You know, the energy the public gives to you, this is when you push the limits. But also, I need the public and in this case just knowing that I was going to make the film and the public was going to watch it also helped me to go through this - especially ayahuasca, which was the most horrifying experience of my life, by the way. I wanted to really see if these people could help me go through healing and if I could make new work out of it. This film came out of the deep unhappiness I was facing at the time with divorce and a broken heart - all these things that all human beings feel. It took four years to research and not to be just a tourist in another culture, but really go into the experiences of these people I was meeting. The older I get, I’m always trying to communicate different experiences to my public, I was thinking this was a good moment to take the public on my trip and create this movie. But I only have the diaries with me and I never film anything. First of all, I’ve done lots of spiritual journeys before, with deserts and isolation, with Tibetan monks and monasteries. Is this why you decided to have someone film you on the trip to Brazil? To have an audience on your journey as opposed to doing it alone?Ībramović: No.
If the artist pushes those boundaries, perhaps the audiences they’re connecting with might do the same.įilmmaker: On the MoMA blog, you discussed your first piece, “Rhythm 10.” You cut yourself 20 times or so during the piece, but said that you can push the limits in front of the public much more easily than in your private life. To her, it’s about being a needed “power station of energy” and “concentrated volcano,” one that’s ready to share love, experiences, enlightenment. We talk about what revelations the film brought her, the state of the planet, the need for spiritual awareness and why she’s continued to make art. When asked why she chose Brazil, she explained, “I wanted to really see if these people could help me go through healing and if I could make new work out of it.” The film is indeed more an exploration than a finished piece of work - reminiscent of the solo performance art live form, where the excitement comes from the unknown. When watching something created by an artist who’s made a career off of her ability to connect and share emotions, energy, it’s not hard to be swept up in the intoxication of Brazil and its metaphysical and spiritual labyrinths.įilmmaker had a chance to talk to the renowned performance artist about this latest cinematic venture. The audience, an intimate passenger on the trip, witnesses everything from testings of faith, torment, transcendence and an ayahuasca trip that Abramović calls the “most horrifying experience” of her life. In the film, director Marco Aurélio del Fiol follows Abramovic on a journey down to Brazil, where she seeks refuge and inspiration in the famous healer John of God and beyond. The ultra-personal documentary, now available as a Vimeo original, premieres online this week and also at the Museum of the Moving Image in New York. She continues to examine themes around pain, performance and healing with her new film, Marina Abramović in Brazil: The Space In Between.
The space in between marina abramovic series#
These are questions Marina Abramović has pioneered throughout her decade-spanning career, breaking waves with her “Rhythm” series in the 1970s and up until recently with perhaps her most well known piece, “The Artist Is Present,” at MoMA in 2010.
What is an artist’s role in the current universal climate? An audience? How can an artist move forward with their own internal exploration and simultaneously share that journey with their audience - making it something significantly more kinetic? Marina Abramovic, Marina Abramovic in Brazil: The Space In Between
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