Trilogy (Fountain 193, To come to and Crusade)
2016
Still from the video Cruzada
Still from the video Fonte 193
Still from the video 475 Volver
“I believe I began to recognize myself as an artist during a residency in Cape Town, in 2003. My early intuitions originated from what I see today as a dual process of displacement/recognition. The series Capa Morada (2003) is an emblem of this period, when I used to mingle with the city, get lost and find myself again in the South African world, at the same time close and distant from mine. As a Brazilian mestiza, I found myself again among the colors of the walls, the goods in the market, the people in town. Being in a place other than my very own made me recognize another possibility, which was also fruit of mixtures. My creation emerges from this fusion with the world: for me, art is not above anything, the artist is not above anyone; everything mingles together, and this impurity is what stands on the origin of my creative process. We can only reinvent the world if we start from the world itself — in fact, that is the title of one of my pieces, This same world over (2009).
An important aspect of my process, first of all, is the method, this delicate operation we keep unfolding as times goes by, in a movement in and out of the world. In the chaos of things, I find many of my propositions. However, I need to step aside to be able to reorganize this disorder in a formal way, which usually leads me to develop something as a new system. That is what happens in the aerial takes of the series Unus Mundus (Volta ao Mundo, 2004, and Confronto, 2005), in which distance allows one to notice a new pattern and new dimensions in things, new circuits. Ideas thus emerge in the turmoil of the possibilities contained in our daily lives, in the movement of our bodies (and at this point I develop a whole research about gesture), in the attraction to ordinary materials, in intriguing spaces, in accumulation, and in the possible magic of the work world. A formal organization implies the search for meaning for this vital excess, sculpting it slowly until finding a possible synthesis for the original discomfort.
My propositions mostly imply a displacement from the work world’s daily life. The commitment of workers and experts is a fundamental part of the process: it is about asking these people to execute their daily work gestures in another context, under new rules, which are often inexplicable to them. The true poetry maybe emerges at the moment the participants find a ludicrous possibility for this gesture, in a new pattern that may be emancipatory.
The extraordinary comes from repetition as an effect of its own accumulation. I try to prevent repetition from resulting in emptiness and something ordinary, as in the work world’s daily life. It is about applying this repetition to gesture, applying work’s automatism to a new pattern, a new system. The accumulation of these gestures, disfunctionalized, generates the extraordinary. The equipment operator in 475 Volver (2009) repeats the daily action of removing earth, like Sisyphus, in an arrangement that alludes to a giant hourglass, or to the infinite symbol. Repetition also serves as a time meter, a track, duration, like the mountain of crumpled paper in O Fazedor (2007).”
Statement edited along with the artist, based on interviews published on:
https://daniname.wordpress.com/2010/10/25/pipa-cinthia-marcelle/ and
http://www.flashartonline.com/article/cinthia-marcelle/
(June 2016)
Fountain193
Cinthia Marcelle | 2007, Brazil | video | 5’40’’, looped | color, sound
Photography, set-up and sound design - Bruno Vasconcelos
Direct sound and sound design - Pedro Aspahan
Assistant of Photography - Bernard Belisário
Firemen – First Sergeant Quinoca, Second Sergeant Nascimento, Corporal Antônio de Paula Almeida, Soldier Rogério Fernandes Barbosa, Corporal Rômulo Dias Barbosa, Corporal Clesio Rodrigues Lopes.
Acknowledgements –Belo Horizonte Fire Department, Lieutenant Thiago Miranda, Lieutenant Colonel Cleberson Pereira Santos, Major Clovis, 2007 Lyon Biennial, Jochen Volz, Bernardo Paz, Tiago Mata Machado, Wellington Luis Martins, Geraldo Magela de Paulo, Marcelo Marçal, Sara Ramo.
Support: Lyon Biennial: The 00s – The History of a Decade that has not yet been named, França (2007).
Courtesy: artist, Galeria Vermelho
To come to
Cinthia Marcelle | 2009 | video | 8’16’’ looped | color, sound
Photography - João Dumans and Tiago Mata Machado
Direct sound - Pedro Veneroso
Image and sound editing - Pedro Veneroso
Stills - Pedro Veneroso
ITAMINAS
Superintendent - Luiz Fernando Almeida
Communication - Ranner Amaral Maia
Safety Engineer - Alencar José do Carmo
Machinery operator - José Aloísio dos Santos
Machinery Supervisor - Ronaldo Ferreira Silva
Acknowledgements - Rafael Barros, Luiz Fernando Almeida, Ranner Amaral Maia, José Aloísio dos Santos, Amaral, Alencar José do Carmo, Ronaldo Ferreira Silva, Mauro Santos.
A production of KATÁSIA FILMES
Support: ITAMINAS, Sprovieri Gallery
Courtesy: artist, Galeria Vermelho, Sproviery Gallery
Crusade
Cinthia Marcelle | video | 8’35’’ looped | color, sound
Directed by – Cinthia Marcelle and Tiago Mata Machado
Camera - Maurício Rezende
Steadicam - Bernard Machado
Camera assistant and platform operator - André Machado
Production - Clarice Lacerda
Production assistants - Arnaldo Fabbri, Fabrício Marotta , Laura Berbert, Hortência Abreu, Túlio Batitucci.
Grader Operator - Antônio Helio
Water Tanker Driver - Walter Santos
Direct sound - Daniel Quintela
Direct sound assistant - Rodrigo
Sound design - Milagros Vazquez
Editing, image processing and postproduction - Maurício Rezende
Stills - André Machado, Gabriel Batista Campos, Thássia Alves
Music direction - Fernando Santos
Music research - Vilson Rodrigues de Oliveira
Musicians
Cymbal
Celso Viana, Leandro Cruz Najar, Marcelo Ricardo dos Anjos, Wesley Silva Moura
Tarol snare
Herli Preira da Silva, Ricardo Patrício Pereira
Bass drum
Eli Mossat, Geraldo Rodrigues do Bom Conselho
Trumpet
Claudio Starlino de Oliveira, Geraldo Manoel Pereira
Trombone
Dácio Souza, Fabiano Andrade Oliveira
Euphonium
Bruno Dutra do Amaral, Elias Antonio da Costa
Tuba
Isaque Edson Macedo, Vilson Rodrigues de Oliveira
Acknowledgements
Manoel Geraldo Pereira (Banda Carlos Gomes), José Lima Costa (Primeiro de Maio Philharmonic Orchestra), Victor (INPAR), Tiago Teixeira (INPAR), Lúcio (INPAR), Tiago Mata Machado, João Dumans, Ava Miranda, Márcia Miranda, Mauro Santos, Sara Ramo, Letícia Araújo Gontijo, Diego Lacerda, Eid Ribeiro, Samira Ávila (Valores de Minas program), Marina Arthuzzi (Valores de Minas program), Eloá Mata (Valores de Minas), Leda Quadros (SESC), Carla Honorato (Sabará City Hall), Marney, Daniel Queiroz, Elisa (Minas Gerais State Secretariat for Culture), Árvore em Preto e Branco.
Support – real estate developer INPAR, state government program Valores de Minas, Anísio Teixeira Municipal School
A production of Katásia Filmes