Marcellvs L. at Today Art Museum Beijing (08/04/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 1716 touring (03/24/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | Infinitesimal (03/11/2010)
Posted by caosmos.org
Commented: 0 Times
Publication - VideoRhizome vol II (02/19/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at KUNSTHALLE wien (02/12/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at Inclemencia del Tiempo (11/28/2009)
Posted by caosmos.org
Commented: 0 Times
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 1716 touring (03/24/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | Infinitesimal (03/11/2010)
Posted by caosmos.org
Commented: 0 Times
Publication - VideoRhizome vol II (02/19/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at KUNSTHALLE wien (02/12/2010)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at Inclemencia del Tiempo (11/28/2009)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at After Utopia (10/27/2009)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at the 7th Mercosul Biennial (07/23/2009)
Posted by caosmos.org
Commented: 1 Times
Marcellvs L. at História do Futuro (04/27/2009)
Posted by caosmos.org
Commented: 0 Times
frieze magazine - Issue 120 - January / February 2009 (01/13/2009)
Posted by caosmos.org
Commented: 0 Times
untitle:rope | Installation view at Art Berlin Contemporary (10/02/2008)
Posted by caosmos.org
Commented: 0 Times
52°30’50.13“ N 13°22’42.05“ E | Installation view at Galeria Luisa Strina (10/01/2008)
Posted by caosmos.org
Commented: 0 Times
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at the 7th Mercosul Biennial (07/23/2009)
Posted by caosmos.org
Commented: 1 Times
Marcellvs L. at História do Futuro (04/27/2009)
Posted by caosmos.org
Commented: 0 Times
frieze magazine - Issue 120 - January / February 2009 (01/13/2009)
Posted by caosmos.org
Commented: 0 Times
untitle:rope | Installation view at Art Berlin Contemporary (10/02/2008)
Posted by caosmos.org
Commented: 0 Times
52°30’50.13“ N 13°22’42.05“ E | Installation view at Galeria Luisa Strina (10/01/2008)
Posted by caosmos.org
Commented: 0 Times
Overground | Installation view at Art Unlimited (08/06/2008)
Posted by caosmos.org
Commented: 0 Times
Overground, 2008 | Frames (08/06/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 16th Biennale of Sydney (07/05/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 | Kunstverein Hannover (02/27/2008)
Posted by caosmos.org
Commented: 0 Times
Posted by caosmos.org
Commented: 0 Times
Overground, 2008 | Frames (08/06/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 16th Biennale of Sydney (07/05/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 | Kunstverein Hannover (02/27/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. at Museumslandschaft Hessen Kassel (11/28/2009)
Die Neue Galerie – Auftritt im Schloss! Auf dem Weg zur Wiedereröffnung 2011
With Works from:
Paul Baum / Joseph Beuys / Alighiero Boetti / Antonio Calderara / Lovis Corinth / Gustave Courbet / Danica Dakic / Piero Dorazio / Max Ernst / Conrad Felixmüller / Otto Freundlich / Andrea Geyer / Raimund Girke / Alan Green / Otto Greis / Richard Hamilton / Curt Herrmann / Hannah Höch / K. H. Hödicke / Carl Hofer / Alexej von Jawlensky / Alexander Kanoldt / Ernst Ludwig Kirchner / Nina Kluth / Louis Kolitz / Alfons Lachauer / Berto Lardera / Henri Laurens / Max Liebermann / Hans Makart / Marcellvs L. / Georg Muche / Ernst Wilhelm Nay / Claes Oldenburg / George Osodi / Sigmar Polke / Arnulf Rainer / Gerhard Richter / Auguste Rodin / Diet Sayler / Jan J. Schoonhoven / Emil Schumacher / Max Slevogt / Hito Steyerl / Johann H. Tischbein d. Ä. / Frederic M. Thursz / Wolf Vostell / Ai Weiwei / Jerry Zeniuk
Dates:
21 November 2009 - 10 April 2010
Opening: 21 December, 2009 at 19h
Opening Hours:
Tuesday - Sunday 10 - 17h
Venue:
Museumslandschaft Hessen Kassel
Schloss Wilhelmshöhe
34131 Kassel, Germany
Contact:
+49 (0)561/ 3 16 80 – 123
besucherdienst@museum-kassel.de
More Info:
