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. | 16th Biennale of Sydney (07/05/2008)
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Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
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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. | 16th Biennale of Sydney (07/05/2008)
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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)
May 3–June 7, 2008
Opening: May 2, 6–9 pm
Gallery Weekend: May 3–4, 2008, 10 am – 7 pm
carlier | gebauer
The title of Marcellvs L.’s video installation consists of the geographical coordinates of the place where the images emerged. Five parallel screens show five views of corridors that are intersected by passageways. The cameras point in the same direction, but from five different fixed positions, show the corridors’ own axial symmetry. The views are disrupted at random intervals by people crossing and wandering through the corridors, shifting in scale because of the different camera’s positions. This activity does not follow any recognizable rhythm or pattern. The view of the place becomes an irritating abstraction, as suggested by the work’s title. The geographical data are just as precise as they are abstract, while the symmetry of the place restricts human movement to two dimensions: the people cross the camera’s field horizontally or they move about in the depths of the space. The formal consistency of the presentation is further broken on two temporal levels: the videos were recorded over a six months period, yet at different intervals. Furthermore, the different lengths of each video, from 8 to 40 min, result in overlapping within their duration.
In his work, Marcellvs L. creates a place that appears to exist solely in the present, but which cannot be situated in reality.
For further information and photographs please contact Philipp Selzer at ps@carliergebauer.com or at +49 30 2400 863 0.
Opening: May 2, 6–9 pm
Gallery Weekend: May 3–4, 2008, 10 am – 7 pm
carlier | gebauer
The title of Marcellvs L.’s video installation consists of the geographical coordinates of the place where the images emerged. Five parallel screens show five views of corridors that are intersected by passageways. The cameras point in the same direction, but from five different fixed positions, show the corridors’ own axial symmetry. The views are disrupted at random intervals by people crossing and wandering through the corridors, shifting in scale because of the different camera’s positions. This activity does not follow any recognizable rhythm or pattern. The view of the place becomes an irritating abstraction, as suggested by the work’s title. The geographical data are just as precise as they are abstract, while the symmetry of the place restricts human movement to two dimensions: the people cross the camera’s field horizontally or they move about in the depths of the space. The formal consistency of the presentation is further broken on two temporal levels: the videos were recorded over a six months period, yet at different intervals. Furthermore, the different lengths of each video, from 8 to 40 min, result in overlapping within their duration.
In his work, Marcellvs L. creates a place that appears to exist solely in the present, but which cannot be situated in reality.
For further information and photographs please contact Philipp Selzer at ps@carliergebauer.com or at +49 30 2400 863 0.
Posted by: caosmos.org
Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
We are pleased to announce Into It at Kunstverein Hildesheim, Hildesheim, Germany
Artists:
Michael Beutler
Christoph Girardet & Volker Schreiner
Simon Dybbroe Møller
Miltos Manetas
Marcellvs L.
Falke Pisano
Ana Roldán
T.A. Straub
Curator: Thomas Thiel
Date: 24 November 2007 - 27 January 2008
Tuesday to Sunday: 10h to 18h
Venue:
Kunstverein Hildesheim Am Kehrwieder 2
31134 Hildesheim
Germany
www.kunstverein-hildesheim.de
+49 51212959736
More Information: www.into-it.info
Image: Marcellvs L.'s spree installation view (Photo by: Dorit)
Artists:
Michael Beutler
Christoph Girardet & Volker Schreiner
Simon Dybbroe Møller
Miltos Manetas
Marcellvs L.
Falke Pisano
Ana Roldán
T.A. Straub
Curator: Thomas Thiel
Date: 24 November 2007 - 27 January 2008
Tuesday to Sunday: 10h to 18h
Venue:
Kunstverein Hildesheim Am Kehrwieder 2
31134 Hildesheim
Germany
www.kunstverein-hildesheim.de
+49 51212959736
More Information: www.into-it.info
Image: Marcellvs L.'s spree installation view (Photo by: Dorit)
Posted by: caosmos.org
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
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
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/
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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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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frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
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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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frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
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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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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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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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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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marcellvs l. | museu de arte da pampulha (02/07/2007)
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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