Marcellvs L. | VideoRhizome Basel Aktion (07/19/2012)
New Release - MARCELLVS L. - KLAVIERWELLEN LP (TA096) (06/18/2012)
"KLAVIERWELLEN" (Piano Waves) was recorded on November 4th, 2010 in the
lagoons of Venice with a grand piano in an upside down position being
transported on a small boat. Two contact and two omnidirectional
microphones were positioned on the soundboard of the grand piano to
record the resonances of the strings, waves, motor, boats... the sounds
of the environment of the lagoons filtered by the piano's acoustic
Released by TOCHNIT ALEPH, the sleeve features an essay by german philosopher Marcus Steinweg.
Mastering & cut by Rashad Becker. Layout by Maren von Stockhausen.
Edition of 500 copies, deluxe 350g sleeve, 180g white Vinyl, black polylined innersleeved.
Order: TOCHNIT ALEPH
0 4 3 4 (01/18/2007)
HDV, 06’56”, 2006
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
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