![]() “It was something that I experienced in my life where I could not move,” she recounted. As a consummate artist, she was over eager to gain insight into new experiences but did not realize the potential consequences. Most notably, when she took a second massive dose of ayahuasca - after a more restrained first dose - and ended up screaming, naked before the camera lens. There were other parts of the film, however, that Abramović was less enthusiastic about making it to the final cut. So we went there for about ten days until the spirits one day said, “you’re okay,” and then we filmed. So all the spirits have agreed that you’re okay and you can film. And I incorporate 120 spirits - at least. And they said, “no, absolutely not - there’s no way.” But John of God said, “˜I am just a man. So we went there first to find out if we were allowed to film. “It was so difficult,” she remembered, “because, first of all, we could not just go there and film all of the operations without any permission. Abramović recalled the issues the crew encountered when attempting to film the healer John of God as he performed both spiritual and physical surgeries - the physical ones included slicing open eyeballs and other body parts, sans anesthesia. Unlike many other documentaries, where filming can be granted via the simple release form, the filmmakers needed to ask permission - from the spirit world. Gaining access to all this new otherworldly frontier was not easy, however. And you really confront yourself with all of these things, because in our culture, everything is so rational, from the brain, and there it’s all about intuition and a very deep, strong relationship to nature, which we lost completely.” “The whole journey was healing - in the end, I understood me, in a new period in my life.” ![]() Places that you don’t know what they are, to meet people that you don’t even understand. To take yourself out of the box, to get into places you’ve never been. “The whole journey was healing - in the end, I understood me, in a new period in my life.”Ībramović continued, stressing the importance of travel and new experiences, “It’s so important to go on these kinds of trips because it’s so important to experience something which is outside of your normal life, out of your ordinary space and time. “After all of this, I really needed to make art,” Abramović explained at a Q&A following the Museum of the Moving Image’s screening of the film on December 15th. Abramović appears in the doc different than ever before - wearing austere white, her hair in a simple plait - ready for a spiritual awakening to wash over her and reinvigorate her ability to create art. This journey is captured in the Vimeo original documentary Marina Abramović in Brazil: The Space in Between, in which director Marco Aurelio del Fiol followsAbramović as she purposely gets of out her comfort zone, immersing herself in Brazil’s spiritual world. Newly 70, she recently released a memoir and staged a silent 70th at the Gugenheim with the Page Six-worthy likes of Bella Hadid and Naomi Campbell in attendance.īut her status as the world’s most ubiquitous performance artist wasn’t quite enough - always inquisitive and looking to foster even more creativity in herself,Abramović decided to journey to Brazil in search for a spiritual awakening. The Yugoslavian-born “grandmother of performance art” won the Golden Lion at the Venice Biennale, staged perhaps the world’s most famous performance art piece, “The Artist is Present” at MoMA in 2010 (which became the subject of a doc with the same name), and starred alongside Jay-Z in his “Picasso Baby” video. Marina Abramović has seen and experienced multitudes.
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