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This dispute of political forces, which shapes our experience by organising ways of life, is also present in Marcelle's works as a procedure, not only as a gesture that constitutes the work but also as the work's theme itself. One of the main elements of Sob o risco do real [At the Risk of the Real] (2015), a commission presented at the Sharjah Biennial, is the action of sieving sand. In this city of the United Arab Emirates, devoured by building construction, labourers shift large quantities of sand, removing it from new development clearings with the aim of using it for the construction of other buildings. The artist uses large squares of mesh suspended by planks in an open-air space. As construction workers carry out the daily activity of sieving and cleaning the sand, the desert material dissipates in the air and lands inside the structure, creating piles of sand resembling small dunes. In some ways, the dust that cover workers and visitors in this work evokes the photograph O sábio [The Wise Man] (2009), in which a black man carries a pile of bricks (which are the same colour as sand) covering his face. Behind him, a wall built with the same material protects a stack of bricks. This also elicits Gigante detrás [Back Giant] (2006), in which a man has his face covered by a grey cloth, almost disguised by his tiny presence in a large quarry with rocks of the same colour. In the frontier between the visible and the hidden, it is iv. enigma is theme and procedure worth highlighting a series of photographs in collaboration with Jean Meeran, produced during a residency programme in South Africa in 2003. In the images of Capa morada [Stay], which portrayed everyday scenes in ordinary places of Cape Town, individuals camouflaged in pieces of material – combining body and architecture – hide in objects, becoming part of the whole, and are omitted by the situation, disguised in different bodies. All these strategies underline her insistence on disappearing and generating an encounter between foreground and background, making sense of a logical mismatch. This incongruence generates enigmas that arrive in Marcelle's works via illusionism and are themes held close to the artist. In 2016, Marcelle produced a small installation as part of the series Já Visto [Déjà-vu], based on an optical or sensorial game in which the same elements are presented in different positions. A handful of stones and a clear glass bottle are displayed on a shelf that the artist alternately names Pinocchio, donkey and monster. In the first setting, the stones are in front of the bottle. In the second, the stones are inside the bottle on a similar shelf and, finally, in a third setting, the stones are behind the bottle. This introduces the element of doubt and brings to mind the feeling of experiencing a lie, ignorance or fear, as ways of living the proposed enigma, which here works as a procedure.

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