Portifolio Marco English

Marco Antonio Mota is graduate in Visual Arts in the Escola de Belas Artes, Universidade Federal de Minas Gerais, where he currently develops Master studies.

Em que idioma cai a chuva sobre cidades dolorosas? (In what language rain drops on painful cities?) | video, 7'31” | 2009. I write, with washable ink, on two acrylic boards, one poem by Paulo Leminski. With those boards I dress myself as a sandwich-man. On a rainy day, I walk through the streets under an umbrella. While the cars pass through the puddles of watter, I start to function like a target to the sparkled watter, what erases the letters. It's a video that shows the unkindness behave in the communication between motorists and pedestrians.

Em que idioma cai a chuva sobre cidades dolorosas? The poem: Na rua/sem desisitir/me chamam/volto a existir (On the street/without giving up/someone call me/I exist again)

As coisas (Things) | video 19’40” loop | 2008 Starting with the reading of Georges Perec's book Things, I collect some words (substantives and adverbs). With them, I start to process a linkage and then type the each word on the computer, the monitor is seated front of the camera. The first word is typed, then the next one is typed with the letters that it shares with the previous. The letter is concrete. In the novel, Perec constructs his characters profiles through the spaces and its objects, that they occupy and desire. Perec designs the characters by the objects that surround them. In the video, the letters concreteness is the constitutive of the image, contrasting with the virtuality of the own language. Here there is no more things, but its attributes and behave.

As coisas

Série regência (Ruling sequence) Piece of work that explores constructive systems by ordinary and everyday life objects. Each system keeps an interaction logic between the objects that results into movement.

Regência (Ruling) | installation, disposable cup, glass balls, seller tape, fan, variable dimentions | 2007 Inside each disposable cup there is a glass ball, stick into its interior. Placed on the floor, oriented by the central point where there are fans turned on, the cups obey a rhythm dance made by the wind passage.

Regência II (Rulling II) | video 22'15” loop | 2008 On one table, I place transparent recipes made by glass filled with a gasify liquid. Inside each glass a put one grape. Bubbles are liberated, some stick on the fruit surface, that gets lighter and floats. When the grapes emerge some bubbles blows up – what make them heavier – and they sink again. All together the grapes execute a fragmented dance, getting up and down in a slow movement.

Objeto-rima (Object-rhyme) | assemblage sequence, variable dimensions | 2009 A wordlist organized in couples of rhymes. All of the words name diversified objects. The rhyme became an excuse for unpredictable union. The objects displaced by their names give birth to little sculptures, improbable architectures sustained by words.

Objeto-rima

Objeto-rima

Objeto-rima

Degradê (Gradient) | 15 photographs sequence, 7x7 cm each one | 2007 Small candies are displayed in a white table, under natural light. At each new organization, one photograph is made, creating a narrative structure. When the chewing guns are chewed, the color gets lighter. During the photographic section the light stars to go down. This is a kind of performance where time is registered by the light graduation to shadow. On the last image, the background and the chewing gun colors get mixed, becoming a colorless unique volume.

Arquitecoisas (Archtstuff) | book, ink on paper, 40 pages | 2006-2009 Questing the travel book gender, I produce drawings of imaginary cities, impossible. Those cityscapes, a mix of memory and observation references, dialogue with the surrounding path of a loneliness walker, that never meets other people, maybe fresh traces of presence.

Arquitecoisas

Vistas em corte (Section view) |ink on paper, 32x66cm | 2009 Dialoguing with Arquitecoisas, this new drawing sequence investigates the “insidescapes”. Without the transitory characteristic of the nomad drawer, I search in the home inner space references to a parallel world, where things change reference sizes.

Vistas em corte

Vistas em corte

Vistas em corte

Desenhos de espera (Waiting drawings) | ink on paper, variable dimensions |2007-2009 (work in progress) I always keep small pieces of paper and drawing pens. I construct this sequence like a mnemonic collection. Those are drawing notations made in spare moments or in resting situations. Restart each draw is to read again the memory of those path pauses.

Desenhos de espera | 9x11cm each one

Desenhos de espera | 21x14 cm each one

Desenhos de espera | 11x20cm each one

Desenhos de espera | 9x11cm each one

Plantae |ink on paper, 22x16 cm each one| 2008.

Auto-retrato (Self-portrait) | photoperformance, 30x45 cm each photo | 2008 This piece of work is a photoperformance where I try to hold on my arms as much objects (usually kept in drawers) as I can. This way I concern identities, one physiognomic and the other behavior, of consume. Am I the owner or the owned?

Auto-retrato

Ação 28 – exposição portátil (Action 28 – portable exposition) | performance | 2007 Action 28 is an strolling exhibition of small shape objects. I structured a group of 28 objects, between produced and collected, and putted all of them in a redesigned jeans, one pocket for each object. Dressing the jeans, I became the support for this small collection, as a “kunstkammer”.

Avista (View) | public intervention | 2008 Ouro Preto is a baroque city, sinuous, as in the opulent architecture as in the hilly relief. Engraved between mountains, this city has disconnected landscapes that recreate themselves at each curve street. Avista is an invitation towards a construction of a new landscape archeology, in a city famous by its constant presence of tourists, that are always carrying their photograph cameras. I choose places in the city where I found elements of architectonic coincidences, in different grounds of the landscape view. I signalize each specific place with a red floating balloon, that has notes tied up in its string. The balloons orient the passer-by to search for the demarked image.

The following text identifies the exact point where this photograph was taken, signalized by the red ballon of the previous image. Its writed in the note. View – this ballon identifies one point of view. Turn yourself towards the Rosário Church, its turned back to you. In the same footpath that you are, there is an iron light mast, that illuminates through a lamp protected by something that looks like a upside down dish. The left church tower goes up to a point where, in the foreground view, “touches” the mast lamp.

E assim desapareço (I disappear) | photoperformance, 20x30 cm each photo| 2008

E assim desapareço

Placebo |wall cabinet, medicament recipes, cotton mesh, 60x90x10 cm | 2007

Não receptivo (Unreceptive) |glass recipes, polyester mesh, shelves, variable dimensions| 2007