143 The Cruciied God in a Cruciied Region STIPE ODAK The following contribution is not a conventional review but a theological relection on the book Teologija: silazak u vražje krugove smrti: o četrdesetoj obljetnici ‘Raspetog Boga’ (Theology: Descent into Vicious Circles of Death. On the Occasion of the Fortieth Anniversary of ‘The Cruciied God’), Zoran Grozdanov (ed.), Rijeka, 2014. Antony Gormley’s sculpture entitled ‘Transport’ is made entirely of used nails which outline the shape of a human body. Although the body of the sculpture is made of emptiness, it is not an empty body. On the contrary, it represents the fullness of a suffering self whose borders are deined by the nails directed both inwards and outwards. The identity of Gormley’s Man of Sorrow is thus a porous identity, anchored in moments of dual acceptance of pain (accepting the pain from others, and accepting the fact that one’s own existence inlicts pain on others). This art-piece helped me to think more deeply about Moltmann’s idea of Christian identity, which is in a permanent process of kenosis. His theological masterpiece The Cruciied God: The Cross of Christ as the Foundation and Criticism of Christian Theology (1972) strongly emphasized the cross as the hermeneutical key to Christian theology, and deined real pain and suffering as a central place of theological reasoning. The event of the cross in which the Christian God identiies Godself with those who are godless and abandoned deconstructs every tradition which seeks to project God into a domain of apathetic eternity. At the same time, that event exposes the corruption of political and social structures that create innocent victims. Moltmann’s theology of the cross does not