Marcello Mercado
Variations Van Gogh
Installation
7-channel video installation, drawings, books, photography,sound sculpture, DNA – objects
6 m x 2,50 m 236.2 in x 98.4 in
2014 – 2015
Kunsthalle Osnabrück
Marcello Mercado
Kannst du nicht zwischen den Zeilen lesen? (Can’t you read between the lines?)
Object
2005
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
10.06.2022 – 26.08. 2022
Curator: Celeste Massin
21.07.2022
Antología de Marcello Mercado 1992 – 2022
Selection of 22 works by the artist.
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.
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.
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
Source: Itaú Cultural Visual Arts Award 2019-2020 Catalogue
Fundación Itaú Argentina
Victoria Ocampo 360 – 4th Floor – Puerto Madero.
C1107DAB Buenos Aires
Argentina
04.10.2019 – 15.03.2020
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.
Avenida de la Costa Brig. Estanislao López 2250
(Bv. Oroño y el río Paraná)
2000 Rosario
Argentina
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
10117 Berlin-Mitte
17.05.2016 – 22.05.2016
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.