Inferno Flares Up At 19th Biannale Of Sydney

876 words - 4 pages

When exhibitors gaze at Inferno, an intriguing video piece by Israeli-born artist, Yael Bartana which illustrates labyrinthine complexities of Neo-Christian movements in Brazil, responses were quickly aroused. The atmosphere expresses a political concern of complex personality of religion in modern era exposing desecration of temple debris which is used as one’s pleasure for economic gain. Although the ruins are only a fragment of the ancient temple, however the implication of native’s belief are still remains strong, despite all the drawbacks.

The opening scene opens up with the cityscape of Sao Paulo followed by an aerial scene of a gigantic Menorah, an Ark of Covenant and a Golden Altar ...view middle of the document...

As Bartana documented, some are festively performed non-religious behaviour, pointed out by the tourists which are independently flashing their cameras onto the worshippers. These acts are supported by citizens who are commercially selling souvenirs, food and beverages onsite. “They even sell juice from so-called ‘menorah coconuts,’” she said on her visit to Rio. Without being affected by the overwhelming touristic effects, prayers are comfortably and undisturbedly addressing their prayers.

Although religion is still played a significant role in society, however the guidance of one’s belief has been obscured and has not been taken solemnly. The temple ruin is a remains from a sacred region, however some profanely the site onto profitable approach, consequently diminish the value of its religion. In addition, throughout the scenes, traditional tribe are dressed in white supported by crowns and headpieces, however a converse view shows otherwise in contemporary belief. In the finale, Bartana reveals a glazing shot of Jewish women are not following the head accessories traditions while saying their prayers. In the same shot, one of the young men is discarding his garb which disclosed his tattoos on his back, facing the directions of the replica Wailing Wall while mourning his prayers. Despite the fact that Judaism forbids tattoo, the young worshipper still follows some of the traditional rituals such as wearing white apparel and covers his head.

Inferno contemplates the rise of Evangelism and Neo-Pentecostalism in Brazil, the Universal Church of the Kingdom of God (UCKG), founded in Rio de Janeiro in the late-1970s with millions of adherents in...

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