The California-born woman sitting next to me was excited about going to meet John of God but disappointed that I, a native, had no clue who this “god” was. I first learned about him on a Los Angeles-São Paulo flight ten years ago.
#MARINA ABRAMOVIC IN BRAZIL THE SPACE IN BETWEEN 2016 MOVIE#
The movie captures Abramović enraptured by the kitchen knife surgery on a patient’s eye-no anesthetic, no gloves on the healer-which evokes the blade-on-the-eye scene of Mexican Luis Buñuel’s 1928 surrealist film, “Un Chien Andalou.” John of God’s spiritual healing center attracts thousands weekly from all over the planet. He is based in Abadiania, a city on the map only because of his spiritual prowess. Known internationally as John of God, the former bricklayer had an enlightenment that boosted him into psychic-surgeon superstardom. One of the highlights is the visit to medium João de Deus. “It was the worst thing in my life,” she says of the psychological and physical distress the day before while recovering from the violent purge in a silvery waterfall. “I’m peeing, shitting and vomiting” she cries, visibly shattered by the bad trip while her body contorts in a mix of strong pain and savage lust. In minutes the herbal hallucinogenic gets to her. Since things don’t come easy to this intrepid dame of the arts, she sips the acrid brew, nothing happens, has a second go. “It’s not exactly champagne” is her sneering reaction to the biting tartness of her ayahuasca debut under a pitch-black sky at Bahia’s Chapada Diamantina, a northeastern 15,000-square-mile no-man’s-land grand canyon. Marina Abramovic in a scene of her spiritual healing/Photo: Marco Anelli Now the cycle closes with this highly recommended digital documentary. The project culminated in March 2015 in her largest retrospective in the Southern Hemisphere, “Terra Comunal (Comunal Land) Marina Abramović + MAI,” bringing crowds to São Paulo’s Sesc Pompeia. Entirely made in Brazil, the documentary unveils a multitude of mesmerizing rituals and religious syncretism led by the artist renowned for breaking physical and mental barriers.
It discloses the artist’s inner search among crystals and indigenous rituals from ayahuasca trips to voodoo ceremonies in a 6,000-kilometer journey in six states. The film premiered in the US in March at Austin’s South by Southwest festival (SXSW) with a release in Brazilian movie theaters scheduled for May 19.
Marina Abramović returns to São Paulo on May 10 for the second preview of her eighty-six-minute-long documentary film by director Marco Del Fiol, “The Space In Between: Marina Abramović in Brazil” (Espaço Além – Marina Abramović e o Brasil). Marina Abramović lives and works in New York City.Marina Abramovic in Corinto, Minas Gerais state/Photo: Caue Ito Often performing in the nude, her slender body appeared quite fragile and vulnerable, calling attention to the symbolic use of the nude in art to indicate beauty and/or eroticism While the sources of some works lie in her personal history, others lie in more recent and contemporary events, such as the wars in her homeland and other parts of the world. The universal themes of life and death are recurring motifs, often enhanced by the use of symbolic visual elements or props such as crystals, bones, knives, tables, and pentagrams. Her Performance Art has featured repetitive actions, physical injury (including self-mutilation) and long periods of inactivity. Their collaboration concluded in 1988 with The Great Wall Walk, in which Abramovic and Ulay each walked the length of the Great Wall of China, starting at opposite ends and meeting in the middle, where they formally ended their creative and romantic partnership.Ĭharacterized by endurance and pain her work has engaged, fascinated, and sometimes repelled live audiences. In the late 1970s, Abramovic began a decade-long collaboration and love affair with the West German artist Ulay, resulting in performances such as Imponderabilia (1977), in which the two artists stood opposite one another in a doorway, each completely nude in order to pass, audience members were forced to squeeze between them sideways, having to choose which of the artists to face as a result. She is a pioneer of performance as a visual art form, she has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits in a quest for heightened consciousness, transcendence, and self-transformation. Image source: Marina Abramović was born in Belgrade, Yugoslavia in 1946.
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