As a general rule of thumb, I love all movies. Marco Del Fiol’s reflective documentary on the Serbian performance artist Marina Abramovic, The Space in Between however, has certainly pushed my limits. At its core, a spiritual exploration of Abramovic’s travels through Brazil, the film also provides a positive perspective of the country’s non-organised forms of religion. To me, this was very confronting. The film begins with footage of Joao de Deus (John of God), a somewhat infamous figure scrutinised for practices which he and many of his patients claim as “healing”. Admittedly, I was very ready to dislike this film, sharpening my atheist pitchfork as I witnessed “surgery” from this cult-like persona on predominantly vulnerable western tourists.
Not knowing a great deal about Abramovic’s practice, it struck me as rather strange that the artist was not in the least bit critical about the healing ceremonies. In fact, the practice was depicted positively, with Abramovic comparing her own experiences as an artist to that of spiritual ceremonies. In her eyes, both acts are performances designed to heal and transform those participating.
As an audience, we are taken through Abramovic’s spiritual journey in Brazil, and the various rituals she undergoes to transform herself. An aspiring artist myself, I found the entry point into understanding and ultimately enjoying the film came from its second focus: a depiction of one creative’s method.
Personally, I have always struggled with creating artistic purpose and meaning in my sculptures that can properly translate to the audience, in The Space in Between, it was helpful and somewhat gratifying to see inspiration as a process unto itself. Before Abramovic even begins to consider working on making the final product that is shown at the end of the film, the process of finding inspiration is shown as its own separate journey, and as having both personal as well as professional impacts on the artist. I was never much into her work before seeing the film, never really having the interest or context to be able to appreciate it. However, after seeing this film, I was able to find great meaning in some of her pieces. In a sense, the artistic aspect saved the movie for me and vice versa.
After giving this film some thought and time, in a way, Abramovic humanised spirituality for me. Instead of this hippy dippy crystal healing freak, she is real in her emotions and reactions. Although Abramovic has far more “faith” than I do, I can appreciate her immersion to the spiritual world of Brazil.
I also find the concept of inducing a spiritual journey and epiphany very interesting. These sorts of journeys typically with a sort of skepticism, usually in my mind being a euphemism for a mid-life crisis or breakdown. However, Abramovic’s realism and unyielding faith in her spiritual immersion allowed me to empathise with her experience. Repeatedly throughout her journey Abramovic states that, in a sense, she is a nomad, without the typical familial obligations that many of her peers would have. Thus allowing her to embark on both a spiritual experience and artistic adventure that most would not be able to take or afford.
It also intrigued me, as an artist myself, to hear and see the perspective of what art is, to a leading performance artist. Although I don’t share entire the same vision as Abramovic, I thought the takeaway message of art being a healing and spiritual medium extremely important and insightful. Not being spiritual myself, I wouldn’t say that I am trying to create work that takes people on a journey of self discovery like Abramovic, but I do think that art is a means to help people and open their minds to new perspectives.
Overall, I am very glad that I saw this film to its conclusion. Polarising at first glance, I think given time and consideration, everyone would find it worthwhile to see The Space in Between. Four healing crystals out of five.
Written by Arran (18) edited by Luke Goodsell (as part of the Film in Revolt writing mentorship program)