Draft:Marcello Mercado
 | This article is an autobiography or has been extensively edited by the subject or by someone connected to the subject. (September 2026) |
 | Review waiting, please be patient.
This may take 5 weeks or more, since drafts are reviewed in no specific order. There are 2,611 pending submissions waiting for review.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
Reviewer tools
|
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
This draft has been resubmitted and is currently awaiting re-review. |  |
Submission declined on 12 June 2026 by Helpful Raccoon (talk). This draft appears to contain text generated by a large language model (such as ChatGPT). You cannot use LLMs to generate, draft, or rewrite article content.
Declined by Helpful Raccoon 3 months ago.Please delete the portions which were LLM-generated, and summarize in your own words a range of independent, reliable, published sources that discuss the subject. If you have used an LLM but you believe that your use is covered by one of the two exceptions (basic copyediting and translation between two languages in which you are fully fluent), please provide a transcript of the prompt(s) you used while writing your draft (see the how-to guide). Reviewers can make mistakes. If you have not received any LLM assistance, you may seek a second opinion at the AfC Help Desk. See the advice page on large language models for more information. | |
This draft's references do not show that the person meets Wikipedia's criteria for inclusion for people. The draft requires multiple published secondary sources that:
Declined by Cmajorftw 5 months ago.
| |
Comment: Still seeing signs that the rewrite was done with the assistance of an LLM. Future resubmits of AI-generated content will result in the draft being rejected. In solidarity, nil nz 07:10, 30 August 2026 (UTC)
- Comment: The draft has vague and superficial descriptions characteristic of LLM usage, such as
Mercado’s video The Warm Place has been discussed in relation to the convergence between computer-based image processing and experimental video practices
. The draft ideally needs to be rewritten from scratch without the use of LLMs. Helpful Raccoon (talk) 03:00, 12 June 2026 (UTC)
- Comment: Subject does not meet notability guidelines. Please read WP:42 and WP:PROMO. Cmajorftw 18:22, 10 April 2026 (UTC)
Marcello Mercado (born 1963) is an Argentine-German artist. His work includes video, digital animation, software programming, sound, 3D printing, and biological materials, including human DNA. His practice addresses themes of historical violence, memory, and the body.
Early life and education
[edit]Mercado was born in Chaco, Argentina.[1] He later attended the Academy of Media Arts Cologne (KHM) in Germany.[2]
Work
[edit]Gabriela Borgna located Mercado's work within the Argentine art that developed alongside the democratic process begun in 1983, noting its distance from the aesthetic codes of mass-consumption media.[3]
In a 1999 BAMPFA program, Steve Seid wrote about three videos by Mercado: The Torment Zone (1993), The Edge of Rain (1995), and The Warm Place (1998). He linked the works to historical violence in Argentina and noted that The Edge of Rain refers to the Dirty War through images of missing people and cattle. He described the videos as an "imagistic allegory of a country's amnesia."[4]
In a 2008 text, Jorge La Ferla and Anabel Márquez tracked Mercado's shift from analog video to personal computers. His early works were based on still images, including drawings, prints, and X-rays. The Warm Place (1998) marked his transition to digital editing on a personal computer. The authors wrote that his digital videos function as stages within ongoing works in progress.[5]
Mariela Yeregui wrote that El borde de la lluvia (1995) combined television news footage with defective digital animation. In her review of Das Kapital, she pointed to its programming code, 3D graphics, and photos of death. She noted that in Mercado's practice, the digital medium functions as discourse rather than a mere instrument.[6]
Siegfried Zielinski defined Das Kapital as an unfinished work without a linear structure. The project includes over 40 hours of recorded footage. Zielinski wrote that the work transforms data and relations into sensory experience.[7]
