Marina abramovic the space in between3/31/2023 The Space in Between is, without a doubt, high art and will prove less accessible to those who enjoyed the typical documentary style of The Artist is Present. Abramović’s message is transparent and straightforward – healing requires spirituality and art is a journey that involves communication and keeping an open mind. The effect is severe, captivating and enlightening. The Space in Between casts Abramović as a tour guide to spiritual healing through many different levels. Shielding your eyes may be useful as Abramović learns that John of God completes his surgeries often with eyes closed, channelling spirits to do his work. ![]() Abramović witnesses surgeries performed with fascination (note: these scenes are not for the faint of heart). Not all these visits are pleasant, with the most gruesome being the first meeting with surgical healer John of God. Abramović separates spirituality from religion and explores the healing properties of dance, food, rituals, medicines, hallucinogens, music, and surgery through interviews and experiences amongst healers while performing the act of healing. The Space in Between makes a large connection between healing and spirituality. These elements allow the film to transcend towards hypnotic serenity. O Grivo’s uses sound design to highlight these moments, as does Cauê Ito with the cinematography and Marco Del Fiol with the stillness of direction. Each step Abramović takes is a performance, detailed in quick scenes where she is starkly positioned against some of the earth’s elements, be it a waterfall or a foreboding sky. She is as obsessed with rituals, seeing the similarity of transformation with performance. She is all about the experience, exhibited when trying the mind-altering drug Ayahuasca on camera (a device that Chelsea Handler explored on her Netflix docu-series Chelsea Does…). An apt description, as many times during her Brazilian travels, Abramović recalls her childish excitement when exploring the world, demonstrating the privilege and joy of being a global citizen.Ībramović’s purpose in life, and this documentary, is to learn about humans. Both documentaries share a focus on Abramović’s life’s work and passion – the exploration of the human condition and the role of art as a transformative experience.Īt the start of the documentary, Abramović notes the words of a Brazilian shaman that once told her that she’d never feel at home because she is not of this earth and has no home. The Space in Between is a very different work and functions as a travel companion piece of Abramović’s sensibilities as she returns to Brazil and travels across the country to meet healers of different varieties. Marina Abramović lives and works in New York City.Marina Abramović came to the attention of many in The Artist is Present, the 2012 documentary that chronicled her retrospective exhibition at MoMA in 2010. 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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