Marcello Mercado

  • Medienkunst aus Lateinamerika

    Medienkunst aus Lateinamerika

    13.2.2002 – 20.2.2002

     

     

     

    medio@rte latino

     

     

    Medienkunst aus Lateinamerika

     

    Haus der Kulturen der Welt
    John-Foster-Dulles-Allee 10,

    10557 Berlin

     

     

     

     

     

     

     

     

     

    Vom Assoziativen bis zum Nüchternen

    Neue Medienkunst aus Lateinamerika

    Text: Harry Thomaß
    Ausgabe: Nummer 333 – März 2002

     

    Lateinamerika Nachrichten - Die Monatszeitschrift zu Lateinamerika

     

     

     

  • ZEROGLAB Nanofestival 2002

    ZEROGLAB Nanofestival 2002

    02.07.2022

     

     

     

    ZEROGLAB Nanofestival 2002

    Rotterdam, The Netherlands

     

    (You will need Flash player emulator)

     

     

     

    Marcello Mercado
    Mutter, 2001, net-art

     

     

     

     

     

  • Apeiron Zool – Goethe Institut – Córdoba, Argentina

    Apeiron Zool – Goethe Institut – Córdoba, Argentina

    22.10.2001

     

    das Kapital.01
    (version 1997)

     

    Live Performance

    https://archive.org/details/DasKapital1

     

     

    Apeiron Zool – Goethe Institut – Córdoba, Argentina

     

     

    La Voz del interior 22.10.2001

     

     

     

     

     

     

     

     

    electronic music, abstract, experimental, noise, extreme noises, algorithmic, electro, drone, microsound, soundart, phonography, loop, breakbeat, clicks/cuts, game, industrial, electroacoustic, soundtrack

     

     

     

  • La Biennale Di Venezia: 49. esposizione internazionale d’arte: platea dell’umanità

    La Biennale Di Venezia: 49. esposizione internazionale d’arte: platea dell’umanità

    14.10.2001

     

     

    La Biennale Di Venezia: 49. esposizione internazionale d’arte: platea dell’umanità

    by Francesca Di Giacomo, Harald Szeemann, Cecilia Liveriero Lavelli, Lara Facco, Chiara Barbieri, Arsenale di Venezia, Dario Tagliabue
    Published by Electa, 2001
    Item notes: v.1
    Original from the University of Michigan
    Digitized 15 Nov 2007
    710 pages

     

     

     

     

    Bunker Poetico:

    Harald Szeemann ha voluto in questa Biennale uno spazio molto grande dedicato alla poesia: Marco Nereo Rotelli, artista e curatore del Bunker Poetico, ha installato oltre cinquecento poesie, giunte da tutto il mondo, lungo la rete metallica posta tra l’area delle Corderie e l’Arsenale Militare. Su tale recinzione, di circa trecento metri, si allinea un bunker in cemento armato sul quale è trascritta una poesia di Pier Paolo Pasolini, recitata da Orson Welles nel film Rogopag, censurato nel 1963.
    «Si può ri-costituire, attraverso la poesia, una dimensione mentale oltre il rispetto del tendenziale pensiero unico del potere ?» è l’interrogativo che Rotelli pone a intellettuali di tutto il mondo in una Biennale che s’intitola «Platea dell’umanità».
    I materiali poetici affissi alla recinzione costituiscono, secondo l’artista, un «muro di poesia materiale», ma anche «un muro mobile e mentale di poesia contrapposta al bunker immobile del potere o di tutto ciò che chiude le menti degli esseri umani».
    I poeti sono stati invitati a scrivere e a inviare una poesia «dedicata all’altro, non solo come altro da sé e altro in sé, ma anche come altro in apparenza invalicabile», una poesia sul rapporto conflittuale tra potere e libera parola del poeta. L’iniziativa è rimbalzata in Internet, da un capo all’altro del pianeta, grazie a una rete di collaboratori, tra cui il sito indipendente Karenina.it.
    Le poesie sono giunte con fax, posta elettronica, lettere, pacchi, poesie scritte non solo su fogli di carta, ma su materiali diversi, su oggetti d’uso comune, in un flusso dal reale al virtuale, dal libero pensiero e dalla «materia immateriale» della comunicazione alla materia-materia, alla concretezza delle cose di ogni giorno.
    http://www.reocities.com/kareninarivista/page3.html

    A Net-poetry event (the on-line happening «Parallel-Action-Bunker») was featured in the Biennale di Venezia in 2001 – Harald Szeemann curator; Bunker Poetico, a collaborative installation by the artist Marco Nereo Rotelli which involved international poets. The virtual happening on-line “Azione-Parellala-Bunker» (Parallel Action-Bunker) was simultaneous with real performances at Orsogrill delle Artiglierie, a real space of the Venice Biennale. With this event, a relationships was created among real and virtual poetry events, a new connective and collective network of poetry, based on communication, and similar to some events and happening by Fluxus, e-mail art and relational art.

