MARCELLVS L. - More info at carlier | gebauer or Galeria Luisa Strina or Rumpsti Pumsti (Musik) (03/12/2015)
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MARCELLVS L. - More info at carlier | gebauer or Galeria Luisa Strina or Rumpsti Pumsti (Musik) (03/12/2015)
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MARCELLVS L. - More info at carlier | gebauer or Galeria Luisa Strina or Rumpsti Pumsti (Musik) (03/12/2015)
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MARCELLVS L. - More info at carlier | gebauer or Galeria Luisa Strina or Rumpsti Pumsti (Musik) (03/12/2015)
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(03/12/2015)
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Marcellvs L. & Daniel Löwenbrück at NK Berlin (10/31/2014)
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Marcellvs L. at Singularidades/Anotações – Rumos Artes Visuais 1998-2013 (08/27/2014)
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Marcellvs L. & Munan Øvrelid at Skaftfell Summer Exhibition (06/19/2014)
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Marcellvs L. at MAC Lyon - Musée d'Art Contemporain de Lyon (06/19/2014)
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Marcellvs L. Indiferença at Galeria Luisa Strina (09/10/2013)
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Marcellvs L. at the 18th Contemporary Art Festival Videobrasil (09/09/2013)
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Marcellvs L. at Astrup Fearnley Museet (09/09/2013)
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Marcellvs L. | Künstlerhaus Bethanien (05/24/2013)
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Marcellvs L. at carlier | gebauer "Die Wahrscheinlichkeit, dass nichts passiert" (01/18/2013)
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Marcellvs L. at noestudio (10/12/2012)
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Marcellvs L. | VideoRhizome Seyðisfjörður Aktion at Skálar Sound Art Festival (10/01/2012)
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Marcellvs L. | VideoRhizome Basel Aktion (07/19/2012)
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New Release - MARCELLVS L. - KLAVIERWELLEN LP (TA096) (06/18/2012)
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Marcellvs L. | Summer Exhibitions (06/07/2012)
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Marcellvs L. at MADE IN GERMANY II (05/16/2012)
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Marcellvs L. at carlier | gebauer (04/26/2012)
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Marcellvs L. at NGBK (01/19/2012)
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Klavierwellen at Instituto Tomie Ohtake (12/13/2011)
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Überstürztes Denken #2 | Marcellvs L. performance at Volksbühne, Berlin (12/12/2011)
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Marcellvs L. at the 17° Festival Interncional de Arte Contêmporanea - Videobrasil (10/05/2011)
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Marcellvs L. at n.b.K. | Kunst und Philosophie (06/24/2011)
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Marcellvs L. at the Berlinische Galerie (06/17/2011)
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Marcellvs L. at Bloomberg SPACE - COMMA 34 (03/31/2011)
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Marcellvs L. at HangarBicocca (03/09/2011)
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Marcellvs L. at Kunsthalle zu Kiel (01/27/2011)
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Marcellvs L. at The Living Art Museum (01/07/2011)
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Marcellvs L. at Centre Pompidou (11/05/2010)
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Marcellvs L. at Today Art Museum Beijing (08/04/2010)
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Marcellvs L. | 1716 touring (03/24/2010)
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Marcellvs L. | Infinitesimal (03/11/2010)
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Inconsistencies  (09/11/2013)

ALEXANDER KLUGE: The cosmos is cold.
HEINER MÜLLER: Dreamless.
ALEXANDER KLUGE: Dreamlessly cold.

Marcellvs L.’s work moves on the line separating presence from absence, the consistency of reality from its inconsistency. It indicates the space of undecidability between 0 and 1 or, to put it in philosophical terms, between nothingness and reality. Infinitesimal calculus studies the infinitely small (infinitesimal) intervals in the various fields of mathematics. I think that Marcellvs’s work does the same; but with the means of art. We can distinguish between two registers, the register of finitude (which is constituted reality, the world of real numbers) and the register of infinitude (which describes the unreality of zero or of nothingness). Translated into Lacanian categories, this would be the difference of reality from the real. Everything is decided by the differentiation between these two orders, of which the first marks consistency, the second, inconsistency.

