Marcellvs L. | Infinitesimal (03/11/2010)
carlier | gebauer is happy to announce Marcellvs L.’s
second major exhibition with the gallery. In “Infinitesimal” the
Brazilian-born and Berlin-based video and sound artist presents two new
works, one of which has been produced specifically for this exhibition.
His show at carlier | gebauer will be accompanied by a programme of a
video screening, as well as by a lecture by philosopher Marcus Steinweg
(March 20, 3 pm).
Dates:
20
March - 24 April 2010
Opening: 19 March 2010 at 18h
Opening
Hours:
Tuesday - Saturday 10 - 18h
Venue:
carlier | gebauer
Markgrafenstraße 67
10969 Berlin,
Germany
www.carliergebauer.com
Download Press Text
Installation view by Bernd Borchardt
O (2010)
HDV transferred to hard disk, synchronized
five-channel video installation, four-channel sound system
42 min 19
sec
Marcellvs L. | 16th Biennale of Sydney (07/05/2008)
frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
Looking Back: Retrospectives
In its annual round-up frieze asked critics and curators from around the world to choose what, and who, they felt to be the most significant shows and artists of 2007:
EMERGING ARTISTS:
Marcellvs L. is a Brazilian video artist who has recently moved to Berlin. His ‘Rhizome’ series comprise mostly single-sequence shots in which the video camera is held still, at times drifting in and out of the subject: a seemingly ordinary moment, a detail or fragment, of city life. Recently he has been developing more ambitious video installations, which are full of delicate takes and revelations on time, progression and life itself.
by Adriano Pedrosa*
*Curator and art critic ("Artforum", "Flash Art", "Frieze"…), Adriano Pedrosa co-curated the São Paulo Biennial in 2006.
Flash Art - Issue 254 - May / June 2007 (05/21/2007)
Ouverture – Marcellvs L.
by Rodrigo Moura
For a number of
years, Marcellvs L.’s first video works only circulated from
hand-to-hand, via DVD copies produced by the artist himself. Since that
time and still today, the artist sends these copies by mail to
addresses randomly chosen in the telephone book. The method he uses to
title these works is likewise a throw of the dice, the same one he
employs to select the addresses that will receive the videos – an open
and independent strategy that has a lot to say about his economy of
means. “VideoRhizomes” is the title the artist gave to this ongoing
series initiated in 2002. The imponderability of time and its political
implications seem to be the primary motives behind Marcellvs L.’s works
as well as their original mode of circulation.
“Independence
means urgency”, the artist once said to me. This means that he often
shoots his video alone, using a high-definition portable camera. Once
on site, as in the best cinéma verité tradition, the artist
captures somewhat mysterious scenes in which lonesome characters are
experientially confronted with the passage of time in big cities or in
the countryside. In other pieces images come from intriguing shots of
the landscape. For Marcellvs L., being on site is a significant part of
the work, a process that often results in the unexpected, because in
seeking one thing he sometimes ends up finding another. In almost all
his videos, there is, however, a radical transformation of the real in
the way the images are captured. This could be on account of where the
camera finds itself in relation to the scenes (either very close or
very
far away) or on account of a highly charged pictorial presence.
Despite the resources of digital post-production, it is by the way the
camera reads the world that his videos create personal and outstanding
vision of the real. His moving images are hypnotic mirages directly
captured from the world, mediated by radical camera filters: either
highly grained or pixilated monochrome renderings that, at times,
literally dissolve before the lens.
In one of his first videos
0314 (2002), images of rain falling on a roof are slowly revealed in
high-contrast black-and-white (recorded with colour), producing a
happenstance graphic quality as the sound becomes violently louder and
louder. For his works, post-production of sound is also key, in
collaboration with sound artist João Marcelo.
In another video, 0667 (2003), a man is depicted slowly walking down a
road, while cars continue on in high speed in the lane across from him.
It is only just recently that his work has begun to circulate in the
art world, notably in the last São Paulo Biennial, where it was
prominently presented, or in a solo show in his home town Belo
Horizonte’s Museu de Arte da Pampulha, where a compilation of more than
2 hours was screened on a loop, featuring more than 10 videos. In his
more recent works, like the video-installation ebbing.flowing (2006),
also shown at the São Paulo’s Biennial, a spatial-sensorial aspect is
stressed, indicating new and more complex
possibilities for the
relation between camera and projection. In this two-channels
synchronized video installation, images of a boat on a beach are taken
from another boat while the ocean simultaneously ebbs and flows in each
of the screens. What interests the artist here is the loss of stable
ground and the sublimation of the tripod: suggestively shooting to the
sensibility of the moving waves. Finally, as he said, “However minor it
may seem, every aesthetic act is both political and ethical.”
Rodrigo Moura is an art critic and curator at Inhotim Centro de Arte Contemporânea in Minas Gerais, Brazil
http://www.flashartonline.com/
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