6 abril, 2023
In
Book, Up to date
Marcello Mercado, Confinment, Artist´s book, 82 pages, 2020
Marcello Mercado
Confinment
Artist´s book, 82 pages
2020
Marcello Mercado
Confinment
Artist´s book, 82 pages
2020
Marcello Mercado
){aa.event.remove10Jul 16
Photo Book, 32 pages
2002
Marcello Mercado
White
conceptual artist book, 125 pages
2013
Marcello Mercado
Filmography
Burning Garden
7m 43″, colour, stereo, HD, 2024, Argentina
Listening the chromosome 17
21m 02″, colour, stereo, HD, 2023, Argentina
Testflüge . Test flights
10m 04″, colour, silent, HD, 2023, Germany
To whom does the time belong?
1h 03m, stereo, black/white, 2020, Germany
Curves, compost, forecasts and enclosure
10min 51″, stereo, colour, 2020, Argentina
Procesar Destruir Representar Archivar
5m, silent, 2020, Argentina
Bestiary for the minds of the 21st Century: Genomic Opera
16:9 2016 colour 2-channel video installation, stereo, Germany
Das Kapital Teil 1– Capital Part 1, version 2015
15 ́ 58” colour/ b/w 2015 stereo, PAL, Germany
vibrational notations Generator
09 ́ color PAL stereo 2015
4-channel video installation, silent, 9 ́ loop
Sketches of matrixes with several functions
03 ́ 50“ color PAL silent 2015
4-channel video installation
Van Gogh Variations (Variationen Van Gogh)
16:9 colour 2014 7-channel video installation, stereo, Germany
Wie die Leoparden, Leoparden fingen (How leopards caught leopards)
20 ́41″ colour 16:9 2014 single-channel video installation, stereo, Germany
Spätherbst (Late fall)
09 ́35″ color/b/w 4:3 2014 single-channel video installation, stereo, Germany
Meta Documentary
03 ́19″ color/b/w 4:3 2014 single-channel video installation, stereo, Germany
Sommer (Summer)
16 ́28″ color/b/w 4:3 2014 single-channel video installation, stereo, Germany
ABANDON(ware) Capital excess routine
11 ́44″ color 16:9 2013 videoinstallation, stereo, Germany
Tonspur – Bildspur (Sound trace -Image trace)
08 ́ 12″ color 16:9 2013 video installation, stereo, Germany
GLITCHES_DIARIES of PURE DESKTOP
15 ́ colour 1999-2012 video installation, stereo, Germany
AKKORD
27 ́ 42″ color 4:3 2012 performance, stereo, Germany
Paisajes con vacas
07 ́52″ colour 2012 video installation, stereo, Germany – Argentina
Historia del arte argentino
01 ́07″ B/W 2012 video installation, silent, Argentina
SUMMA – Notations
04 ́ 12″ B/W stereo, PAL, Germany
DELETE
10 ́ 06″ color 2012 stereo, PAL, Germany
Live streamings from Dolmens
05 ́ 11″ color 2011 stereo, PAL, Danmark
transferring, storing, sharing, and hybriding: Text_version
05 ́ 31″ B/W 2011 stereo, PAL, Germany
New Automata
17 ́ 34″ color 2011 stereo, PAL, 16:9 Germany 2011
Ooops! Enter text.
