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Marcello Mercado, Portfolio, Filmography, 2023



Marcello Mercado





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


15 ́ colour 1999-2012 video installation, stereo, Germany


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


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

10 ́ 57″ color 2009 stereo, PAL, Germany


Bioluminiscent – The Luminiscent Animation

10 ́ 57″ color 2009 stereo, PAL, Germany


5 ́01″ color 2009 stereo, PAL, Germany


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


13 ́ 31″ color 2008 video installation, stereo, PAL, Germany



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


20 ́ color 2006 stereo, PAL, Germany


FFFF FFFS FFSS SSSS, The Pluripotent and the Eleven hESC lines

86 ́color 2006 stereo, PAL, Germany


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


19 ́15“ color 2005 stereo, PAL, Germany


3 ́ color 2005 stereo, PAL, Germany


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


28 ́color 2004 mono-stereo, PAL, Danmark


24 ́ color 2004 stereo, PAL, Germany


Das Kapital.07
17 ́color 2003 stereo, PAL, Germany – France – USA – Argentina


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


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


8 ́color b/w 1992 mono, PAL, Argentina


Reset all Settigs
49 ́42″ color 1990 mono, PAL, Argentina




Marcello Mercado, Listening the chromosome 17, 1-channel Video Installation, 2023



Marcello Mercado

Listening the chromosome 17
1-channel Video Installation
Bioart /Hybrid
21´02″, colour, stereo, HD


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, 2023




Marcello Mercado

Testflüge – Test flights

1-channel video installation

10m 04″, colour, silent,




Vimeo Pass: deutschland





The interacting subroutines
Adding elements to the Scene
The moving target
[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


Marcello Mercado, Wem gehört die Zeit? (To whom does the time belong?)

1-channel videoinstallation





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.










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.




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