Psalm 4; 1 John 3:1—7; Luke 24:36b—48
You have put gladness in my heart *
more than when grain, and wine, and oil increase.
We brothers pray the words of Psalm 4 nightly as we say the office of Compline. And almost nightly, since I first arrived in the community more than three and a half years ago, the strange abruptness of the transition between verses six and seven has never ceased to captivate me. And it is this strange abruptness that fittingly captures the difficulty I encountered as I set about preparing this sermon. Let’s hear those verse again,
Many are saying,
“Oh, that we might see better times!” *
Lift up the light of your countenance upon us, O Lord.
You have put gladness in my heart, *
more than when grain and wine and oil increase. 
Do you notice it?
In the space of one breath, the whole tenor of the psalmist’s prayer changes. One moment, the psalmist lays before God the pains and wounds of the world; Many are saying, “Oh, that we might see better times!” / Lift up the light of your countenance upon us, O Lord. And the next moment, without any obvious referent or explanation, the psalmist describes a sense of inner gladness. A gladness free from a dependence on worldly success or material security, surpassing the gladness when grain and wine and oil increase.
Marina Abramovic has spent many hours of her life completely motionless, silent, and fasting. She has endured voluntary poverty and physical pain for the sake of her vocation. She is not a nun or a mountaintop hermit, but a performance artist – sometimes called the “grandmother of performance art.” Born in Yugoslavia in 1946, her childhood was shaped by the Eastern Orthodox spirituality of her grandmother and the intense, communist discipline of her distant parents. Her performance pieces, most of them ephemeral or time-based, explore the limits of the human body and the mind. All of them challenge our cherished definitions of art. In 2010, Abramovic performed a piece at the Museum of Modern Art in New York City, entitled “The Artist is Present,” part of a retrospective of her forty years of work. For this, she sat motionless and silent in the center of the Museum’s atrium surrounded by four bright lights. An empty chair stood opposite the artist, in which anyone who cared to was invited to sit and engage in a silent, mutual gaze with her. Abramovic was present in this way for three months, six days a week, for 7.5 hours a day. While the curator of the museum advised her to be prepared to face a frequently empty chair, her simple offer to be unflinchingly present touched a collective nerve and awakened a widespread hunger. That chair would be occupied by a total of 1,545 people, many of whom lined up before the museum opened or slept on the pavement to get a spot in line. People smiled uncontrollably, laughed or silently wept. Each face was met with the same gentle, mysterious, steady gaze, in a physical environment that framed each encounter as a moment of art enfolding a moment of life. Of the piece, Abramovic said, “The hardest thing is to do something which is so close to nothing that it demands all of you, because there is no story anymore to tell, no object to hide behind. There’s nothing – just your own, pure presence.”