http://www.museum-kassel.de/index_navi.php?parent=3343
+49 (0)561/ 3 16 80 – 123
besucherdienst@museum-kassel.de
More Info:
http://www.museum-kassel.de/index_navi.php?parent=3343
Posted by: caosmos.org
Paris - Berlin | Marcellvs L. at Galerie Natalie Seroussi (01/29/2009)
Dates:
07 February - 14 March 2009
Opening: 06 February, 2009 at 18h
Opening Hours:
Monday to Friday 10-19h
Saturday 14-18h
Venue:
Galerie Natalie Seroussi
34, Rue de Seine
75006 Paris
Tel: +33 (0)1 46 34 05 84
Image:
1716, 2008
MiniDV transferred to DVD
07 min 12 sec
07 February - 14 March 2009
Opening: 06 February, 2009 at 18h
Opening Hours:
Monday to Friday 10-19h
Saturday 14-18h
Venue:
Galerie Natalie Seroussi
34, Rue de Seine
75006 Paris
Tel: +33 (0)1 46 34 05 84
Image:
1716, 2008
MiniDV transferred to DVD
07 min 12 sec
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/
Posted by: caosmos.org
44th New York Film Festival (12/04/2006)
The Tenth Annual Views from the Avant-Garde
A Special Presentation of the 44th New York Film Festival
October 7, 8 & 15, 2006
0778 man.road.river 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
A Special Presentation of the 44th New York Film Festival
October 7, 8 & 15, 2006
0778 man.road.river 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
Posted by: caosmos.org
frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 30° Panorama da Arte Brasileira (11/08/2007)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 | Museum Morsbroich (10/16/2007)
Posted by caosmos.org
Commented: 0 Times
9e Biennale de Lyon 2007 (09/14/2007)
Posted by caosmos.org
Commented: 0 Times
untitle:rope at the 16th International Electronic Art Festival - VideoBrasil (08/30/2007)
Posted by caosmos.org
Commented: 1 Times
Posted by caosmos.org
Commented: 0 Times
Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
Posted by caosmos.org
Commented: 0 Times
Marcellvs L. | 30° Panorama da Arte Brasileira (11/08/2007)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 | Museum Morsbroich (10/16/2007)
Posted by caosmos.org
Commented: 0 Times
9e Biennale de Lyon 2007 (09/14/2007)
Posted by caosmos.org
Commented: 0 Times
untitle:rope at the 16th International Electronic Art Festival - VideoBrasil (08/30/2007)
Posted by caosmos.org
Commented: 1 Times
Männerfantasien (08/21/2007)
Posted by caosmos.org
Commented: 0 Times
Ballads from our Invisibles Parks (07/30/2007)
Posted by caosmos.org
Commented: 0 Times
Ice Crean - Phaidon Press 2007 p. 232-235 (06/12/2007)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 (04/02/2007)
Posted by caosmos.org
Commented: 0 Times
18th Impakt Festival 29.03 - 01.04 (03/27/2007)
Posted by caosmos.org
Commented: 0 Times
Nam June Paik Award 2006 | Video Documentation (02/08/2007)
Posted by caosmos.org
Commented: 2 Times
Posted by caosmos.org
Commented: 0 Times
Ballads from our Invisibles Parks (07/30/2007)
Posted by caosmos.org
Commented: 0 Times
Ice Crean - Phaidon Press 2007 p. 232-235 (06/12/2007)
Posted by caosmos.org
Commented: 0 Times
ars viva 07/08 (04/02/2007)
Posted by caosmos.org
Commented: 0 Times
18th Impakt Festival 29.03 - 01.04 (03/27/2007)
Posted by caosmos.org
Commented: 0 Times
Nam June Paik Award 2006 | Video Documentation (02/08/2007)
Posted by caosmos.org
Commented: 2 Times
marcellvs l. | museu de arte da pampulha (02/07/2007)
Posted by caosmos.org
Commented: 0 Times
0 4 3 4 (01/18/2007)
Posted by caosmos.org
Commented: 0 Times
frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
Posted by caosmos.org
Commented: 0 Times
Wer mich lenkt ist das Meer (01/08/2007)
Posted by caosmos.org
Commented: 1 Times
27ª Bienal de São Paulo (12/04/2006)
Posted by caosmos.org
Commented: 0 Times
Posted by caosmos.org
Commented: 0 Times
0 4 3 4 (01/18/2007)
Posted by caosmos.org
Commented: 0 Times
frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
Posted by caosmos.org
Commented: 0 Times
Wer mich lenkt ist das Meer (01/08/2007)
Posted by caosmos.org
Commented: 1 Times
27ª Bienal de São Paulo (12/04/2006)
Posted by caosmos.org
Commented: 0 Times
by Sapien