     

     

     

    ANNIE ABRAHAMS

    DANIEL ACOSTA

    DEMOSTHENES AGRAFITIOS

    NIZLA AMARAL

    JORGE LUIZ ANTONIO

    SUSANA ARAGON

    ADRIANA ARIAS

    ROLAND BALADI

    JEAN-PIERRE BALPE

    TOM BELL

    JOHN M. BENNETT

    MIRELLA BENTIVOGLIO

    ROBERTO BIANCHI

    TOMASO BINGA

    JULIEN BLAINE

    BRICE BOWMAN

    DIANE CANEY

    HELEN CLARE

    MARIA CELIA BRUNELLO BOMBANA

    PIERO CADEMARTORI

    MARIA CONSUELO CUNHA CAMPOS

    DIANE CANEY

    ELENA COLOGNI

    PEDRO LOPEZ CASUSO (pez)

    NADIA CAVALERA

    THANASIS CHONDROS

    BEATRICE COMTE

    ALEX V. COOK

    JULIEN D’ABRIGEON

    DANIEL DALIGAND

    CATERINA DAVINIO

    KLAUS PETER DENCKER

    JUAN DIAZ INFANTE

    ALCKMAR LUIZ DOS SANTOS

    GIO FERRI

    CHARLES FLORES

    ALESSANDRO FO

    ROSA FOSCHI

    FRANCESCA DA RIMINI

    PIERRE-YVES FREUND

    NIJI FUYUNO

    ALVARO ANDRADE GARCIA

    GEORGES

    UBALDO GIACOMUCCI

    JOHN GIAN

    RICCARDO GIOVE

    VALENTI GOMES I OLIVER

    COCO GORDON

    JANINE GORDON

    KLAUS GROH

    PAOLO GUZZI

    CAISHLAN HERD

    MAX HORDRE

    ALEXANDRA KATSIANI

    PAWEL KWASNIEWSKI

    ROBERT KENDALL

    MARGA KLARKS

    DEENA LARSEN

    FRANCESCO LEONETTI

    CONSTACA LUCAS

    MARIO LUNETTA

    ROGER MAYER

    MARCELLO MERCADO

    ROSE ANNE McGREEVY

    GIULIANO MESA

    JOACHIM MONTESSUIS

    MASSIMO MORI

    SENADIN MUSABEGOVIC

    FRANCESCO MUZZIOLI

    CLEMENTE PADIN

    CHARLEMAGNE PALESTINE

    MARCO PALLADINI

    PIERFRANCESCO PAOLINI

    STAVROS PANAGIOTAKIS

    PAUL PARCELLIN

    STEFANO PASQUINI

    LUCA PATELLA

    IRENA PAVLOVA

    ALEXANDRE PAZMANDY

    VIVIANA PENKHUES

    RICHARD PIEGZA

    LAMBERTO PIGNOTTI

    JULIEN POIRIER

    CHRISTIAN POPP

    MAURICE POZOR

    NINA REIS

    SCOTT RETTBERG

    RENEE RODIN

    JONATHAN SILVERMAN

    SKIPSILVER

    FRANK SMITH

    CAROL STARR

    STAVROS PANAGIOTAKIS

    GIOVANNI STRADA

    REINER STRASSER

    CHRISTIAN TARTING

    SILVIA TESSITORE

    MARIA TSANTSANOGLOU

    CECIL TOUCHON

    IGOR ULANOVSKY

    EUGENY UMANSKY

    ALI VERBAN

    JANET WONDRA

    REID WOOD

    GRACE WYCHOWANSKA

    KARL YOUNG

    RYU YOTSUYA

    MATVEI YANKELEVICH

    WOLFGANG ZIEMER

    NINA ZIVANCEVIC

     

     

     

  • Adequatio Artis et Torturae – Towards Marcello Mercados Capital

    Adequatio Artis et Torturae – Towards Marcello Mercados Capital

    12.10.2001

     

     

