Marcellvs L. at noestudio (10/12/2012)
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Marcellvs L. | VideoRhizome Seyðisfjörður Aktion at Skálar Sound Art Festival (10/01/2012)
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Marcellvs L. | VideoRhizome Basel Aktion (07/19/2012)
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New Release - MARCELLVS L. - KLAVIERWELLEN LP (TA096) (06/18/2012)
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Marcellvs L. | Summer Exhibitions (06/07/2012)
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Marcellvs L. at MADE IN GERMANY II (05/16/2012)
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Marcellvs L. | VideoRhizome Seyðisfjörður Aktion at Skálar Sound Art Festival (10/01/2012)
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Marcellvs L. | VideoRhizome Basel Aktion (07/19/2012)
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New Release - MARCELLVS L. - KLAVIERWELLEN LP (TA096) (06/18/2012)
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Marcellvs L. | Summer Exhibitions (06/07/2012)
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Marcellvs L. at MADE IN GERMANY II (05/16/2012)
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Marcellvs L. at carlier | gebauer (04/26/2012)
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Marcellvs L. at NGBK (01/19/2012)
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Klavierwellen at Instituto Tomie Ohtake (12/13/2011)
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Überstürztes Denken #2 | Marcellvs L. performance at Volksbühne, Berlin (12/12/2011)
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Marcellvs L. at the 17° Festival Interncional de Arte Contêmporanea - Videobrasil (10/05/2011)
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Marcellvs L. at n.b.K. | Kunst und Philosophie (06/24/2011)
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Marcellvs L. at NGBK (01/19/2012)
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Klavierwellen at Instituto Tomie Ohtake (12/13/2011)
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Überstürztes Denken #2 | Marcellvs L. performance at Volksbühne, Berlin (12/12/2011)
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Marcellvs L. at the 17° Festival Interncional de Arte Contêmporanea - Videobrasil (10/05/2011)
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Marcellvs L. at n.b.K. | Kunst und Philosophie (06/24/2011)
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Marcellvs L. at the Berlinische Galerie (06/17/2011)
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Marcellvs L. at Bloomberg SPACE - COMMA 34 (03/31/2011)
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Marcellvs L. at HangarBicocca (03/09/2011)
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Marcellvs L. at Kunsthalle zu Kiel (01/27/2011)
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Marcellvs L. at The Living Art Museum (01/07/2011)
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Marcellvs L. at Centre Pompidou (11/05/2010)
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Marcellvs L. at Bloomberg SPACE - COMMA 34 (03/31/2011)
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Marcellvs L. at HangarBicocca (03/09/2011)
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Marcellvs L. at Kunsthalle zu Kiel (01/27/2011)
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Marcellvs L. at The Living Art Museum (01/07/2011)
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Marcellvs L. at Centre Pompidou (11/05/2010)
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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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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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Marcellvs L. at carlier | gebauer "Die Wahrscheinlichkeit, dass nichts passiert" (01/18/2013)
Marcellvs L. & Marcus Steinweg at Tanzquartier Wien | 02 Nov 2012 18h (10/11/2012)
Marcus Steinweg (D) Praxis versus Theorie
Perhaps what connects art with philosophy is the fact that it is a thinking that wants to be practice, not just theory. Perhaps philosophy is the complication of this all too simple opposite, practice versus theory. Not only because theory implies action but also because every action – implicitly or explicitly – corresponds to a theory. Resistance against theory has to be double resistance: resistance against a concept of theory without a performative dimension on the one hand; resistance against a concept of practice or performativity that ignores its theoretical implications on the other hand. Art and philosophy are connected in articulating this dual resistance by turning to the inconsistent parts of the constitutive reality (of our »world«) in order to subject the established model of reality to both practical and theoretical destabilisation.
Marcellvs L. (BR) Inkonsistenzen
Art operates on the dividing line between the presence and absence, the consistency and inconsistency of reality. It indicates the space of indecision between 0 and 1 or put philosophically, between nothing and reality. Obviously it is a question of withdrawing trust in the established model of reality. Reality is perhaps nothing more than a theory: a fiction with a truth value. As with any construct, with this it is a question of an architecture floating over the abyss of ontological inconsistency – over chaos, as Deleuze and Guattari put it.
MORE INFO HERE
Perhaps what connects art with philosophy is the fact that it is a thinking that wants to be practice, not just theory. Perhaps philosophy is the complication of this all too simple opposite, practice versus theory. Not only because theory implies action but also because every action – implicitly or explicitly – corresponds to a theory. Resistance against theory has to be double resistance: resistance against a concept of theory without a performative dimension on the one hand; resistance against a concept of practice or performativity that ignores its theoretical implications on the other hand. Art and philosophy are connected in articulating this dual resistance by turning to the inconsistent parts of the constitutive reality (of our »world«) in order to subject the established model of reality to both practical and theoretical destabilisation.
Marcellvs L. (BR) Inkonsistenzen
Art operates on the dividing line between the presence and absence, the consistency and inconsistency of reality. It indicates the space of indecision between 0 and 1 or put philosophically, between nothing and reality. Obviously it is a question of withdrawing trust in the established model of reality. Reality is perhaps nothing more than a theory: a fiction with a truth value. As with any construct, with this it is a question of an architecture floating over the abyss of ontological inconsistency – over chaos, as Deleuze and Guattari put it.
MORE INFO HERE
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ars viva 07/08 | Museum Morsbroich (10/16/2007)
We are pleased to announce ars viva's first exhibition at Museum Morsbroich, Lerverkusen, Germany
09 October 2007 - 06 January 2008
Opening Reception: Sunday 07 October, 2007
Opening Hours:
Monday: closed
Tuesday: 11h to 21h
Wednesday to Sunday: 11h to 17h
Venue:
Museum Morsbroich
Gustav-Heinemann Straße 80
51377 Leverkusen, Germany
Tel: +49 (0) 214855560
Fax: +49 (0) 2148555644
e-mail: museum-morsbroich@kulturstadtlev.de
Download:
Time Doesn't Go By (text written by Jennifer Allen about the work of Marcellvs L. for the exhibition's catalogue)
09 October 2007 - 06 January 2008
Opening Reception: Sunday 07 October, 2007
Opening Hours:
Monday: closed
Tuesday: 11h to 21h
Wednesday to Sunday: 11h to 17h
Venue:
Museum Morsbroich
Gustav-Heinemann Straße 80
51377 Leverkusen, Germany
Tel: +49 (0) 214855560
Fax: +49 (0) 2148555644
e-mail: museum-morsbroich@kulturstadtlev.de
Download:
Time Doesn't Go By (text written by Jennifer Allen about the work of Marcellvs L. for the exhibition's catalogue)
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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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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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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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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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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. 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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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.'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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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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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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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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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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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