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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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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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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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. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
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ars viva 07/08 | Kunstverein Hannover (02/27/2008)
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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. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
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ars viva 07/08 | Kunstverein Hannover (02/27/2008)
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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
Marcellvs L. at ZKM | Zentrum für Kunst und Medientechnolgie (05/25/2008)
The project Vertrautes Terrain – Aktuelle Kunst in & über Deutchland conceives itself, namely, as a resonance space within which the differentiated examination of works by international artists, who reflect on Germany in distinctly different ways as a historical-, art-, and social sphere can be carried out. The focus placed on the German context refers to an "imaginary cartography", which seeks to trace those concerns dealing with the form and content, the symptoms and the virulent features in art as set against the backdrop of their socio-political presence.
More Information:
www.vertrautes-terrain.de
Dates:
22 May 2008 - 21 September 2008
Opening: 21 May, 2008 at 19h.
Opening Hours:
Wed - Fri 10-18h, Sat - Sun 11-18h
Mon, Tue closed
Venue:
ZKM | Zentrum für Kunst und Medientechnolgie
www.zkm.de
Image: Marcellvs L.'s 52°30'50.13" N 13°22'42.05" E (2007)
HDV, five-channel video installation,
variable duration (loop)
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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frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
Looking Back: Retrospectives
In its annual round-up frieze asked 18 critics and curators from around the world to choose what, and who, they felt to be the most significant shows and artists of 2006:
EMERGING ARTISTS (excerpt):
"The subtle studies of narrative and time developed in Marcellvs L.'s videos."
by Jochen Volz*
*Director of Inhotim Centro de Arte Contemporanea, Minas Gerais, Brazil and guest curator of the 27th São Paulo Biennial, 2006.
In its annual round-up frieze asked 18 critics and curators from around the world to choose what, and who, they felt to be the most significant shows and artists of 2006:
EMERGING ARTISTS (excerpt):
"The subtle studies of narrative and time developed in Marcellvs L.'s videos."
by Jochen Volz*
*Director of Inhotim Centro de Arte Contemporanea, Minas Gerais, Brazil and guest curator of the 27th São Paulo Biennial, 2006.
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frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
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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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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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Wer mich lenkt ist das Meer (01/08/2007)
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27ª Bienal de São Paulo (12/04/2006)
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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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Wer mich lenkt ist das Meer (01/08/2007)
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27ª Bienal de São Paulo (12/04/2006)
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44th New York Film Festival (12/04/2006)
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by Sapien