Marcellvs L. at Today Art Museum Beijing (08/04/2010)
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Marcellvs L. | 1716 touring (03/24/2010)
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Marcellvs L. | Infinitesimal (03/11/2010)
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Publication - VideoRhizome vol II (02/19/2010)
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Marcellvs L. at KUNSTHALLE wien (02/12/2010)
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Marcellvs L. at Museumslandschaft Hessen Kassel (11/28/2009)
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Marcellvs L. | 1716 touring (03/24/2010)
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Marcellvs L. | Infinitesimal (03/11/2010)
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Publication - VideoRhizome vol II (02/19/2010)
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Marcellvs L. at KUNSTHALLE wien (02/12/2010)
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Marcellvs L. at Museumslandschaft Hessen Kassel (11/28/2009)
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Marcellvs L. at Inclemencia del Tiempo (11/28/2009)
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Marcellvs L. at After Utopia (10/27/2009)
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Marcellvs L. at the 7th Mercosul Biennial (07/23/2009)
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Marcellvs L. at História do Futuro (04/27/2009)
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Paris - Berlin | Marcellvs L. at Galerie Natalie Seroussi (01/29/2009)
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frieze magazine - Issue 120 - January / February 2009 (01/13/2009)
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Marcellvs L. at After Utopia (10/27/2009)
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Marcellvs L. at the 7th Mercosul Biennial (07/23/2009)
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Marcellvs L. at História do Futuro (04/27/2009)
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Paris - Berlin | Marcellvs L. at Galerie Natalie Seroussi (01/29/2009)
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frieze magazine - Issue 120 - January / February 2009 (01/13/2009)
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untitle:rope | Installation view at Art Berlin Contemporary (10/02/2008)
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52°30’50.13“ N 13°22’42.05“ E | Installation view at Galeria Luisa Strina (10/01/2008)
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Overground | Installation view at Art Unlimited (08/06/2008)
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Overground, 2008 | Frames (08/06/2008)
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Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
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Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
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52°30’50.13“ N 13°22’42.05“ E | Installation view at Galeria Luisa Strina (10/01/2008)
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Overground | Installation view at Art Unlimited (08/06/2008)
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Overground, 2008 | Frames (08/06/2008)
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Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
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Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
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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.
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.
Posted by: caosmos.org
marcellvs l. | museu de arte da pampulha (02/07/2007)
04th February - 04th March 2007, Tuesday to Sunday, 9 a.m. - 6 p.m.
17th March - 22nd April 2007, Tuesday to Sunday, 9 a.m. - 6 p.m.
Museu de Arte da Pampulha
Av. Otacílio Negrão de Lima 16585
BHz - Brazil 31365-450
+55 31 32777946
+55 31 32777996
photos by pedro motta
17th March - 22nd April 2007, Tuesday to Sunday, 9 a.m. - 6 p.m.
Museu de Arte da Pampulha
Av. Otacílio Negrão de Lima 16585
BHz - Brazil 31365-450
+55 31 32777946
+55 31 32777996
photos by pedro motta
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27ª Bienal de São Paulo (12/04/2006)
Interview for the Bienal's Catalogue with Marcellvs L. by Rodrigo Moura.
Rodrigo Moura: You have been shooting film at the beach, on the water, and in other scenarios that you find interesting, such as the city. How do you relate to the locations at which you shoot?
there may be a quest for an encounter. for a horse. for history. for a misgiving. or for a picture. yet each moment gives forth an accident for perception. a mystery, therefore. a place where everything is ajumble. where everything slips. and produces new meanings. the world is transformed tirelessly and inexhaustibly. i can assert new realms of value every moment. they’ll produce meaning on their own. imponderably. regardless of the work statement and the way in which it is carried out. it was windy. in a nearby town i had spotted a chimney belching white smoke. i could no longer find it. coming back i turned onto a street. it was flooded. i came to a halt, observing/taking part in that flowing time. i switched on the camera, creating vibrational spaces. a man waded the flooded street, the camera batteries were fully charged, so i shot a footage. of history. in the present. in the indicative mood, from singular person of the subject to plural verb: i are.
RM: One significant aspect of your work is that it follows apparently strict prescriptions, such as the fixed camera and unedited, single shot sequences per video. On the other hand, you resort to recording effects and manipulate the audio–together with a member
Rodrigo Moura: You have been shooting film at the beach, on the water, and in other scenarios that you find interesting, such as the city. How do you relate to the locations at which you shoot?
there may be a quest for an encounter. for a horse. for history. for a misgiving. or for a picture. yet each moment gives forth an accident for perception. a mystery, therefore. a place where everything is ajumble. where everything slips. and produces new meanings. the world is transformed tirelessly and inexhaustibly. i can assert new realms of value every moment. they’ll produce meaning on their own. imponderably. regardless of the work statement and the way in which it is carried out. it was windy. in a nearby town i had spotted a chimney belching white smoke. i could no longer find it. coming back i turned onto a street. it was flooded. i came to a halt, observing/taking part in that flowing time. i switched on the camera, creating vibrational spaces. a man waded the flooded street, the camera batteries were fully charged, so i shot a footage. of history. in the present. in the indicative mood, from singular person of the subject to plural verb: i are.
