She also tries the hallucinogenic drug Ayahuasca twice, and takes a dangerous and scary trip into the unknown. She is more than an enthusiastic observer, and instead she deep dives into some of the most powerful rituals, including a mud and herbal cleansing in the nude in a forest near Curitiba, in the South of Brazil. Marina’s supple spirituality respectfully morphs and adapts into the various environments she visits. Marina does not slam the procedures, instead focusing on the their meditative powers, often dismissed by science and intellectuals as charlatanism. The preachers perform cure through pain and faith, and methods include scratching the blade of a knife on a man’s eye, or making an incision in the belly of a standing woman, sticking two fingers inside, twisting them and then stitching the wound – all clearly documented with the camera. She visits an evangelical group that promotes healing through medical practices of highly questinable medical efficacy. The artist is keen to push both mental and physical limits. The timing of the film premiere in London is very ironic: her ideas wouldn’t fit in very well with Theresa May’s toxic “citizen of nowhere” remarks last week. She opens the film saying: “Shaman Denise told me that I don’t come from anywhere”, which might explain why she’s so easily adaptable. Despite speaking very little Portuguese, Marina looks very much at home and blends in extremely well. She travels to remote corners of the country and deeply engages with very obscure and unusual rituals. Marina Abramovic takes a trip through the melting pot of Brazilian religions, faiths, cults and mysticism.
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