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Lo próximo y lo extraño

10.06.2022 – 26.08. 2022

 

Lo próximo y lo extraño

 

Curator: Celeste Massin

 

MUBA – Museo de Bellas Artes René Brusau

Resistencia, Chaco, Argentina

10.06 – 26.08. 2022

 

21.07.2022

Antología de Marcello Mercado 1992 – 2022

Selection of 22 works by the artist.

Continuous projection of performative work and video art
Thursday, July 21, from 6:00 p.m. to 10:00 p.m.
Auditorium, 1st. Flat
Casa de las Culturas

Look closely, very closely, in macro mode and that what is known, what is close, what is next takes on a strange dimension. Reality as it is presented to us becomes inadequate, impertinent. Suddenly arrogant. Sometimes knowing what each element of our environment is made up of, in its final parts, in its DNA composition, inverts the formula. And from so close everything becomes distant. There is a play with materiality in its pure form and in the process of transformation. Not only is the result, but also the procedure because it allows the decomposition to be graphed. No matter the language, nor the practice, nor the support, again and again like the ouroboros that chases its tail, it decomposes to build, it builds to decompose.

The next and the strange / Lo próximo y lo extraño

10.06.2022 – 26.08. 2022

 

MARCELLO MERCADO

Lo próximo y lo extraño / Catalogue (pdf)

 

Curator: Celeste Massin

 

MUBA – Museo de Bellas Artes René Brusau

Resistencia, Chaco, Argentina

10.06 – 26.08. 2022

 

21.07.2022

Antología de Marcello Mercado 1992 – 2022
Selection of 22 works by the artist.
Continuous projection of performative work and video art
Thursday, July 21, from 6:00 p.m. to 10:00 p.m.
Auditorium, 1st. Flat
Casa de las Culturas

 

Look closely, very closely, in macro mode and that what is known, what is close, what is next takes on a strange dimension. Reality as it is presented to us becomes inadequate, impertinent. Suddenly arrogant. Sometimes knowing what each element of our environment is made up of, in its final parts, in its DNA composition, inverts the formula. And from so close everything becomes distant. There is a play with materiality in its pure form and in the process of transformation. Not only is the result, but also the procedure because it allows the decomposition to be graphed. No matter the language, nor the practice, nor the support, again and again like the ouroboros that chases its tail, it decomposes to build, it builds to decompose.

Procesar Destruir Representar Archivar [Process Destruct Represent Archive]

02.07.2020 – 03.09.2020

 

Marcello Mercado 2020

 

Procesar Destruir Representar Archivar [Process Destruct Represent Archive]

 

Monitor 1: Facundo traducido [Translated Facundo], 5’
Monitor 2: Martín Fierro traducido [Translated Martín Fierro], 5’
The two milestones of national literature, Facundo by Sarmiento and Martín Fierro by Hernández, are remade through algorithmic processes that empty their content, destroy them and reencounter them.

 

The chaos and math contribute to the confrontation: Facundo “weights” digitally and textually 395 kb, and Martín Fierro, 101 kb, while the audio-book versions weigh 427,4 MB and 361,8 MB respectively.

The first step was to translate the books to a language invented by me, which has no meaning at all. The books may be leafed through, but the meaning is lost, though it seems to be there. Then, I mix/bundle both audio-books as soundtracks. From this mix, I take a fragment and obtain a photograph that shows a graphic representation of the sound of the combined books. The audio that cannot be heard can be seen. The founding ideas are erased. How can we read what’s invented/what we invent?

 

 

Details

  • Title: Procesar Destruir Representar Archivar [Process Destruct Represent Archive]
  • Creator: Marcello Mercado
  • Date Created: 2020
  • Date Published: 2020
  • Location: Roque Sáenz Peña, Chaco
  • Physical Dimensions: 200 x 150 cm
  • Original Language: Español
  • Provenance: 11th Itau Visual Arts Award Selection
  • Type: Video installation
  • Publisher: Itaú Foundation Argentina
  • External Link:

    Link to video of the active work

  • Medium: animation and photograph

 

 

Source: Itaú Cultural Visual Arts Award 2019-2020 Catalogue

 

Fundación Itaú Argentina

Victoria Ocampo 360 – 4th Floor – Puerto Madero.
C1107DAB Buenos Aires
Argentina

 

 

 

 

73° Salón Nacional de Rosario

04.10.2019 – 15.03.2020

73° Salón Nacional de Rosario

 

 

 

 

 