    Adequatio Artis et Torturae – Towards Marcello Mercados Capital

    By Nils Röller

    Tuxamoon.de 06/ 08/ 2001

     

     

    Primo Levi spoke once about the shame to be a human being. The shame to be a human being did grow within him after having survived the holocaust. Levi wrote that the shame to have been tortured, to have been treated in a way that cannot be seen in parallels to other treatments, did grow in himself after the liberation of the concentration camps. This is one factor that helps to see Marcello Mercados work «The Capital”. The videofilm is a work in progress since years, it is finding now its shape. The actual state is 70 minutes long. Most time the capital is formed by moving abstract colours and an overhelming soundscape.
    The film is not all the time abstract.
    This has to do with the second factor: Of colourmaking and of abstraction. The color Fra Angelico became famous for – the Fra Angelico blue – goes back to lapizlazuli stones. Very expensive stones and a very long and precious way were necessary to produce colour from these stones. Marcello Mercados colours go back to Super 8 films: films of tortured persons in Argentina. It is found footage material that someone gave to him. Mercados colour productions starts from these images. He shows this basic images at the end of the film.
    At the end of the film one starts to feel shame, shame to have liked colours and forms that have been abstracted from yellow, blue, deformated, burned bones and organs.
    Marcellos work challenges an old definition of what is true or not.
    True is when mental concepts are adequate to the things they represent.
    Three questions do arise immediatley: What is a mental concept? What is an adequate representation? And what are things?
    Stefan Zweig discusses aspects of this questions in the context of the theory of novel. Zweig argues that Dostojewskis novels are beautiful because they are truly lived through: The writer Dostojewski did live through all the cruelties and tortures he is writing about.
    This enabeld him in the interpetation of Zweig to represent Russia in a true that is adequat form. Zweig argumentation assumes that art is overhelming when an adequation between the representing artists and the represented reality is taking place. This is highly problematic. At minimum in two regards: First because Dostojewski did need a central idea (in his case: the idea of the becoming moral superiority of russia) in order to maintain and persue the construction of his novels, second because the adeqution is a relativ criterion. At the same time, but in a different geophilosphical context the definition of adequatio is not connected with an action of the soul, but to well working technology (see for example the biologist Ernst Haeckel).
    How an adeqution is performed can be discussed in terms of geophilosophical and epistemic conditions. Marcellos Mercados The capital reflects this. Like Dostojewski he has survived extreme situations, but in difference to Dostojewski Marcello does not construct a central idea in order to organize his expressions. Marcello uses distinctly technology in order to question what he has seen and suffered. Flint- and Paintbox – Techniques are used as optical devices who do shape another view on the phenomena to express. This enables him to step beside his powerstation of sensations and to discuss them from a different angle. Colour options and geometric constructions are such angles. They are laid out in the programm of the machines. But this angels are not focussed by a fleeing point, but by an open horizont formed by a critique on capitalism.
    The Capital of Marx serves in the Capital of Mercado as an open horizont of questions (not as stock for clear ideas that may order actions and events) and as an invitation to discuss the fact of torture and cruelity in a post-colonial time.

     

    Nils Röller

     

     

     

  • Archive: Department of Film and Video – CARNEGIE MUSEUM OF ART

    10.10.2001

     

     

     

     

     

     

     

    Archive: Department of Film and Video – CARNEGIE MUSEUM OF ART

     

     

     

     

     

     

    CARNEGIE MUSEUM OF ART
    440 Forbes Avenue
    Pittsburgh, PA 15213

     

     

     

     

     

     

     

     

     

     

     

  • Nils Röller: Vorsprung im Umgang mit Terror

    28.09.2001

     

     

    Nils Röller: Vorsprung im Umgang mit Terror

     

    Ansichten vom 13. Festival für elektronische Kunst in São Paulo

     

     

     

     

     

     

     

     

     

     

     

     

  • 13. Videobrasil: «Politik» – Performance by Marcello Mercado

    13. Videobrasil: «Politik» – Performance by Marcello Mercado

    21.09.2001

     

     

     

    13.Videobrasil: «Politik», Performance by Marcello Mercado

     

     

    With performances that challenge the traditional concepts of the modality, Videobrasil continues this year with what has become a permanent feature: stimulus to artists who are researching hybrids resulting from the combination and dialogue between image, movement, music, dance, the body itself and scenic space. In this edition, Alexandre da Cunha, Eder Santos, Luiz Duva and Marcello Mercado – the latter prize winner at 12th Videobrasil – are representatives of this live form of expression in constant transformation. The programme, varied and of various approaches, advances the Festival’s idea of promoting a kind of permanent thinking laboratory.

