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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






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

Marcello Mercado: Fragments of “Das Kapital Teil 1” (1999–2009) | Potential Spaces

16.02.2017 -18.02.2017





Potential Spaces


Marcello Mercado: Presentation of fragments of his work “Das Kapital Teil 1” (1999–2009) in conversation with Siegfried Zielinski


Karlsruhe University of Arts and Design & ZKM | Center for Art and Media 16. – 18. 02. 2017


Event Organizer: Prof. Dr. Siegfried Zielinski, Daniel Irrgang, Ali Gharib


Camera/Postproduction: Lukas Rehm, Tilman Rödiger





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






No Firm Ground : Vilém Flusser and the arts





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.




Pages 14 – 15





PLAY Videoarte

30.07.2015 – 11.08.2015



PLAY Videoarte







Viernes 31/7 y Sábado 1/8 – 16 a 18.30 hs.


Lugar: Salón Azul (Córdoba 794 – 1o piso)
Seminario/Taller “Prácticas Audiovisuales Insubordinadas” (a cargo de Mariela Cantú)



PLAY- Semana de Videoarte- 4ta. edición expone cuatro propuestas que generan un diálogo entre la historia y el presente del videoarte. Las obras seleccionadas generan un paisaje polifónico donde habitan discursos que remiten al relato autobiográfico, a la crítica desde la ironía, a las experimentacionesvisualesysonoras, susrupturas/fisuras. Deestaforma, el video arte como campo expansible insiste en la contemporaneidad buscando ensanchar las fronteras de la imagen movimiento.

Contará en esta edición, con la proyección de los videos seleccionados de la Convocatoria pública internacional 2015 para artistas del videoarte cuyo jurado estuvo integrado por Albert Merino, Fabiana Gallegos y Maia Navas.

Por otro lado, se presentará una selección de videoarte argentino “Poéticas de Archivo” (a cargo del Colectivo ARCA VIDEOARTE ARGENTINO).

Además se exhibirán dos video-instalaciones de los artistas Máximo Gonzalez (Argentina) y Ramón Guimaraes (España).
Por último, se proyectará una selección de video-danza de alumnos de la lic. en Artes Combinadas (UNNE) a cargo de Mariana Jarovlasky .

Maia Navas Curadora







Los vínculos entre arte y política nunca han sido estables ni han encontrado simples definiciones, y el video no ha quedado fuera de este debate. Ya sea (ex) poniendo el cuerpo, el rostro o la voz delante de la cámara como actos de resistencia –tal es el caso de Había una casa o del ya célebre Granada-; discutiendo las instituciones y sus lógicas de poder a través de la alteración de los regímenes de la visualidad –usando la hibridez como procedimiento en La región del tormento o la estética del error y un aparente amateurismo en 20/12-; o cuestionando la noción estática de memoria mediante la subversión de las relaciones entre el pasado, el presente y las promesas de un futuro que nunca llegó –citando las apuestas de Chierico, Pons y Villafañe-, todos estos trabajos procuran situarse fuera de la historia oficial. Estableciendo Argentina como escenario de estos inciertos rumbos y teniendo como foco la representación del vestigio antes que la de los signos celebratorios de la nación (con la recurrente imagen de un puente sin terminar en REM (Hecho en Argentina) como metáfora de este concepto) estas obras consiguen, mediante estas transgresiones, que lo estético se vuelva inseparable de lo político.

Había una casa. Carolina Andreetti. 6.53, 2008.
Los dinosaurios. Mario Chierico. 6.30 min. 1996.
20/12. Mariano Cohn. 3.30 min, 2002.
REM (Hecho en Argentina). Ricardo Pons. 9.56 min, 2000. Elvira en el río Loro. José Villafañe. 9 min, 2009.

La región del tormento. Marcello Mercado. 8.40 min, 1992. Granada. Graciela Taquini. 6 min, 2005.




Time is Love.7

23.08.2014 – 18.10.2014








22 video works curated by kisito Assangni


TIME is Love Screening is a roving international video art program on the theme of love in hard times.

Since 2008 the project has been exploring forms of artistic expression rising from society and the new

media’s use of technology.




Torrance Art Museum
3320 Civic Center Drive
Torrance, CA 90503




Kunstfrühling 2014


16.05.2014 – 25.05.2014


Kunstfrühling 2014


Bremen, Deutschland



Eröffnung: 15. Mai, 19 Uhr | Laufzeit: 16. Mai bis 25. Mai 2014
| täglich von 11 bis 20 Uhr geöffnet


Bereits zum 3. Mal präsentiert der Bremer Verband Bildender Künstlerinnen und Künstler
den Kunstfrühling in der Gleishalle auf dem Gelände des ehemaligen Güterbahnhofs. Dabei
verwandelt sich die 14.000 m2 große Gleishalle für 10 Tage in einen lebendigen Ausstellungsraum,
in dem Museen, Kunstvereine und Galerien zeitgenössische Kunst aus Bremen und der Metropolregion
präsentieren. Partnerstadt auf dem diesjährigen Kunstfrühling ist Hamburg. Zahlreiche Galerien,
Atelierhäuser und Off-Spaces vermitteln einen interessanten Einblick in die Kunstszene der
Millionenstadt an der Elbe und ermöglichen gleichzeitig einen anregenden Austausch zwischen den