Artistas: Antonella Agesta, Rodrigo Alcon Quintanilha, Facundo Belén, Vico Bueno, Aurora Castillo, Carla Colombo, Cotelito, Diego de Aduriz, Alfredo Dufour, Clara Esborraz, Elvira Ferrazini, Víctor Florido, Alfredo Frías, Jazmín Giordano, Silvia Gurfein, Mónica Heller, Carlos Huffmann, La quemada – teatro de figuras [Emiliana Arias, Silvia Lenardón, Guillermo Martínez y Soledad Verdún], Martín Legón, Lucrecia Lionti, Valeria Maggi, Matías Malizia, Inés Marcó, Gustavo Marrone, Francisco Medail, Marcello Mercado, Flor Meyer, Clara Miño, Ariel Mora, Malena Pizani, Fabio Risso Pino, Alberto Antonio Romero en colaboración con Susi Villa, Maximiliano Rossini, Rob Verf, Mariela Vita.

 

 

Macro

Museo de arte contemporáneo de Rosario

Avenida de la Costa Brig. Estanislao López 2250

(Bv. Oroño y el río Paraná)

2000 Rosario
Argentina

 

 

Akademie der Künste : Bodenlos – Vilém Flusser und die Künste

19.11.2016 – 10.1.2016

 

 

Akademie der Künste : Bodenlos – Vilém Flusser und die Künste

 

Curators:
Baruch Gottlieb & Siegfried Zielinski

 

„Ins Universum der technischen Bilder“ oder „Lob der Oberflächlichkeit“ – mit solchen programmatischen Titeln avancierte Vilém Flusser (1920 – 1991) zu einem der einflussreichsten Denker der Kommunikation und der Medien des 20. Jahrhunderts. Offensiv nahm Flusser die Herausforderung an, die Künste neu zu denken angesichts der Tatsache, dass unsere Existenz wesentlich technisch geworden ist. Nach seiner Flucht vor den Nazis über Prag, England und Brasilien lebte er viele Jahre in Italien, der Schweiz und zuletzt in Frankreich. In der Art eines Parcours lädt die Ausstellung dazu ein, die Bewegung der flüchtigen Existenz als ein Modell für jene Gewalt des Zusammenhangs vorzustellen, den wir das 20. Jahrhundert nennen.

 

 

Beteiligte Künstler*innen
Danièle Akmen, Edmar de Almeida, Louis Bec, Michael Bielicky, Gabriel Borba, Jürgen Claus, Otávio Donasci, Harun Farocki, Peter Fischli/David Weiss, Alex Flemming, Samson Flexor, Joan Fontcuberta, Fred Forest, Herbert W. Franke, Cyriak Harris, Andreas Henrich, Fons Hickmann, Dieter Jung, Dietmar Kamper,  Knowbotic Research, Jörg Lindenmaier, Thilo Mechau, Marcello Mercado, Achim Mohné/Uta Kopp, Andreas Müller-Pohle, Anthony Moore, Mouse on Mars, Matthias Müller, Solomon Nikritin, Nam June Paik, Brothers Quay, Mario Ramiro, Mira Schendel, Lisa Schmitz, Peter Simon, Ed Sommer,  Wolfgang Spahn, Peter Weibel, Niobe Xandó, Pinar Yoldas

 

 

 

 

 

Akademie der Künste
Pariser Platz 4

10117 Berlin-Mitte

 

 

 

 

 

22nd International Symposium on Electronic Art: Digital Synesthesia

 

17.05.2016 – 22.05.2016

 

 

22nd International Symposium on Electronic Art: Digital Synesthesia

 

 

 

In the frame of ISEA 2016 in Hong Kong the DIGITAL SYNESTHESIA exhibition presents 14 artworks by DIGITAL SYNESTHESIA artists Anke Eckardt, Karl Heinz Jeron, kondition pluriel (Martin Kusch / Marie-Claude Poulin), Alan Kwan, Karen Lancel / Hermen Maat, Marcello Mercado, Ulla Rauter, Ruth Schnell, Jeffrey Shaw / Sarah Kenderdine, David Strang / Vincent Van Uffelen, Tamiko Thiel / Christoph Reiserer and Peter Weibel.

 

 

ISEA International

 

City University of Hong Kong

Tat Chee Avenue
Hong Kong
Hong Kong

 

West: Without Firm Ground Vilém Flusser and the Arts

19.03.2016 – 07.05.2016

 

 

West: Without Firm Ground Vilém Flusser and the Arts

 

 

Without Firm Ground
Vilém Flusser and the Arts

In cooperation with the ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe & Akademie der Künste Berlin

 

 

 

‘Synthetic images as an answer to Auschwitz’ (‘We Shall Survive in the Memory of Others’) asserted Vilém Flusser (1920–1991) forcefully in an interview shortly before his death. Only by passing through radical abstraction could a new concretization, and thus a new and exciting life become imaginable: With this, post-history would begin. Flusser proactively took up the challenge of rethinking the arts, in the face of the fact that our existence is essentially determined by technology. To connect the methods of science with a new understanding of culture is the key concern of his special anthropology.

