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Sense and Sensitivity I


16.09.2021 – 09.10.2021


Marcello Mercado

Sense and Sensitivity I




Bernet Bertram | Berlin
Goethestraße 2–3
D 10623 Berlin-Charlottenburg

Entrance B, across the Courtyard
Aufgang B, über den Hof, Hochparterre


Mittwoch bis Freitag, 14 ‑18 Uhr
Sonnabend, 11–16 Uhr
und nach Vereinbarung.


Phone +49 (0)30 32 30 11 33

Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts




Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts





Media art, which frequently involves data, software, or electronic devices, continues to face the challenge of technological obsolescence. In a previous article, this research project reviewed example models and strategies that media artists have personally developed to prevent artworks’ technical failures and to restore artworks on the edge of obsolescence. The preliminary study also touched on why artists may or may not devote themselves to preservation proactively. For example, an artist may have essential assumptions about their artworks’ life span. Or, an artist may recognize personal preservation efforts as a kind of assistance offered to potential collectors, including institutional conservation initiatives. However, given the diversity of media art, my preliminary research on three artists does not sufficiently reveal variations in or similarities between media artists’ understandings of preservation. Since preservation and conservation are fields often dominated by museums and similar organizations, a contrast also exists between personal and institutional practices.


Among the 21 artists contacted, seven artists (see Figure 1)—Ellen Sandor, Jeffrey Shaw, Marcello Mercado, Mark Reaney, Paolo Cirio, Susan Collins, and Yiannis Melanitis—participated in the semi-structured interviews and answered questions listed in Appendix A. Although the non-response rate (see Figure 2a) is admittedly high, the participants were able to provide information that may apply to other cases given the variety of their artistic practices (see Figure 1). Nonetheless, one limitation is that the distribution of participants’ gender is imbalanced (see Figure 2b) even though the numbers of female and male artists (10 vs. 11) among the 21 potential interviewees were very close.












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?




  • 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





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.




Museo de arte contemporáneo de Rosario

Avenida de la Costa Brig. Estanislao López 2250

(Bv. Oroño y el río Paraná)

2000 Rosario




05.04.2017 –  07.05.2017



curated by: Baruch Gottlieb, Pavel Vančát


exhibition concept: Baruch Gottlieb, Peter Weibel, Siegfried Zielinski

exhibition architecture: Oldřich Morys

graphic design: Jan Slabihoudek

(opening: Tuesday, 4. 4. 2017 at 6 pm)


The exhibition “Without Firm Ground: Vilém Flusser and the Arts” at GAMU, Prague presents the life and thoughts of one of the most acclaimed Prague-born intellectuals of the 20th century through the combination of rare documents and artistic collaborations and inspirations. It aspires to weave the threads of Flusser’s private and professional life, marked by various migrations, with those of his thinking and writing through dialogues, influences and collaborations. Following presentations at ZKM Karlsruhe, AdK Berlin and West Den Haag, the next stop of this unique project takes place in Flusser’s native city, adapted and enriched with local ties.

Vilém Flusser was born in the Bubeneč district of Prague in 1920 and was educated in a middle class Jewish intellectual family. In 1939, after the occupation of the Germans, he fled with his wife-to-be, Edith Barth, first to London, and eventually to Sao Paulo Brazil where he would live for over thirty years. Flusser brought his training in the classics, in Enlightenment Humanist philosophy and literature, to bear on his new environment, revelling in the utopian promise of the radically alien modernity into which he was thrown. Fighting through the despair of the extermination of his family and the horror of the Holocaust, Flusser carved out scintillatingly original, uncompromising philosophical insights into a world of scientific progress, automation and migration. During the 1980s he became one of the most respected philosophical guides of the upcoming electronic era. Even though he died only at the dawn of the Internet age his understanding of networks and communication is every bit as insightful to our contemporary condition as it was then. Through his life, Vilém Flusser sought a new utopian form of thinking, emerging from the crushing disappointment of modernity. He called this “synthetic thinking” using “technical images”. The exhibition will feature, beside biographical trajectories, objects from Flusser’s archive, his typoscripts and positions from artists who knew and loved him, some unique artistic collaborations where he would attempt to enact and elaborate the utopian modes of “synthetic thinking” he described. The selection of artists influenced by Flusser includes renowned personalities of Louis Bec, Michael Bielicky, Fred Forest, Harun Farocki, Joan Fontcuberta, Jiří Hanke, Dieter Jung, Martin Kohout, Andreas Müller-Pohle, Lisa Schmitz, Jiří Skála, among others.

An essential part of this exhibition project, the international symposium “Playing against the apparatus. Vilém Flusser’s media and culture philosophy”, will be held on April 7th – 8th, at Goethe-Institut in Prague and Charles University in Prague (Faculty of Arts). We will rework some of the themes in the exhibition: migration, technological change, the crises of writing, causal thinking and the humanist project.  We explore Flusser’s utopian proposals for new humanisms and new modes of information and communication for our contemporary condition of rapid technological transformation, playing with and against the apparatus. Join us for a rich and invigorating adventure through the life and work of a Czech pioneer of media thinking and philosophy for our networked age! The exhibition is held in collaboration with the Vilém Flusser Archiv/ Universität der Künste Berlin.





GAMU (Gallery AMU)

Malostranské náměstí 12

Praha 1

Czech Republic

(entrance from the passage to Tržiště Street)
open daily except Monday: 1 – 7 pm

Akademie der Künste : Bodenlos – Vilém Flusser und die Künste

19.11.2016 – 10.1.2016



Akademie der Künste : Bodenlos – Vilém Flusser und die Künste


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






ISEA2016: 22nd International Symposium on Electronic Art


16.05.2016 – 22.05.2016



ISEA2016: 22nd International Symposium on Electronic Art



Marcello Mercado

Bestiary for the Minds of the 21st Century: Genomic Opera



(c) Marcello Mercado



ISEA International Foundation
C. Kouwenbergzoom 107
3065 KC Rotterdam
The Netherlands



ISEA International Headquarters
University of Brighton
Faculty of Arts
School of Art, Design and Media
Grand Parade
United Kingdom






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