I’m taking a class on the Gospel of Luke this semester, and
one of my assignments is to engage in an ongoing spiritual practice
related to that particular Gospel. So for the entire semester I am
reading the Magnificat daily. It’s a passage that I’ve been drawn to in
recent years, but it has been particularly illuminating to be dwelling
on it during Lent this year, since it is typically confined to the Advent
season. Somehow the triumphal language of the justice that God has
already accomplished fits with the modern treatment of Advent as a
celebratory season. But Lent is a season of penance, which puts an
entirely different spin on the text.
When I started the work,” writes video artist/photographer Eija-Liisa Ahtila, “the aim was to do a remake of the annunciation paintings with moving images to see what this powerful image in our culture would turn out to be and what it would mean in present-day Western society.” The result, The Annunciation, is a three-channel multimedia installation exhibited at the Marian Goodman Gallery in New York. A mixture of stills of familiar paintings of the annunciation and acted scenes—with angels, a patron, donkeys, Mary, cultural Christmas snapshots and layers of angel wings—creates a layered narrative. In the 33-minute installation, Ahtila’s work runs through cultural allusions and histories, moving in and through the natural and supernatural.
annunciation is analogous in my mind to the story of God's invitation to Abram
to leave Ur and head to Canaan. Both stories have a bare, binary feel to them.
These are hinge moments in the unfolding of God and God's mission with and for
the world. Abram, yes or no? Mary, yes or no?
This month millions of families around the world will gather dutifully and joyfully for a traditional ritual meal. Around the edges of some of the more traditional gatherings—the ones where the chief chefs and hosts are grandparents or the age of grandparents—the siblings and cousins of the next-oldest generation will begin to talk together.