I believe that Marcellvs ultimately insists on the undecidability of the register of consistency from that of inconsistency. Time and again, his films point toward the spectral dividing line that ties these registers together as much as it separates them from each other. Hence the ghostly streak of his work. The ground and the groundlessness of the abyss coincide. Reality and unreality are crossed, and as they cross, they engender a phantomlike interstitial zone that lets our certainties falter. I would accordingly speak of the implicit ontology in Marcellvs’s work. Ontology occupies itself with being and with presence.
It does so—already in Parmenides, for example—by distinguishing the sphere of being from the sphere of nothingness. Being and nothingness, presence and absence are fundamental categories of ontology. Now, twentieth-century philosophy, taking its cue from Nietzsche, articulated itself as a philosophical critique of metaphysics by calling ontology in question. Derrida’s deconstruction of logocentric metaphysics is a deconstruction of the ontology of substance and subject correlative to it. It proceeds by interlocking the category of presence with that of absence. Presence is always also absence. There is presence only as absentic presence. The category of disappearance becomes central. Deleuze, for his part, speaks of becoming. Both Derrida and Deleuze invoke Maurice Blanchot, whose literature (like several important texts and films by Marguerite Duras) opens up a spectral space that is the space of undecidability between being and nothingness. It is the phantomlike zone of a general ontological instability.

Reality proves to be a promise of consistency that is broken. Reality is a fiction, a narrative. It is a sort of fabric full of wholes, continually translucent to its own impermanence. Deleuze called this fabric an immanence level; in Wittgenstein, it is called form of life or language-game. Lacan speaks of the symbolic order. All are floating architectures strung like fragile nets over the abyss of inconsistency, which Deleuze, with Nietzsche, calls the chaos. Marcellvs’s works point into that chaos. They do so with great precision.

Marcus Steinweg


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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.

MORE INFO HERE


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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.



http://www.phaidonpress..com/icecream


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Publication - VideoRhizome vol II (02/19/2010)
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Marcellvs L. at KUNSTHALLE wien (02/12/2010)
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Marcellvs L. at Museumslandschaft Hessen Kassel (11/28/2009)
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Marcellvs L. at Inclemencia del Tiempo (11/28/2009)
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Marcellvs L. at After Utopia (10/27/2009)
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Marcellvs L. at the 7th Mercosul Biennial (07/23/2009)
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Marcellvs L. at História do Futuro (04/27/2009)
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Paris - Berlin | Marcellvs L. at Galerie Natalie Seroussi (01/29/2009)
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frieze magazine - Issue 120 - January / February 2009 (01/13/2009)
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untitle:rope | Installation view at Art Berlin Contemporary (10/02/2008)
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52°30’50.13“ N 13°22’42.05“ E | Installation view at Galeria Luisa Strina (10/01/2008)
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Overground | Installation view at Art Unlimited (08/06/2008)
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Overground, 2008 | Frames (08/06/2008)
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Marcellvs L. | 16th Biennale of Sydney (07/05/2008)
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Marcellvs L. | 52°30'50.13" N 13°22'42.05" E (05/11/2008)
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ars viva 07/08 | Kunstverein Hannover (02/27/2008)
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frieze magazine - Issue 112 - January / February 2008 (01/15/2008)
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Marcellvs L.'s spree at Into It | Kunstverein Hildesheim (01/14/2008)
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Marcellvs L. | 30° Panorama da Arte Brasileira (11/08/2007)
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ars viva 07/08 | Museum Morsbroich (10/16/2007)
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9e Biennale de Lyon 2007 (09/14/2007)
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untitle:rope at the 16th International Electronic Art Festival - VideoBrasil (08/30/2007)
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Männerfantasien (08/21/2007)
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Ballads from our Invisibles Parks (07/30/2007)
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Flash Art - Issue 254 - May / June 2007 (05/21/2007)
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ars viva 07/08 (04/02/2007)
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18th Impakt Festival 29.03 - 01.04 (03/27/2007)
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Nam June Paik Award 2006 | Video Documentation (02/08/2007)
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marcellvs l. | museu de arte da pampulha (02/07/2007)
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0 4 3 4 (01/18/2007)
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frieze magazine - Issue 104 - January / February 2007 (01/08/2007)
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Wer mich lenkt ist das Meer (01/08/2007)
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27ª Bienal de São Paulo (12/04/2006)
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44th New York Film Festival (12/04/2006)
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 by Sapien