MA I – Die geleitete Feder [MA I – The Guided Quill]

Before a mighty late Gothic portal, we see Gabriel. Sitting, writing, focused. When you look at the wooden door behind the artist, associations of a heavenly gate are almost inevitably awakened. And indeed, the holiest of holies of the Templar Church lies behind it: The inner church is modeled 1:1 after the Holy Sepulchre, Jesus’ supposed grave, in the old town of Jerusalem. The almost graphic ornament of the doors, the rich Manueline decoration, the heavy materiality of the building, they seem to glow in the heat of the day and in the play of light and shadow.

Our view of the artist is framed by the rear view of two female profiles in the foreground. Are they watching him or the door? What effect did the performance have on random tourists who happened to be there?

He is holding a feather in his hand. Gabriel writes. Different writing utensils around him, ink, paper, a book of Spinoza that is important to him, as well as the red notebook. One might also see NEO’s paw peeking out from behind Gabriel. Regarding this act, the Tafel [Board] says, “Gabriel finds peace. He sits on the steps in front of the Manueline portal. In an inner antiphony he writes the four letters to Maria and to the shepherd children.” These letters make him a messenger. He was ordered to carry them to Fátima, to the place of the Visions of Mary, to the holm oak. What might their content be?