    Argentinean artist Marcello Mercado brings work of impact, in which his orifices, his own body and a politicized discourse are key elements.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    VERSIONS 99, 2000 and 2021 :

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    INCARCERATION, 2021

     

     

    https://contemporaryand.com/es/events/confinamentos

     

     

    Is it possible to speak of the politicization of #incarceration? Punitive crime policies are the political, social and economic products of violent States and highly hierarchized societies. Incarceration also constitutes an authoritarian technology that centers around torture. The body is at the core of the Argentinian artist #MarcelloMercado’s investigation of manipulation, vigilance, and violence, alluding to the torture of citizens by the Argentinian military during the country’s dictatorship, and eliciting reflections on the imposition of fear and the relationship between physical and symbolic confinement. The performance was staged at the 13th edition of Videobrasil Festival and its record is part of #Confinements, curated by #JulianaBorges, on show at videobrasil.online (link in bio)

     

     

     

    https://www.instagram.com/p/CP1cQc7LlQs/

     

     

     

     

     

     

     

  • 13th Festival Videobrasil

    13th Festival Videobrasil

     

     

    19.09 – 21.10.2001

     

     

     

     

    13th Festival Videobrasil

     

     

     

    Edition thirteen of the Festival, hosted in Sesc Pompeia, featured flows, fusions, and hybridizations. A vast sample of artistic incursions into media such as CD-ROM and the Internet was presented and included in a category of the competitive exhibition. Some of the most prominent curators in Belgium, Canada, Spain, the United States, France, Greece, England, Mexico, and Peru created programmes using hybrid work from their native countries. American artist Gary Hill, whose up-to-the-minute work combined words and images to create new meanings, was honored with a retrospective, and presented a performance about childhood and fantasies (“Remembering Paralinguay”). Another international guest, Italian poet and video artist Gianni Toti, brought in work discussing the Latin-American identity. The Festival included a tribute to Brazilian pioneer Rafael França, whose body of work deals with issues such as gender. He was fascinated by the challenges of videomaking. França died young, in the beginning of the 1990s.

     

     

     

    curator Solange Farkas

     

     

     

    Sesc Pompeia

    Rua Jaguaré Mirim, 210
    Vila Leopoldina – São Paulo – SP BR
    05311 020

     

     

     

     

     

    Featured artists

     

     

     

     

     

     

     

     

     

     

  • GND_EARTH Galerie Berlin

    GND_EARTH Galerie Berlin

    08.06.2001

     

     

    GND_EARTH Galerie Berlin

    GND_EARTH (ground to earth) präsentieren, vom 06. – 10. Juni 01 ein Ausstellungs- und Filmprogramm von Studierenden und Absolventen der Kunsthochschule für Medien Köln.

     

    GND_EARTH
    Schreinerstr. 16
    10 247 Berlin

     

    Freitag, 08.06.01
    um 21.30h >Das Kapital<
    eine Video-Sound-Performance von Marcello Mercado.

     

     

    Programm

    Mittwoch, 06.06.01
    ab 19.00h
    Ausstellungseröffnung
    >monospace<
    Foto- Videoarbeiten von Maximilian Erbacher

     

    Donnerstag, 07.06.01
    ab 19.00 geöffnet – Ausstellung >monospace<
    um 20.30h
    >Discourse on Media Art<
    Vortrag von Andreas Walther anhand einer Auswahl von Arbeiten,
    die in den letzten 10 Jahren an der KHM entstanden sind. Im Anschluß daran, offene Diskussion.

     

    Freitag, 08.06.01
    ab 19.00h geöffnet – Ausstellung >monospace<

    um 21.30h >Das Kapital<
    eine Video-Sound-Performance von Marcello Mercado.
    In seinem Film „Das Kapital“, basierend auf Karl Marx, zeigt
    M. Mercado mit einer Mischung aus Inszenierung, Animation und
    Found Footage seine Vision eines der bedeutensten Manifeste des
    20.Jhd. Mit dem Klangmaterial aus seiner gleichnamigen Oper, die in
    Zusammenarbeit mit dem Künstler Anthony Moore entstanden ist, wird
    Mercado seinen Film performativ begleiten.