05 ́ 52″ color 2011 stereo, PAL, 16:9 Germany
Discourse on the trade of the winds
12 ́ 39″ color 2011 stereo, PAL, Germany- South Africa- Danmark
Variations of the complementary game for up to four automaton states
45 ́ 11″ color 2011 stereo, PAL, 16:9 Germany
Hasse diagram for a propositional calculus for three automatons
25 ́ 02″ color 2011 stereo, PAL, 16:9 Germany
The Universes
1h. 02″ color 2011 stereo, PAL, 16:9 Germany
transfering, storing, sharing and hybriding: The perfect humus
9 ́ 27″ color 2010 stereo, PAL, Germany-Danmark
The Capital Part1
60 ́ color/ b/w 2009 stereo, PAL, Germany
Electroluminiscent – The Luminiscent Animation <Thorax-Abdomen-Cantatrix>
10 ́ 57″ color 2009 stereo, PAL, Germany
Bioluminiscent – The Luminiscent Animation <Thorax-Abdomen-Cantatrix>
10 ́ 57″ color 2009 stereo, PAL, Germany
electroFLD_GLITCH
0
5 ́01″ color 2009 stereo, PAL, Germany
Azimuth77
21 ́26″ color 2006-2009 stereo, PAL, Germany
Captured Sequences
24 ́31″ b/w 2008 stereo, PAL, Germany
Primordial Capital: Stone-artefacts
18 ́ color 1999-2008 stereo, PAL, Germany
Wir alle vermissen die D-Mark oder Clara Schumann’s DNA Konzert
7 ́35″ color 2008 stereo, PAL, Germany
CROSSFADE
13 ́ 31″ color 2008 video installation, stereo, PAL, Germany
Supermassive
4 ́ 48” color 2008 stereo, PAL, Germany
Making consistent volatile ideas…(Backstage)
1 ́ 13″ color 2008 stereo, PAL, Germany
Fassbinder – Vostell – DNA expedition
25 ́ 36“ color PAL stereo 2008 2-channel video installation
Making consistent volatile ideas by broadcasting bio-information through plants,
DNA, worms and Radio Frecquencies
34 ́color 2007 stereo, PAL, Germany
Ur-Suppe. Primordial soup
7 ́57″ color 2007 stereo, PAL, Germany-South Africa
Ur-Jäger. Primordial Hunters
12 ́07″ color 2007 stereo, PAL, Germany-South Africa
The hybridization of real and virtual war
38 ́ b/w 2007 stereo, PAL, Germany
Series of periodical bilinear Surfaces
6 ́ 31″ color 2006 stereo, PAL, Germany
The on-coming water
24 ́ color 2006 stereo, PAL, Danmark
Materialien/Energie
20 ́ color 2006 stereo, PAL, Germany
FFFF FFFS FFSS SSSS, The Pluripotent and the Eleven hESC lines
86 ́color 2006 stereo, PAL, Germany
Mac-Acupunture
5 ́ 04″ color 2005 stereo, PAL, Germany
The hebbian Theory
8 ́ 06″ color 2005 stereo, PAL, Brazil- Germany
The Chemical and Physical Perception,
in the Eye of the cat in the moment of the cut
12 ́ 58“ color 2005 stereo, PAL, Germany
Biorealismus
19 ́15“ color 2005 stereo, PAL, Germany
Biography
3 ́ color 2005 stereo, PAL, Germany
Selbsporträt
7 ́ 17” color 2005 stereo, PAL, Germany
Self-portrait as a spider
3 ́ 19” color 2005 stereo, PAL, Danmark
The ability to backup
3 ́ color 2005 stereo, PAL, Denmark
Untertitel mit Landschaft
25 ́color 2005 stereo, PAL, Germany- Danmark
Apparatus for Regulating the Watch
30 ́ color 2005 stereo, PAL, Germany (2-channels-Installation)
Regulating the Watch
30 ́ color 2005 stereo, PAL, Germany
Weitere Multiplikationen
21 ́35“ color 2005 stereo, PAL, Germany
Hydantoin-derivative-Ich muß…
4 ́color 2004 stereo, PAL, Germany
250MB
28 ́color 2004 mono-stereo, PAL, Danmark
Index_Generator
24 ́ color 2004 stereo, PAL, Germany
Das Kapital.07
17 ́color 2003 stereo, PAL, Germany – France – USA – Argentina
Politik
4 ́color 2001 stereo, PAL, Brasil
Tote Hunde bissen nicht (Dead dogs don ́t bite)
15 ́ 43″ color 2000 stereo, PAL, Germany
The Hierophant Part I The updates and the subscribers
06 ́ color 2000 stereo, PAL, Germany (updates 2011 and 2012)
38% und Simulationen
10 ́ color 2000 stereo, PAL, Germany
The Capital v.01 and v.02
17 ́ 37″ color 1999-2000 stereo, PAL, Germany
The Capital v.03 and v.04
13 ́ color 2000-2001 stereo, PAL, Germany
The Capital: Slow, unstable…
13 ́ color 1999 stereo, PAL, Germany
Wie ich die fetale landschaft manipuliert habe
5 ́ 55“ color 1999 – 2000 stereo, PAL, Germany
Die Energie der Bakterien
19 ́ 51“color 1999 stereo, PAL, Germany
Das Kapital: Fall Dateien gelöscht
9 ́ 48“ color 1999 stereo, PAL, Germany
Re-routing biopockets
20 ́ 41“ color 1999 stereo, PAL, Germany
Die Konstruktion genetischer Cromosomenkarten
59 ́ 48“ color 1999 PAL, stereo, Germany
Politik (1)
11 ́ 23″ color 1999 stereo, PAL, Germany
The coefficient of fiction Part .01
5 ́16″ B/W 1994 mono, PAL, Argentina
Richter Variationen
8 ́ 37″ color 1999 stereo, PAL, Germany
A Vanishing Quantity in the mathematical sin
12 ́ color 1999 stereo, PAL, Germany
The End of the XY Society
11 ́ color 1998 mono, PAL, Argentina
The Warm Place
38 ́ color 1998 stereo, PAL, Argentina
The Edge of Rain
42 ́color 1995 stereo, PAL, Argentina
Remains of my Mother
15 ́ color 1995 stereo, PAL, Argentina
The Silence
15 ́47“ color 1995 mute PAL Argentina
Discussing with you some very important scientific newspaper of the day
1 ́36“ color 1994 mono, PAL, Argentina
Emptiness
14 ́ color 1994 mono, PAL, Argentina
The coefficient of fiction Part .01
14 ́ B/W 1994 mono, PAL, Argentina
The Torment Zone
9 ́color 1992 mono, PAL, Argentina
Clouds
8 ́color b/w 1992 mono, PAL, Argentina
Reset all Settigs
49 ́42″ color 1990 mono, PAL, Argentina
Marcello Mercado
Born in Argentine in 1963. German citizen. He studied at the Academy of Media Arts Köln, Germany and at the National University of Córdoba, Argentina. He lives and works in Argentina and in Germany.
