Associação Cultural Videobrasil's FF>>Dossier is celebrating one year of existence. In these twelve editions, we have presented the work of young Brazilian and Latin-American artists, in a first attempt to map out the region's artistic output. This 12th edition will feature the work of Marcellvs L., as we proceed with our new editorial approach, which is less geography-oriented, and was inaugurated with the work of Turkish artist Ethem Özgüven in the 11th FF>>Dossier. These twelve editions were helpful in perfecting the project and generating new links with artists, curators, and theoreticians, not only to enhance the diffusion of artistic output from the southern circuit, but primarily in order to promote reflection regarding borderline situations in contemporary art. 

The work of Marcellvs L. is extremely peculiar and does not fit easily into typical categories of electronic art. According to psychoanalyst Gregorio Biremblitt, his videos are multiplicities, somewhat akin to the theory of schizoanalysis. As a matter of fact, theory, literature, and music are strong references in the artist's output, ones which come through in his videos, also known as “videorhizomes”. In this series of nearly 20 pieces, the artist applies the concept of Rhizome, by Deleuze and Guattari, to come up with a production, vehiculation, and distribution device. As opposed to what happens with a translation, these videos highlight image, as well as the theoretical field to which it often refers.

Nearly devoid of editing resources, the videos feature single shots of anonymous people in daily life, subtly revealed/highlighted through zooming. Instead of uncovering reality, though, the videos end up turning it into pure invention. The “videorhizomes” are not limited to production and screening in regular, traditional circuits. The process includes sending the videos to a person that is randomly chosen from the phone book. 

Marcellvs L. seems to be looking a situation that goes from one anonymous person to another, as if he were giving back away something he has managed to capture from daily life. Duration broadens the possibilities for perceiving images, placing even more tension upon the relationship with what is real and with time, as noted by Cezar Migliorin in his article in “Contracampo - Revista de Cinema” (Counterfield - Cine Magazine): “Unlike the frequent chronological subversions of modern cinema narratives, which attempt to achieve a chronic, non-linear time, what we have here is a linear single shot that conflicts explicitly with time organized into elliptical sequences”.

The work of Marcellvs L. has been exhibited and awarded in several festivals, more recently with the Grand Prize of the City of Oberhausen for the video “Man.Road.River” (2004). The artist has also received a scholarship fund from the Museu de Arte da Pampulha (Pampulha Museum of Art), in Belo Horizonte, Minas Gerais, and will be featured in an exhibition, still in 2005, at Paço das Artes, in São Paulo.

Marcellvs L.'s work is featured in the new monthly edition of FF>>Dossier, another action of Associação Cultural Videobrasil aimed at broadening discussion and reflection regarding contemporary artistic output.

Further info on this artist available at the collection