     

    Samstag, 09.06.01
    ab 19.00h geöffnet – Ausstellung

    um 21.30h >Passing Drama<
    eine Video-Klang-Performance von Angela Melitopoulos. Die Flucht als Motiv der Erzählung wird in Passing Drama zu einem filmischen Thema über Erzählung und Gedächtnis selbst. Historie erscheint als eine Maschinerie, die für das Wohl einer unsichtbaren Mehrheit Minderheiten verschlingt. Drama wird zur Bühne des Vergessens, allerdings eines Vergessens, das nicht aufgehört hat, zu bewegen. Jeder Ort der Erzählung erscheint als eine differenzierte Zeitebene, mal als Erinnerungsort oder auch als Ort der Handlung. Stimmen werden einerseits als Text aber auch als Tonmaterial genutzt. Sie bilden die Fäden eines Gewebes,
    die narrative Struktur des Videos ist hypertextuel. An diesem Abend nimmt die Künstlerin die Fäden wieder auf und webt neues Klangmaterial in die schon bestehende Struktur des Films.

     

    Sonntag, 10.06.01
    ab 15.00h geöffnet – Ausstellung

    um 16.00h >GND_EARTH bittet zu Tisch – Kurzfilme<
    Bei Kaffee und Kuchen wird das Kurzfilmprogramm mit Filmen diverser
    Genres zum Thema „Tisch“ eröffnet. Der Nachmittag klingt entspannt aus
    mit dem ersten Roadmusical „Ich muß gehen“ (Max-Ophüls-Preis)
    von Florian Mischa Böder.
    (Ablauf s. Anhang)

    um 19.00h >Experimentalfilm<
    Gezeigt werden Filme, die aus der narrativen Filmstruktur ausbrechen und
    neue Bildwelten und Erzählebenen suchen.
    >Untertauchen< von Andreas Walther
    >Brunnen< von Ludger Hoffacker
    >Wo träumende Esel träumen< von Echo Ho
    >Go (down) Mary< von Börries Müller-Büsching

     

    Ausstellung > monospace < von Maximilian Erbacher

    Die fünf größten Flughäfen Deutschlands:
    – 5 Fotoarbeiten, Farbe, 98 x 140 cm
    – Video, Farbe, 12 min.
    „An den größten deutschen Flughäfen –München, Frankfurt/Main, Hannover, Berlin und Hamburg- kam es von November 1999 bis Mai 2000 zu
    folgender fotografischer Aktion. Das Ziel bestand darin, auf die Start- bzw. Landebahn dieser Flughäfen zu gelangen. Mein Interesse richtete sich dabei
    auf die Sektion der Landebahn, in welcher man die ersten Berührungspunkte der landenten Flugzeug mit dem Beton erkennen kann. In diesem Abschnitt,
    auch Touchdown genannt, findet man eine Überlagerung von unterschiedlich langen und intensiven Abdrücken der aufsetzenden Pneus.
    Dieser Raum des Flughafens verdichtet zwei verschiedene Dimensionen –die Elemente Luft und Erde.
    Das Bild dieser Abriebspuren zeigt zum einen die Geschwindigkeit an diesem Ort, zum anderen, die Flüchtigkeit der Spur an einem transitorischen Ort,
    durch die kontinuierliche Wiederholung des Landevorgangs. Das Bild ist exterritorial. Die filmische Dokumentation der Aktion zeigt mein
    Vordringen/Überwinden auf das Sperrgebiet der Start- und Landebahn.
    Der Nachweis der eigenen Existenz liefert der Zustand des Sich-Bewegens und des Sich-in-Bewegung-Haltens. Räume, die das Sich-Bewegen zum
    Bewegten transformieren, sind auch Räume, die die Persönlichkeit auszulöschen drohen: Groß-Flughäfen, Großraum-Supermarkt, Großraumkinos.
    Der Passagier: Mieter eines Raumes für wenige Stunden, seine Präsenz ist eine Form flüchtiger Gegenwart. Kausalität von Hypergeschwindigkeit und
    Hyperkraft. Linearität der Bewegungen. Der Horizont ist das Ende des Rollfeldes, ist die Tragfläche des Flugzeuges.“ (M. Erbacher)

     

     

     

  • Marx – Engels revisited

    Marx – Engels revisited

    Netart / Database performance / Early web intervention

    Marcello Mercado

    Marx – Engels Revisited (2001)

    Marcello Mercado

    This work operates within early networked archival environments that simulate access to burial sites through searchable interfaces.

    The system organizes identity through fields: name, date, location. The body is absent. Presence is produced through retrieval.