Marcello Mercado is a contemporary artist associated with Post Internet art- Process Art – Virtual Art – A.I. -Paintings – Drawings – Artist’s books – BioArt – New Media Art – Sound Art and Time Based Media
His artwork is research as practice. He explores the relationship between technology, biology and art, with special interest in the interaction between digital, virtual and organic materials. Mercado ́s artistic perspective uses unlike technologies like Data gathering with drones, topological-mappings, satellites; DNA extractions; Code language; 3D printing and Music notations written by robots.
Biological theories, mathematical principles, and technology are founding elements in his work. He straddles the boundaries between video art, performance, net.art, music, and painting. An amalgam of nuances from a world ruled by data overload.
Fellowships:
1996 at The John D. and Catherine T. MacArthur Foundation, The Rockefeller Foundation and The Lampadia Foundation;
1999 at The Academy of Media Arts Köln. Germany;
1993 at Fundación Antorchas. Buenos Aires Argentina and The John D. and Catherine T. MacArthur Foundation, The Rockefeller Foundation.
2014 Grant from the Digital Synesthesia Group, Department of Digital Art, University of Applied Arts, Vienna, Austria
2013 Grant for Media Art from the Foundation of Lower Saxony at the Edith-Russ- Haus for Media Art
2012 Honorary Mention, Prix Ars Electronica in Interactive Art;
2009 His work “Das Kapital” was selected in the exhibition “40 Years Videoart Germany” by Zentrum für Kunst und Medien Technologie. Karlsruhe. Germany;
2005 Nominated at The 50 Best, International\Media\Art\Award 2004, by Zentrum für Kunst und Medien Technologie, ZKM
2001 La Biennale di Venezia, Special Projects: Bunker Poético, curated by
Marco Rotelli;
Premio Konex, Buenos Aires, Argentina
2000 Post-Production Residence in Centre International du Creation Vidéo Pierre Schaeffer Montbéliard Belfort France;
Wie mann sieht…Museum Ludwig, Cologne; curated by Siegfried Zielinski and Jürgen Klauke
The First Prize Videobrasil;
1999 Grand Prix de La Création Vidéo. Vidéoformes, Clermont-Ferrand. France;
Wand5 – Stuttgart: Nominierungen Best Netart, 1999
1999-2001 Fellow at The Academy of Media Arts Köln. Germany;
1998 and 2001 The First Prize Videobrasil;
1997 Achievement Award. Melbourne International Film & Video Festival, Australia;
He participated in the Goethe Institutes Global Bodies, Global teleconference, Opening of Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany 1996 Fellow at The John D. and Catherine T. MacArthur Foundation, The Rockefeller Foundation and The Lampadia Foundation;
1995 Main Prize 22nd EKOTOPFILM’95. Bratislava. Slovak Republic;
Nominated for the best video of the year, Internationaler Videokunstpreis, Zentrum für Kunst und Medientechnologie
ZKM, SWF, ORF, Karlsruhe, Germany
1994 The Main Prize Videofest Berlin
Grand Prix de Toutes Categories. 4a Mondial de la Video. Bruxelles, Belgium 1993 Grant at Fundación Antorchas and The Rockefeller Foundation and The John D. and Catherine T. MacArthur Foundation
Mercado has participated in several art exhibitions, including Kunsthistorisches Museum Wien; Museum Museum Ludwig, Cologne; ZKM, Karlsruhe; Museo Nacional Reina Sofía, Madrid; Kunsthaus Dresden; 51st Venice Biennale; MAMBA, Buenos Aires; 11th Biennale de l ́Image en Mouvement, Ginebra; The Taipei Fine Arts Museum; Berkeley Art Museum; II Biennial of Mercosul; Itaú Cultural, São Paulo; New York Video Festival.Walter Reade Theater at Lincoln Center, etc
Exhibitions:
2022 Lo próximo y lo extraño – The next and the strange
curated by Celeste Massin, Solo Show
MUBA – Museo de Bellas Artes René Brusau, Resistencia, Chaco, Argentina
REVIRAVOLTA
Curated by Solange Farkas, Group Show, Galeria Homero Massena, ES, Brasil
