Issue link: http://floodesign.uberflip.com/i/868427
www.peakperfs.org 51 while the cameras rolled. Though he has used the word "rape" to describe this infamous scene, in some later interviews he has said that actress Mara Lorenzio was informed before shooting of his plans. Double Edge was unaware when it chose its two subjects that Jodorowsky and Carrington knew each other — in fact, their yearlong friendship in Mexico City bohemia resulted in a stage production of "Penelope." While Carrington's account of this alignment has not been found, Jodorowsky immortalized his in "The Spiritual Journey of Alejandro Jodorowsky," in which he recalls being ordered by his guru, Ejo Takata, to accept Carrington as his master, to deal with his mommy issues."You are still an angry child who rejects women in every domain except that of sex," Takata says in the book. "You think you can learn only from men." After a series of mystical encounters with Carrington-as- Surrealist-princess, the relationship comes to a close. Carrington bids Jodorowsky adieu, but then rushes after him on the street, her clothes in disarray. The provocateur who had recently incited riot with his nudity-laced film "Fando and Lis" sees nothing in her attempt at denouement but a woman at risk of losing her decency. "Cover yourself, Leonora," he says before they part. "Someone might come by." Klein found the genesis of Carrington's artistic consequence in the challenges she overcame throughout her storied life. "She had to live and survive by her imagination because she was being oppressed and silenced. Her internal world was all that she could live through." Like so many other women artists — not to mention the unique yet parallel experiences of queer, trans and differently abled artists, artists of color and those from developing nations — Leonora Carrington's work seems all the more powerful when considered alongside attempts by even her peers to strip her of agency and recast her in limiting, powerless roles: muse, fallen woman, crone. With shocking persistence, her work refuses these dismissals, demanding instead to be placed in conversation with those who might find her silence more convenient. Carrington's work seems all the more powerful when considered alongside attempts by even her peers to strip her of agency and recast her in limiting, powerless roles. With shocking persistence, her work refuses these dismissals. Alejandro Jodorowsky. Photo by Ernesto Ruscio/Getty Images Leonora Carrington, St. Martin d'Ardeche, France, 1939. Photo: Lee Miller. © Lee Miller Archives, England 2017. All rights reserved. leemiller.co.uk