Premiered at the Fondation Beyeler and curated by Marina Abramovic, this work is an exploration of the powerful energy between the performer and the public.
Brody invites members of the public to sit in front of him, one at a time, whilst he creates musical improvisations based on what he sees in their eyes. When sitting in front of the violinist, the public is encouraged to keep eye contact with him at all times, allowing both to acquaint themselves with their inner emotions.
The creation of this work goes two ways: the violinist improvising in response to what he sees, the public affected and transformed by the music. The longer the public remains in the space, and the more focused attention they bring to the present moment, the more they actively control the dialogue between the violinist and themselves
THE INDEPENDENT: As he’s a fine musician, those portraits were vividly characterised: mine was an improvisation in dark, vibrant colours with plenty of virtuosity; others were delineated Klezmer-style, or with Vivaldi brilliance, or with high-Romantic passion. An unexpected and arresting experience. [Full review]
THE PROTAGONIST MAGAZINE: He plays what he sees in you, how you make him feel, how you change his mood. In order to do this, he opens his body, his ears, his fingers and his eyes to you, and his heart leads this opening. It is almost impossible not to feel very emotional through this experience. Art has never been this full of passion or enlightenment. [Full Review]
TWIN MAGAZINE: These moments of intimacy, accented by the emotional pull of his instrument, allow the young artist to form special bonds with his audience […] The ultimate reward however is acquainting viewers with parts of themselves they do not face every day […] With performances across Europe and the USA, in addition to fervent support by art’s most famous performance darling, it’s clear Brody’s work is striking a chord. [Full Review]