2021 Marcello Mercado: Sense and Sensitivity I Galerie Bernet Bertram, Berlin, Germany
Confinamentos
Curated by Videobrasil, On-line /Group Show
2020/2021 Beethoven bewegt/ Beethoven moves,
curated by Andreas Kugler, Jasper Sharp, Stefan Weppelmann and Andreas Zimmermann
Kunsthistorisches Museum Vienna, Austria
2018 Join the Dots/Unire le distanze,
curated by Nicolas Vamvouklis, Luca Beatrice, Luciano Benetton, Salone degli Incanti, ex Pescheria Centrale, Trieste, Italy
2017 Potential Spaces. Staatliche Hochschule für Gestaltung Karlsruhe (HfG). Zentrum für Kunst und Medientechnologie (ZKM). Karlsruhe. Germany Bepi Crespan Presents, CiTR FM 101.9 Radio Vancouver, Vancouver
2016 In Medias Res, Bernet – Bertram Galerie, Berlin
Digital Synesthesia, Angewandte Innovation Lab (AIL)
The University of Applied Arts Vienna
Vienna, Austria
Digital Synesthesia, ISEA, Hong Kong
Bodenlos / Groundless, Vilém Flusser und die Künste, SESC Sao Paulo DOX Centre for Contemporary Art, Prag
2015 Bodenlos / Groundless, Vilém Flusser und die Künste, ZKM | Zentrum für Kunst und Medientechnologie; Akademie der Künste, Berlin
European Media Art Festival, EMAF, Osnabrück, Germany
Imago Mundi. Luciano Benetton Collection, M
appa dell’arte nuova,
Fondazione Giorgio Cini,
Venice, Italy
XWRA Video and Media Festival 2015, XWRA, Artland, Greece Bienal Internacional de Performance BP.15, Buenos Aires, Argentina roBOt Festival, Bologna, Italia
2014 BIO·FICTION Science Art Film Festival, Museum of Natural History, Vienna Grant from the Digital Synesthesia Group, Department of Digital Art, University of Applied Arts, Vienna, Austria
Poéticas de Archivo, Historias del video arte argentino, MACBA, Museo de Arte Contemporáneo de Buenos Aires
Kunstfrühling 2014, Bremen
Bepi Crespan Presents, CiTR FM 101.9 Radio Vancouver, Vancouver
2013 Grant for Media Art from the Foundation of Lower Saxony at the Edith-Russ- Haus for Media Art, Oldenburg, Germany
2012 Honorary Mention, Prix Ars Electronica in Interactive Art, Linz, Austria
2009 His work “Das Kapital” was selected in the exhibition “40 Years Videoart Germany” by Zentrum für Kunst und Medien Technologie. Karlsruhe, Germany, curated by Christopher Blase and Peter Weibel
Ludwig Forum für Internationale Kunst, Aachen, Germany;
Kunsthaus Dresden Städtische Galerie für Gegenwartskunst, Dresden, Germany;
Lennox Contemporary Gallery, Toronto, Canada
2007 El lienzo es la pantalla. Museo Nacional Centro de Arte Reina Sofía, Madrid, curated by Berta Sichel
2006 Georges Abstraction. Centre Pompidou. Paris. France, curated by Bureau des Videos
2005 Biennial of Moving Images (BIM), Genéve, Switzerland
2004 New York Video Festival. Film Society of Lincoln Center, New York, USA 2003 Taipei Fine Arts Museum, Taipei, Taiwan curated by Andreas Walther 2002 Radiotopia, OE1 Kunstradio, Ars Electronica, Linz, Austria
2001 La Biennale di Venezia, Special Projects: Bunker Poético, curated by Marco Rotelli
Post-Production Residence in Centre International du Creation Vidéo Pierre Schaeffer Montbéliard Belfort France;
Wie mann sieht…Museum Ludwig, Cologne; curated by Siegfried Zielinski and Jürgen Klauke
The First Prize Videobrasil; GND_Earth Gallery, Berlin, Germany
2000 Tent Gallery, Rotterdam, The Netherlands
Chicago Filmmakers, Chicago, USA
Biennial Interferences, Centre de Video Creation Pierre Schaeffer, France Art Biennial Buenos Aires Argentina, Argentina
1999 Grand Prix de La Création Vidéo. Vidéoformes, Clermont-Ferrand. France;
1999-2001 Fellow at The Academy of Media Arts Köln. Germany;
1998 and 2001 The First Prize Videobrasil;
1997 Achievement Award. Melbourne International Film & Video Festival, Australial;
1996 Fellow at The John D. and Catherine T. MacArthur Foundation, The Rockefeller Foundation and The Lampadia Foundation;