Regulating the Watch (2005) is a 30-minute video recorded at the Auschwitz II-Birkenau site. Mercado filmed the piece using a webcam-equipped laptop and a camera phone. Monachesi wrote that editing occurred at the same time the images were captured.[8]
In a 2012 text, Mariela Cantú wrote about Mercado's 2010 work Transfering, storing, sharing and hybriding: The perfect humus. In the project, human DNA was extracted and ordered into an ACGT sequence. Software then converted this code into sound. The audio was played through speakers mounted on an oak tree.[9]
In a text on Genomic Opera, Siegfried Zielinski described a process where sounds are translated into visual patterns and 3D printed objects. Visitors use piezoelectric microphones as interfaces to scan the tactile surfaces of the printed structures. Zielinski noted that this physical contact generates new sounds, which are converted back into graphic forms.[10]
In a 2026 text on Mercado's Über den menschlichen Kopf (On the Human Head), Gottlieb described the work as a series of composite human heads. He wrote that the face functions as a storage medium for "the history of the species, the planet and the dataset."[11]
Selected exhibitions, screenings and presentations
[edit]- 1995 – New Trends: World Wide Video Festival ’95, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.[12]
- 2000 – Das Kapital, Wie man sieht… Kunst mit Fotografie und andere mediale Eskapaden, Museum Ludwig, Cologne, Germany. Curated by Jürgen Klauke and Siegfried Zielinski.[13]
- 2003 – Streams of Encounter – Electronic Media-Based Artworks, Taipei Fine Arts Museum, Taipei, Taiwan.[14][15]
- 2004 – Das Kapital version .07, New York Video Festival, Film Society of Lincoln Center, New York City.[16]
- 2005 – 11th Biennial of Moving Images, Geneva, Switzerland.[17]
- 2007 – El lienzo es la pantalla, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. Curated by Berta Sichel and Céline Brouwez.[18]
- 2008 – Series of Periodical Bilinear Surfaces, transmediale.08: CONSPIRE..., Haus der Kulturen der Welt, Berlin, Germany.[19]
- 2009–2012 – Das Kapital, RECORD > AGAIN! – 40jahrevideokunst.de – Teil 2, ZKM | Center for Art and Media, Karlsruhe; Ludwig Forum für Internationale Kunst, Aachen; Kunsthaus Dresden; Haus für Medienkunst, Oldenburg; Galerie Školská 28, Prague; Centrespace, Duncan of Jordanstone College of Art & Design, Dundee; and SALT Beyoğlu, Istanbul.[20][21][22][23][24][25][26]
- 2015–2017 – Bodenlos – Vilém Flusser und die Künste, ZKM | Center for Art and Media, Karlsruhe; Akademie der Künste, Berlin; West, The Hague; and GAMU (Galerie AMU), Prague.[27][28][29]
- 2020 – Bestiary for the Minds of the 21st Century: Genomic Opera (2015), Beethoven bewegt, Kunsthistorisches Museum, Vienna, Austria.[30]
- 2022 – Lo próximo y lo extraño, Museo de Bellas Artes René Brusau (MUBA), Resistencia, Argentina. Curated by Celeste Massin.[31]
Grants and awards
[edit]- 1996 – Grant from the John D. and Catherine T. MacArthur Foundation for The Capital (Das Kapital).[34]
- 1998 – First Prize, 12th Videobrasil International Electronic Art Festival, São Paulo, for The Warm Place.[35]
- 1999 – Grand Prix, Vidéoformes, Clermont-Ferrand, France, for The Warm Place.[36]
- 2001 – Main Prize, New Media Competitive Exhibition, 13th Videobrasil International Electronic Art Festival, São Paulo, for Mutter.[37]
- 2002 – Konex Diploma of Merit, Video Art.[38]
- 2007 – Special Mention, 16th Videobrasil International Electronic Art Festival, for The Chemical and Physical Perception, in the Eye of the Cat, in the Moment of the Cut.[39]
- 2012 – Honorary Mention, Prix Ars Electronica, Interactive Art, for Löschen/DELETE.[40]
- 2025 – First Prize, 3rd Salón Nacional de Artes Visuales del Chaco, for Fuego.[41]
Collections
[edit]- Museo de Arte Moderno de Buenos Aires (Museo Moderno), Buenos Aires, Argentina.[42]
- Museo Municipal de Bellas Artes Juan B. Castagnino + macro, Rosario, Argentina.[43]
- Museo Emilio Caraffa, Córdoba, Argentina.[44]
References
[edit]- ↑ "Marcello Mercado". Fundación Konex (in Spanish). Retrieved 3 September 2026.