RM: One significant aspect of your work is that it follows apparently strict prescriptions, such as the fixed camera and unedited, single shot sequences per video. On the other hand, you resort to recording effects and manipulate the audio–together with a member
of the band pexbaA–, though still using direct recording for background.
i deafly spot a man fishing. immediate associations come up. as aloof as stars in the sky, we follow our path. we might consider a suppression of the high-pitched and medium sound frequencies. letting the audio come in through the floor. rocking with its vibration. this may arise from the encounter of tide and sand and/or from a specific technical notion. here the camera is not dissociated from computer. i am interested in the physical strength of these combinations. a timing policy that ignores minutes. the tripod that is overwhelmed by subjectivity and loses its footing. all this produces meaning in the course of production. on a bias. mixed. juxtaposed. interrupted. i build a rigid picture. objective. leaning against a boat stuck on the sand. i wait for the rising tide, then gradually surrender all objectivity to the ocean. each method is a different instrument. it’s great not have a regular way of living.
RM: You produce your videos practically alone. You record, edit, copy, and distribute them. What does independence mean to you?
urgency. the ability to admire the beauty of fire. yet coming out scorched. producing with the tools we have is always a possibility. do it yourself. the issue is not to free ourselves from something. but discovering what this freedom is for. every aesthetic act is political and ethical. no matter how small, spontaneous acts assert truths that are more revealing and bombastic than any established system.
i deafly spot a man fishing. immediate associations come up. as aloof as stars in the sky, we follow our path. we might consider a suppression of the high-pitched and medium sound frequencies. letting the audio come in through the floor. rocking with its vibration. this may arise from the encounter of tide and sand and/or from a specific technical notion. here the camera is not dissociated from computer. i am interested in the physical strength of these combinations. a timing policy that ignores minutes. the tripod that is overwhelmed by subjectivity and loses its footing. all this produces meaning in the course of production. on a bias. mixed. juxtaposed. interrupted. i build a rigid picture. objective. leaning against a boat stuck on the sand. i wait for the rising tide, then gradually surrender all objectivity to the ocean. each method is a different instrument. it’s great not have a regular way of living.
RM: You produce your videos practically alone. You record, edit, copy, and distribute them. What does independence mean to you?
urgency. the ability to admire the beauty of fire. yet coming out scorched. producing with the tools we have is always a possibility. do it yourself. the issue is not to free ourselves from something. but discovering what this freedom is for. every aesthetic act is political and ethical. no matter how small, spontaneous acts assert truths that are more revealing and bombastic than any established system.
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ars viva 07/08 | Kunstverein Hannover (02/27/2008)
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Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
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Marcellvs L. | 30° Panorama da Arte Brasileira (11/08/2007)
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ars viva 07/08 | Museum Morsbroich (10/16/2007)
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9e Biennale de Lyon 2007 (09/14/2007)
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untitle:rope at the 16th International Electronic Art Festival - VideoBrasil (08/30/2007)
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Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
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Marcellvs L. | 30° Panorama da Arte Brasileira (11/08/2007)
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ars viva 07/08 | Museum Morsbroich (10/16/2007)
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9e Biennale de Lyon 2007 (09/14/2007)
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untitle:rope at the 16th International Electronic Art Festival - VideoBrasil (08/30/2007)
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Männerfantasien (08/21/2007)
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Ballads from our Invisibles Parks (07/30/2007)
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Ice Crean - Phaidon Press 2007 p. 232-235 (06/12/2007)
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Flash Art - Issue 254 - May / June 2007 (05/21/2007)
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ars viva 07/08 (04/02/2007)
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18th Impakt Festival 29.03 - 01.04 (03/27/2007)
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Ballads from our Invisibles Parks (07/30/2007)
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Ice Crean - Phaidon Press 2007 p. 232-235 (06/12/2007)
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Flash Art - Issue 254 - May / June 2007 (05/21/2007)
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ars viva 07/08 (04/02/2007)
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18th Impakt Festival 29.03 - 01.04 (03/27/2007)
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Nam June Paik Award 2006 | Video Documentation (02/08/2007)
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0 4 3 4 (01/18/2007)
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frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
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Wer mich lenkt ist das Meer (01/08/2007)
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44th New York Film Festival (12/04/2006)
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0 4 3 4 (01/18/2007)
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frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
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Wer mich lenkt ist das Meer (01/08/2007)
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44th New York Film Festival (12/04/2006)
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by Sapien