Marcellvs L. at n.b.K. | Kunst und Philosophie (06/24/2011)
Apparently, there is a friendship between art and philosophy. As with every friendship, articulating a certain difference is part of it. Art and philosophy are not the same. But the difference already passes through the concept of art and philosophy itself. Perhaps art and philosophy are connected by the fact that art generates a singular concept of art, and philosophy its own conception of philosophy. The exhibition invites artists to define for themselves a relation to philosophy: from the perspective and with the means of artistic articulation.
Artists: João Maria Gusmão & Pedro Paiva, Swantje Hielscher, Thomas Hirschhorn, Bethan Huws, Kitty Kraus, Marcellvs L., Christian Schwarzwald, Richard Wright, Haegue Yang
Philosophers: Mehdi Belhaj Kacem, Ray Brassier, Simon Critchley, François Jullien, Catherine Malabou, Boyan Manchev, Achille Mbembe, Chantal Mouffe, Nina Power, et al.
Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
May 3–June 7, 2008 Opening: May 2, 6–9 pm Gallery Weekend: May 3–4, 2008, 10 am – 7 pm carlier | gebauer
The title of Marcellvs L.’s video installation consists of the geographical coordinates of the place where the images emerged. Five parallel screens show five views of corridors that are intersected by passageways. The cameras point in the same direction, but from five different fixed positions, show the corridors’ own axial symmetry. The views are disrupted at random intervals by people crossing and wandering through the corridors, shifting in scale because of the different camera’s positions. This activity does not follow any recognizable rhythm or pattern. The view of the place becomes an irritating abstraction, as suggested by the work’s title. The geographical data are just as precise as they are abstract, while the symmetry of the place restricts human movement to two dimensions: the people cross the camera’s field horizontally or they move about in the depths of the space. The formal consistency of the presentation is further broken on two temporal levels: the videos were recorded over a six months period, yet at different intervals. Furthermore, the different lengths of each video, from 8 to 40 min, result in overlapping within their duration.
In his work, Marcellvs L. creates a place that appears to exist solely in the present, but which cannot be situated in reality.
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