Marcellvs L. at Astrup Fearnley Museet (09/09/2013)
'Imagine Brazil' is the fourth exhibition in the series focusing on a country's art scene. The Brazilian art history is well documented, especially the Brazilian modernism, such as Concrete, Neoconcrete and Tropicália movement, which developed independently but also in deep dialogue with modernist tendencies in Europe and North America. Artists such as Oscar Niemeyer, Lygia Clark, Hélio Oiticica, Lygia Pape and Ernesto Neto, are all part of the international modernist and artistic heritage and are all internationally recognized. In parallel with this great modernist tradition is also an explicit Brazilian conceptual art that was less dogmatic and structuralist than their counterparts in Europe and North America, but more open, more poetic, more politically engaged, as we can see in the works of Cildo Meireles and Vik Muniz.
With 'Imagine Brazil' the curators wants to showcase a diverse picture of what is happening in Brazilian contemporary art. 14 young artists are selected for what they perceive as important representatives of the emerging art scene in Brazil, but also in terms of their international significance. In addition to showcase the young artists the exhibition wishes to put their artistic expression in a historical context. Therefore, each of them was asked to choose an older artist, which they consider important for Brazilian contemporary art, to accompany them in the exhibition.
Dates: 11 October 2013 – 02 March 2014 Opening: 10 October 2013
The Tenth Annual Views from the Avant-Garde
A Special Presentation of the 44th New York Film Festival
October 7, 8 & 15, 2006
Marcellvs l, Brazil, 2004; 9m
man.road.river introduces a space that is viscous and indeterminate. An image is an aspic, and an adhesive in which an event is held in a optical resemblance that creates difference according to its luxuriance or degradation, its infidelities to the original event. There is always something missing as well as added, insinuated into the copy. The quality and character of movement in a moving image is redefined by its residence inside the given texture of the medium and the precise nature of the shot. Passing time moves with and against that texture and within the length of a shot builds up it’s own “cabin pressure.” Its natural measure attenuated by minute resistances and frictions and the grade of the slope, just as we might swim or climb depending on the medium we are confronting. This friction in turn perturbs or compounds the texture through its force and abrasion. In man.road.river different bodies and mediums come into contact. The man fords the shallows of an overflowing river and walks thorough a compressed depth of field without altering his course or increasing his limited awareness of the image to which he contributes a central energy. Elements cohere or at least cling in confusion and the witnessed event is rendered as something else, a version of what occurred and the concretization of a mirage, something that never occurred (externally) until it passed through the lens. The ephemeral saved and held in captivity is made to repeat itself in terms that are natural enough but unevenly translated. A recognizable shape but unidentified
man emerged from a walking chrysalis ( globular soft focused and near sepia )into greater definition and scale. The man continues unimpeded down the road. Out of frame, out of mind. – Ana Silviera