 

Flusser’s thought and texts were a continual experiment of living and surviving in the diaspora. When he was nineteen, he fled from his native Prague to England and then to Brazil, where he lived for thirty years. During the military dictatorship he returned to Europe, where he lived in the Italian provinces and Switzerland for a time, then in France for ten years. In the late 1980s, he became the star of media theory in Europe, with frequent appearances in the academic forums and arenas of Germany.

 

Wandering, without an academic discipline, and out of time in a twofold sense: Rather like a minimal obstacle course, the exhibition ‘Without Firm Ground – Flusser and the Arts’ invites visitors to imagine the fugitive existence of Vilém Flusser as a model of the violent context we call the 20th century. Confronted with a past that had become unreal, Flusser met what characterized the beginning of the twenty-first century with heightened anticipation – through the arts and his writing.

 

 

 

 

 

West Museumkwartier
Lange Voorhout 102
2514 EJ, Den Haag
The Netherlands

 

 

logo

 

 

Bodenlos / Groundless, Vilém Flusser und die Künste

 

20.06.2015 – 15.10.2015

 

Bodenlos / Groundless, Vilém Flusser und die Künste

 

Curated by Siegfried Zielinski, Peter Weibel, Baruch Gottlieb and Norval Baitello jr.

 

 

ZKM | Zentrum für Kunst und Medien

Lorenzstraße 19
76135 Karlsruhe

Deutschland

 

 

Danièle Akmen, Edmar de Almeida, Louis Bec, Michael Bielicky, Gabriel Borba, Jürgen Claus, Otávio Donasci, Harun Farocki, Peter Fischli/David Weiss, Alex Flemming, Samson Flexor, Joan Fontcuberta, Fred Forest, Herbert W. Franke, Cyriak Harris, Andreas Henrich, Fons Hickmann, Dieter Jung, Dietmar Kamper,  Knowbotic Research, Jörg Lindenmaier, Thilo Mechau, Marcello Mercado, Achim Mohné/Uta Kopp, Andreas Müller-Pohle, Anthony Moore, Mouse on Mars, Matthias Müller, Solomon Nikritin, Nam June Paik, Brothers Quay, Mario Ramiro, Mira Schendel, Lisa Schmitz, Peter Simon, Ed Sommer,  Wolfgang Spahn, Peter Weibel, Niobe Xandó, Pinar Yoldas
 
 

 

 

 

 

 

 

No Firm Ground : Vilém Flusser and the arts

15.08.201518.10.2015

 

 

 

No Firm Ground : Vilém Flusser and the arts

 

 

Vilém Flusser (1920– 1991) is one of the outstanding art and media philosophers of the 20th century. Many of his texts foresaw the future of technology-based communication and networking. Today his works are inspiring; Flusser was convinced that changes in communication structures through codes and new media would ultimately affect all areas of society. He called for a fundamental study of technical images and the apparatuses which generate them. The exhibition “No Firm Ground – Vilém Flusser and the Arts” provided an additional, important aspect to the reception of Flusser’s writings: the close and multifaceted connection between his work and the art world. The ZKM in Karlruhe presented collages, drawings, video and audio works, early computer works and the philosopher’s personal items from the Vilém Flusser Archive in Berlin, along with contemporary works by international artists which make direct reference to Flusser’s work. Many prominent artists, such as Mira Schendel, Louis Bec and Fred Forest, had been close friends with Flusser, with whom they had carried out joint projects. In focussing on the arts, the exhibition presented Flusser’s works in an entirely new context. In this way, the project highlighted the connection between media and art theory from a Flusserian perspective. The exhibition wished to provide an important contribution to international study and research of Flusser’s works. During the exhibition, a scientific conference took place. Researchers developed a trilingual dictionary of terms from Flusser’s world of thought, the “Flusseriana”. The project has been organised in cooperation with the Academy of the Arts in Berlin, together with institutions in the Czech Republic and Brazil.

 

 

Artistic director: Siegfried Zielinski with Peter Weibel
Curators: Baruch Gottlieb with Siegfried Zielinski and Norval Baitello jr.

 

Artists: Louis Bec (FR), Michael Bielicky (CZ), Harun Farocki, Alex Flemming (BR), Samson Flexor (BR), Joan Fontcuberta (ES), Fred Forest (FR), Marcello Mercado (AR), Anthony Moore (GB), Andreas Müller-Pohle, Mira Schendel (IT/ BR) a.o.

 

 

 

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