Fabiano Marques
Fabiano Marques travaille en vidéos, en performances et installations in situ.
Il aborde souvent la production et la présentation de son travail comme s’il s’agissait d’un jeu, en construisant des structures qui ont leurs propres règles d’interaction.
Fabiano Marques s’intéresse généralement aux règles en tant que propositions, et à la manière dont elles peuvent être appropriées et appliquées dans différents contextes pour générer des résultats alternatifs.
expositions & événements
curators zone - Exposition
Tradition – Traduction – Trahison
09.01.13
Installation: Cardboard, vinyl, wood
Variable dimensions
The work is compound of a group of cardboard boxes I deploy to cover selected works of other artists of an exhibition on a rotating daily schedule. The system allows me to intervene in the curatorial discourse, proposing approximations and alternative readings to the show, while experimenting not only with the space but also with the politics of the art circuit. The reactions of the public collected by the museum staff added a layer of anecdotes to the work. The idea was inspired by he traffic law of the overcrowded megalopolis in which cars are not allowed to circulate on particular a day of the week, accordingly to the number on their plates.
Installation: glass, metal, water and light projection
A metal frame with a glass panel on top of which water runs on a circular system. The piece is illuminated by a light projector in such a way the shadow of the gentle rolling waves are projected on an opposite ramp, giving the illusion the water is going up, therefore, defying Gravity.
Programa de Exposições do Centro Cultural São Paulo, 2002
Installation 12m²
A group of furniture-like objects that is constantly reassembled to generate a temporary shelter. The first of a series of installations inspired by the dynamic architecture of favelas in Brazil, of building with what is at hand and in dialogue with the surroundings.
video, 36’
The video documents a journey of hours adrift on a raft made of furniture-like objects along Mar Pequeno (small sea), an estuary amidst a tropical rain forest in Brazil.
A Sisyphus on waters, the purpose of the sometimes strenuous activity is never clear, apart from the insistence to carry on, just like with any art making process. The pace of the video matches the rhythms of nature, of the tide that washes in and out and in interaction with the storm announced on the horizon. The assemblage falls apart only to be reassembled in another configuration while the pieces themselves gradually dismantle in entropy. The process starts again with the next
Double-channel video, 30’
A performance with a prop that is a mix of a chaise-longe and a fitness machine, in which seat-ups propels a pair of wings to resemble the movement of an airborne bird. The work is part of a double-channel video with a compilation of experiments on learning to fly, developed during a residency at Wising Arts Centre, Cambridge. Some of the works were done in collaboration with a gliding centre in the vicinity.
Sculpture 400 x 180 x 80cm, Fibreglass and balsa wood
An airplane model built using as a blueprint the original urban plan of Brasilia by the architect Lucio Costa. The experiment aims to test if the project a new capital of Brazil, that promised to lift the agrarian country into modernity, was efficient from the aeronautical perspective. One of the versions of the plane was designed in collaboration with a team of aeronautical engineers from the University of Brasilia (UnB).
Sculpture, variable dimensions, Wood and paint
A system in which a few objects are constantly re-assembled, by following simple rules in order to achieve complex configurations.
Installation: 500 x 130 x 80cm iron and paint
The sculpture is a tridimensional model of the Constellation of Libra, with each vertex positioned at the relative distance of the corresponding star to the Earth. The object also functions as an astronomical instrument as it is positioned in order to indicate where the constellation would be in the sky at the moment of the equinox, if seeing from a particular observation point in the exhibition space.
The work is a proposition of an update of the Scales as the symbol of Justice, in which Justice is only in balance for those at a privileged position. For those at any other point of observation, it will always be a distorted image of fairness.