    Marx and Engels are accessed as entries.

    The visit is executed as a query.
    The result is a record.

    No spatial displacement occurs.

    A secondary operation introduces a non-indexable element: a three-dimensional object modeled in 3ds Max. The object is not representational and does not correspond to any predefined category within the system.

    It is inserted without protocol.

    The interface accepts textual input.


    It does not process objects.

    The insertion produces no registration.

    No field accommodates the object.
    No record is generated.
    No persistence is established.

    The operation remains unacknowledged.

    The system continues to function without integrating the event.

    This produces a structural condition:

    archive without body

    access without presence

    action without inscription

    The cemetery is reconfigured as an interface.
    The grave becomes a query result.
    The visit is reduced to retrieval.

    The object exists only at the level of temporary visualization. It is rendered within the session and disappears with its termination.

    No trace remains.

    The work does not reconstruct historical presence. It situates it within a system that operates through exclusion.

    At this level, the structure aligns with a condition described in Gödel’s incompleteness theorems: the existence of elements that cannot be resolved within the system that contains them.

    The object is such an element.

    It is introduced.
    It is not integrated.

    The system remains operational.

     

    Documentation: screenshots captured during the original interaction, 2001
    Browser: Internet Explorer
    Platform: Find A Grave (early web database system)
    3D object: modeled in 3ds Max

     

     

     

     

     

     

     

  • Interferences Biennial

    Interferences Biennial

    14.12.2000 – 20.12.2000

     

    Interferences Biennial

    organized by

    the cicv pierre schaeffer in Montbeliard, Belfort, France

     

     

    Artists  [+]

     

    Eric ADELBERT
    Enrique AGUERRE
    Julien ALMA
    Daniel ALMADA
    Miguel ALMIRON
    Rodrigo ALONSO
    Fernando ALVAREZ COZZI
    Alessandro AMADUCCI
    Guillermo AMATO
    Jean-François AMIARD
    Adriana AMODEI
    Rafael ANDRINO
    Antonio ARANGO
    Paul ARDENNE
    Fredy ARIAS
    ARMAN
    Thierry ARREDONDO
    Manolo ARRIOLA
    Felipe ARTURO
    Roger ATASI
    Aloisio AVAZ
    Licinio AZEVEDO
    Géraldine BAAR
    Cécile BABIOLE
    Jacopo BABONI SCHILINGI
    Brigitte BAGNOL
    Sylvie BALLYOT
    Jean-Pierre BALPE
    Lucas BAMBOZZI
    Jorge BARNEAU
    Xavier Jorge BARRETO
    Patrice BARTHÈS
    Philippe BAST
    Dusan BAUK
    Jean-Louis BAVEREL
    Claire BAZIN
    Nadine BEAULIEU
    Jean-Pierre BEAUVIALA
    Breda BEBAN
    Christine BEIGEL
    Ryad BENOSMAN
    Stéphane BERARD
    Alessandra BERGAMASCHI
    Rafael BESACCIA
    Monique BIENMULLER
    Fred BIGOT
    Joline BLAIS
    Paula BOHORQUEZ
    Pierre BOILEAU
    Richard BOLAM
    Antoine BOLLASINA
    Angie BONINO VELAOCHAGA
    Natalie BOOKCHIN
    Xavier BOUSSIRON
    Antoine BOUTET
    BOUTO
    Francis BRAS
    Alejandro BRUITAGO
    Jean-Michel BRUYERE
    Christine BUCI-GLUCKSMANN
    Hank BULL
    Andres BURBANO
    Gwek BURE-SOH
    Mariela CADIZ
    Robert CAHEN
    Roland CAHEN
    Siegfried CANTO
    Inês CARDOSO
    Sandra CARIGLIANO
    Sonia CARIONI
    Jorge CASTRO
    Michel CAZEAUX
    Anne CHABERT
    Young-Hae CHANG
    Grégory CHATONSKY
    Gérard CHERQUI
    Marc CHIKITOU
    Caroline CHOMICKI
    Chen CHU-YIN
    Magali CLAUDE
    Valentina COCCETTI
    Philippe CODOGNET
    Thierry CODUYS
    Janet COHEN
    Renaud COJO
    Rupert COLE
    Pabla CONCHA
    Loic CONNANSKI
    Arcangel CONSTANTINI
    Nicole CORSINO
    Norbert CORSINO
    Laurent COSTES
    Edmond COUCHOT
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