1995 Main Prize 22nd EKOTOPFILM’95. Bratislava. Slovak Republic; Leeds International Film Festival, UK
1994 The Main Prize Videofest Berlin
Grand Prix de Toutes Categories. 4a Mondial de la Video. Bruxelles, Belgium
1993 Grant at Fundación Antorchas and The Rockefeller Foundation and The John D. and Catherine T. MacArthur Foundation,
Marcello Mercado
Listening the chromosome 17
1-channel Video Installation
Bioart /Hybrid
21´02″, colour, stereo, HD
2023
Vimeo Pass: deutschland
The idea of this installation is to explore the different instances and possibilities of the self-portrait through A.I. and 3D scanners.
Who can I be if I am perceived by machines? Am I alive or am I dead to those artificial intelligences? Is it necessary to make this distinction?
It would seem that the text acquired a hysterical character as a producer of images.
The countless beta versions of the self-portrait For three months, I conducted listening sessions on chromosome 17 of the human genome. Some of its fragments were translated into audio by a synthetic voice (A.I.). During the sessions, I randomly scanned my head with various 3D scanner apps on my iPhone.
These captures were unsuccessful because the 3D scanner completed and resolved my head – even textured it – without understanding the contextualization or understanding of what a human head is like. I created images using DELL-E and combined them with those created by the scanners. I virtually walked around with a carved wooden head that was my object of study, like my own head.
I took 3D scans of almost everything around me: Plants, walls, various objects, garbage, keys, laptop, etc. and a final animation in the style
of a big primordial scanner soup.
Then I corrected the editing of the animation by suppressing text with A.I.
The audio of the installation partially performs a sonic recombination of chromosome 17 with itself through A.I.
Marcello Mercado
Marcello Mercado
Testflüge – Test flights
1-channel video installation
10m 04″, colour, silent,
2023
Vimeo Pass: deutschland
The interacting subroutines
Adding elements to the Scene
The moving target
Extinction
[data mining] program
Why does this method fail with nonsense factors?
Dead Files
Denied File
1 – To conserve valuable energy
2 – Behavioral
3 – A virtual particle
4 – Access Restricted
Start a new topic
I start to divide myself in an uncontrolled way.
Marcello Mercado
Marcello Mercado, Wem gehört die Zeit? (To whom does the time belong?)
1-channel videoinstallation
63minutes, black/white
2020
The installation explores the time that the same medium consumes. The inaudible soundtrack is made up of frequencies that stimulate photosynthesis.
The conceptof the videoinstallation is based on the text of Siegfried Zielinski written in Variations on Media Thinking, 2019: «The decisive question posed by those who, after the First World War, laid claim to be fighting for a better life for the many, was “to whom does the world belong?” Bertolt Brecht had asked the same question in the second half of his title for the film Kuhle Wampe (1932), framed as an urgent question mark regarding territorial ownership (in the broadest sense: of factories, land, resources, machines, etc.). At the present time and for the decades to come, however, it appears to me that the decisive question is “to whom does the time belong?”
Die Installation untersucht die Zeit, die dasselbe Medium benötigt. Der unhörbare Soundtrack besteht aus Frequenzen, die die Photosynthese stimulieren.
Marcello Mercado
Untitled 01
oil on canvas
20cm x 30cm
2023
Marcello Mercado
Untitled 02
oil on canvas
20cm x 30cm
2023
Marcello Mercado
PG01
oil on canvas
2023
Marcello Mercado
PG02
oil on canvas
2023
Marcello Mercado
PG03
oil on canvas
2023
Marcello Mercado
PG04
oil on canvas
2023
Marcello Mercado
PG05
oil on canvas
2023