- ↑ "Marcello Mercado". Kunsthochschule für Medien Köln (in German). Retrieved 3 September 2026.
- ↑ Borgna, Gabriela (1998). "Una ética de lo digital" (PDF). Ajoblanco (in Spanish). No. 103. pp. 90–91.
- ↑ Seid, Steve (24 February 1999). "Marcello Mercado: Argentinian Angst". Berkeley Art Museum and Pacific Film Archive. Retrieved 3 September 2026.
- ↑ La Ferla, Jorge; Márquez Sanabria, Anabel Patricia (October 2008). "The boundaries of machinic image". Associação Cultural Videobrasil. Retrieved 3 September 2026.
- ↑ Yeregui, Mariela (2008). "Postvideo. Las artes mediáticas de la Argentina en la era digital". In La Ferla, Jorge (ed.). Historia crítica del video argentino (PDF) (in Spanish). Buenos Aires: Fundación Eduardo F. Costantini / MALBA; Fundación Telefónica. pp. 228–229. ISBN 978-987-1271-16-0.
- ↑ Zielinski, Siegfried (2010). "Der Computer als kapitale Bildmaschine". In Blase, Christoph; Weibel, Peter (eds.). Record Again! 40 Jahre Videokunst.de. Teil 2 (in German). Ostfildern: Hatje Cantz. p. 214. Retrieved 4 September 2026.
- ↑ Monachesi, Juliana (2005). "Males de arquivo I". Canal Contemporâneo (in Portuguese). Retrieved 3 September 2026.
- ↑ Cantú, Mariela (July 2012). "Dudas sobre la traducción: Obstáculos y contaminaciones en la obra de Marcello Mercado". Mariela Cantú (in Spanish). Retrieved 4 September 2026.
- ↑ Zielinski, Siegfried (2016). "On Marcello Mercado's Genomic® Opera: Bestiary for the Minds of the 21st Century". In Gsöllpointner, Katharina; Schnell, Ruth; Schuler, Romana K. (eds.). Digital Synesthesia: A Model for the Aesthetics of Digital Art. Berlin/Boston: De Gruyter. pp. 129–131. doi:10.1515/9783110459937. ISBN 978-3-11-045934-0.
- ↑ Gottlieb, Baruch. "Introductory Notes on Marcelo Mercado's Über den menschlichen Kopf" (PDF). Flusser Studies (41). Retrieved 3 September 2026.
- ↑ "New Trends: World Wide Video Festival '95". Museo Nacional Centro de Arte Reina Sofía. 14 June 1995. Retrieved 3 September 2026.
- ↑ "Wie man sieht..." german galleries (in German). 2000. Retrieved 4 September 2026.
- ↑ "Streams of Encounter – Electronic Media-Based Artworks". Taipei Fine Arts Museum. Retrieved 4 September 2026.
- ↑ "Streams of Encounter". Photography Now. 2003. Retrieved 4 September 2026.
- ↑ "The 2004 New York Video Festival". Film Society of Lincoln Center. 2004. Retrieved 4 September 2026.
- ↑ "11th Biennial of Moving Images, Saint-Gervais Geneva". JRP Editions. October 2005. Retrieved 3 September 2026.
- ↑ "El lienzo es la pantalla". Museo Nacional Centro de Arte Reina Sofía (in Spanish). 2007. Retrieved 4 September 2026.
- ↑ "film & video: CP03 Sudden Interventions". Haus der Kulturen der Welt. 31 January 2008. Retrieved 4 September 2026.
- ↑ "Record Again!". ZKM. 2010. Retrieved 4 September 2026.
- ↑ "Videoarchiv". Ludwig Forum für Internationale Kunst (in German). 2009. Retrieved 4 September 2026.
