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.
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