Marcellvs L. at MAC Lyon - Musée d'Art Contemporain de Lyon (06/19/2014)
'Imagine Brazil' is the fourth exhibition in the series focusing on a country's art scene. The Brazilian art history is well documented, especially the Brazilian modernism, such as Concrete, Neoconcrete and Tropicália movement, which developed independently but also in deep dialogue with modernist tendencies in Europe and North America. Artists such as Oscar Niemeyer, Lygia Clark, Hélio Oiticica, Lygia Pape and Ernesto Neto, are all part of the international modernist and artistic heritage and are all internationally recognized. In parallel with this great modernist tradition is also an explicit Brazilian conceptual art that was less dogmatic and structuralist than their counterparts in Europe and North America, but more open, more poetic, more politically engaged, as we can see in the works of Cildo Meireles and Vik Muniz.
With 'Imagine Brazil' the curators wants to showcase a diverse picture of what is happening in Brazilian contemporary art. 14 young artists are selected for what they perceive as important representatives of the emerging art scene in Brazil, but also in terms of their international significance. In addition to showcase the young artists the exhibition wishes to put their artistic expression in a historical context. Therefore, each of them was asked to choose an older artist, which they consider important for Brazilian contemporary art, to accompany them in the exhibition.
Dates: 05 June - 17 August 2014 Opening: 04 June 2014
Ice Crean - Phaidon Press 2007 p. 232-235 (06/12/2007)
"Marcellvs L." - Author: Lisette Lagnado
Marcellvs L’s method is 'to dilate time'. The expression refers directly to the philosophical universe of Henri Bergson, whose important reflections on duration and intuition have frequently served as a basis for approaching the cinematic moving image. Like Cao Guimarães (see page 128-131), Marcellvs L’s videos usually feature a solitary person who walks: on the road, in water or going nowhere on a gym treadmill. In his works Marcellvs L imposes a slowness to the scene. This focus on duration is a response against what Guy Deboard termed the 'society of the spectacle'.
Conscious of our alienation in a society where we are regularly bombarded by imagery, Marcellvs L. offers a rare antidote. He produces work that expands our senses towards new perceptions through emphasizing the body. His works maintain an undecipherable enunciation that requires patience, waiting and an awareness of clues. Absract still images appear at first to be isolated from any reality, but the effort of remaining involved is vigorously rewarded. Very different from the Beckettian absurd form of Marcellvs strategy consists in delaying the delivery of pleasure and comprehension. When his works reach their conclusion, they invoke the Kantian sense of the sublime.
Marcellvs L is interested in the act of preparing a delay - 'time that doesn't go by', in the psychoanalytical sense. He constructs a place of reverie and escape. With the diaphragm of his camera either nearly closed,
or wide open - suggesting claustrophobia or agoraphobia - he allows only a detail of the detail to be seen. This minimal information fills the screen and becomes maximal, although it also maximises our perplexity. Having lost any reference to an overall totality that might revert to representation, our gaze is overcome by a sort of haunting. The viewer’s mind is projected towards infinity and fails to find any point to hold on to. The only fixed thing, the camera records the world as it spins. This radical vertigo plunges us into an abyss. It is a controlled descent, nevertheless. The smoke-like sensation momentarily blinds us. Little by little, very gradually, each of Marcellvs L’s films reveals clarity. The appearnace of this clarity emerges in such scenes as an encounter with a horse in the street in front of a health club. It appears to be faked by the artist, yet these are real encounters.
With this sort of shift in reading the work to a reduced narrative, Guimarães, no longer serves as model for Marcellvs L. While Guimarães dominates the narrative voice, Marcellvs L seeks to structure the slow passage from unconsciousness to reality like the resistance against awakening in order not to lose a dream. Both artists live in the mountainous region of Belo Horizonte, and each brings to the city the freshness of a new form of moving imagery.