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.
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