El contagio visionario [the visionary contagion] | 2013
Garabandal (Luis Lobera, 1961). 8 mm, 10'.
Ídolos e idolillos (Julia Montilla, 2012). HD, 15'.

El contagio visionario [the visionary contagion] creates a visual dialogue between one of the first films of the apparitions dated 
in 1961 with a video recorded
 by the artist on one of her visits 
to Garabandal in 2012. From a formal standpoint, both works restore the original promotional devices used in the Garabandalist phenomenon, the spoken presentation backed by visual resources like slides or movies.

While photographs of the ecstasy become fundamental for spreading Garabandalist devotion, the main tool for its media coverage were the movies —professional as well as amateur— that were filmed there. The presence of filmmakers sponsored by promoters and of simple amateurs armed
with their 8mm cameras spread the documentation of the ecstasies, and their later presentation in community screenings and television broadcasts. Accordingly, El contagio visionario allows an exercise of confrontation between Garabandal, the documentary filmed by Luis Lobera in 1961, and a video-documentary recorded at the same village by the artist in 2012. Lobera’s movie, one of the first video recordings of the apparitions, was commissioned by a panel of doctors and priests created to validate the authenticity of the ecstasies. This movie was, finally, sold
to the New York’s Garabandal Center, one of today’s main sponsors of Garabandalism in the world. Montilla’s video shows the ritualized heritage of those mystical visions in the present by focusing on the supposed trance of a pilgrim.

Como toda aparición que alcanza cierta notoriedad, la de Garabandal suscita una especie de epidemia visionaria en su territorio. Las mariofonías aglutinan a varios grupos de distinta procedencia e ideología. Estos colectivos han creado diversas instituciones relacionadas con el mantenimiento y propagación del culto. En El contagio visionario se confronta la película Garabandal, filmada por Luís Lobera en 1961, y el vídeo-documental reciente Ídolos e idolillos (2012), mostrando que el espacio carismático abandonando por las muchachas es ocupado por nuevas visionarias. La cinta de Lobera, encargada por un canónigo santanderino para el análisis del fenómeno por parte de una comisión de médicos y religiosos, es uno de los primeros registros de las apariciones. Ídolos e idolillos, por su parte, recoge el supuesto éxtasis repentino de una peregrina en el presente. El perfil de la mujer nos informa del cambio de edad de las videntes. El título del documental proviene de una frase recurrente utilizada por la visionaria; paradójicamente la idolatría que cuestiona le proporciona sus seguidores.

» Videos: Garabandal
» Video: Ídolos e idolillos