- ↑ "RECORD > AGAIN!". Kunsthaus Dresden (in German). 2009. Retrieved 4 September 2026.
- ↑ "RECORD > AGAIN!". Haus für Medienkunst Oldenburg. 27 February 2010. Retrieved 4 September 2026.
- ↑ "RECORD > AGAIN!". Školská 28. Retrieved 4 September 2026.
- ↑ "RECORD > AGAIN!". Duncan of Jordanstone College of Art & Design, University of Dundee. Retrieved 4 September 2026.
- ↑ "Screening Program: RECORD > AGAIN! Day 7". SALT. Retrieved 4 September 2026.
- ↑ "GLOBALE: Bodenlos – Vilém Flusser und die Künste". ZKM (in German). 15 August 2015. Retrieved 4 September 2026.
- ↑ "Bodenlos – Vilém Flusser und die Künste (Akademie der Künste, Berlin)". ZKM (in German). 19 November 2015. Retrieved 4 September 2026.
- ↑ "Bodenlos – Vilém Flusser und die Künste (West, Den Haag, NL)". ZKM (in German). 19 March 2016. Retrieved 4 September 2026.
- ↑ Kugler, Andreas; Sharp, Jasper; Weppelmann, Stefan; Zimmermann, Andreas, eds. (2020). Beethoven bewegt (in German). Berlin: Hatje Cantz. ISBN 978-3-7757-4748-6. Retrieved 4 September 2026.
- ↑ Geat, Andrea (2024). "Comunidades imaginadas e imaginarios en cuestión. Historias, patrimonios y curadurías para el arte argentino". Cuadernos del Centro de Estudios en Diseño y Comunicación (in Spanish) (216). Universidad de Palermo: 225. Retrieved 3 September 2026.
- ↑ "Marcello Mercado – The Hypergaussian Wars – Alemanha / Argentina". FILE – Electronic Language International Festival. 2026. Retrieved 4 September 2026.
- ↑ "FILE 2026 – INTER-CRIATIVIDADE – Arte e Tecnologia". FILE – Electronic Language International Festival. 2026. Retrieved 4 September 2026.
- ↑ "Mercado, Marcello". MacArthur Foundation. 1996. Retrieved 3 September 2026.
- ↑ "12th Videobrasil International Electronic Art Festival". Associação Cultural Videobrasil. Retrieved 3 September 2026.
- ↑ "videoformes 0099". Internet Archive. 1999. Retrieved 4 September 2026.
- ↑ "VIDEOBRASIL 40 - 13th FESTIVAL". Associação Cultural Videobrasil. 2023. Retrieved 4 September 2026.
- ↑ "Marcello Mercado". Fundación Konex (in Spanish). 2002. Retrieved 3 September 2026.
- ↑ "Southern Panoramas: Contemporary Investigations - 16th Festival". Associação Cultural Videobrasil. 2007. Retrieved 4 September 2026.
- ↑ "Prix Ars Electronica 2012 – The Results". Ars Electronica. 8 May 2012. Retrieved 3 September 2026.
- ↑ "Muestra de las obras ganadoras del 3° Salón Nacional de Artes Visuales del Chaco". Instituto de Cultura del Chaco (in Spanish). 2025. Retrieved 3 September 2026.
- ↑ "Marcello Mercado". Museo de Arte Moderno de Buenos Aires (in Spanish). Retrieved 3 September 2026.
- ↑ "Artistas". Castagnino+macro (in Spanish). Retrieved 3 September 2026.
- ↑ "Mercado, Marcello". Museo Emilio Caraffa (in Spanish). 29 December 2021. Retrieved 3 September 2026.
Please delete the portions which were LLM-generated, and summarize in your own words a range of independent, reliable, published sources that discuss the subject. If you have used an LLM but you believe that your use is covered by one of the two exceptions (basic copyediting and translation between two languages in which you are fully fluent), please provide a transcript of the prompt(s) you used while writing your draft (see the how-to guide). Reviewers can make mistakes. If you have not received any LLM assistance, you may seek a second opinion at the AfC Help Desk.
See the advice page on large language models for more information.