The blood of San Gennaro, the patron Saint of Naples, is re-born during an annual ritual of liquefaction. The blood of Medusa is re-born by colouring the red coral drawn from the city's gulf and worked by local artisans. Rebirth of coagulated blood was taken up by Belgian theatre and visual artist Jan Fabre in his 2018 Naples exhibition Oro Rosso, where his red coral sculptures were paired with performative drawings of his blood. After its 'death', coagulated blood is re-born in image and writing. It acquires a 'post-mortem stage of life', as Fabre describes the temporality of his theatre.This essay explores the post-mortem temporality of re-born blood, departing from Pio Monte della Misericordia, which houses Caravaggio's Works of Mercy and, among others, Fabrizio Santafede's St Peter resurrects Dorcas. This Chapel, where Fabre exhibited his sculptural self-portrait The Man who bears the Cross, houses permanently his red coral sculptures. The essay is driven by blood coagulated or implied, and draws associations between the Chapel and Fabre's visual art, his collaboration with local artisans, his solo performances and theatre: the blood on the Cross, Caravaggio the murderer, Fabre's blood scripture 'the blood will rewrite its own history', his choreographic solo The Generosity of Dorcas (2018) where a male HIV positive performer sews his costume/body in a scenography of needles and threads, and his red coral piece Liberation of Passion.Alongside writings by Connie Palmen, David Le Breton, Judith Butler and Jose Esteban Munoz, stories of violence and compassion, imposed or offered identities, are narrated. The dynamics of these relations point out to aspects of vulnerability, where mercy is requested and granted as an act of generosity or power. Post-mortem temporality becomes a rite of passage to acceptance of physical and social vulnerability, which can empower a community of mercy makers where power relations are disrupted.
