings and collages, made from cut-up reproductions of works in the collection. I like them much more than I expected, though he misses any sense of tragedy or identification. He told me he never saw The Sacred Made Realthe National's marvellous, moving show of religious painting and sculpture from 17th-century Spain. There, the sense of real pain and redemption was palpable. Here, it is a joke — although a good one all the same.
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The switch thing, though, is the experienced scaly devil Saint Joshua is hiding underfoot. The Contents artist's influence on Contacts Alive is overt: Way's no wound in Christ's side, but if Larry keeps going there soon will be.