Marcellvs L

13_5474

Marcellvs Ls My work consists of recording encounters using a camera and a microphone. A true encounter engenders indefinable and unknown boundaries. That is what makes it a real encounter. My work might possibly give the impression of a chance meeting, or of a quest for something during which something else is found, but ultimately what I represent is always mediated, something that is made. I try to linger in an ambivalent place, one where there is a conjunction of attention, trust, detachment. I began the VideoRhizome series in January 2002, experimenting with the philosophical universe of Gilles Deleuze and Félix Guattari as an elaboration of the concept of the rhizome. The idea behind this is that concepts are never perfect, complete or exhausted. It is necessary to produce them and to continually connect them to the events of this world, to the here and now. By working with this concept, I affirm this reading, which is personal and thus has the force to touch the other. The series, which is basically subdivided into two parts, production and dissemination, was never an illustration of this concept, but rather the creation of a rhizomatic production and dissemination of audiovisual work. The videos do not follow a script, and a piece results primarily from the moment of recording. I seek out the interrelations between events in their contingency, which are in some cases frustrating and in others surprising. The videos thus produced are assigned a four-digit number chosen at random (for example, 0667, 5040, 8246), resulting in an unconnected sequence. This feature allows for the ongoing expansion of the series because it is not chronological, but instead full of gaps. In a second step, I open the telephone book, from the city in which I live, to a random page and determine whether there is any relationship between my current address, the address in the book and the numbering of the works. If there is, I send a tape of the video with the matching number (to the street number, the door number or the telephone number) to that address. The tapes bear no return address, only a stamp with the number of the video. In the end, it doesn’t matter who receives them, how they are received or what the purpose is. What matters is the accidental and fragile encounter between occurrence and non-occurrence: between the one who produced the images, those who can be seen in them, and the one who receives the tapes via mail. To date, I have made 28 videos and mailed 3,500 tapes.

Curators’ Special

Part of the curatorial selection of Christian Ganzenberg