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THE CHANGE IN PATTERNS A PARÁBOLA DO PROGRESSO AL CONJURO DE ESTE CODIGO WEATHER ENGINES
GOLDEN TONE in WEIMAR and ERFURT
 UMBRALES CRITICAL ZONES FLUIDE REALITÄTEN BIRDS AND BUOYS SÜDSTELLIUM AGROPOETICS FIRE, FAÍSCA, FUNKE DISAPPEARING LEGACIES
PAU-BRASIL
SURARAS MARLENE VULTURE CINE LIANA HUMO SOBRE HUMEDALES GOLDEN TONE MANIOK REIBE ICH DIR, SCHWESTERCHEN HIGHWAY BR-163 CUIABÁ - SANTARÉM MERCADÃO 2000 FOREST FLAME SELF-PORTRAIT BRAZILWOOD THE OPEN FOREST ARARA TROPIC MATTERS SEEING THE EVER-GARDEN EFFECT DARK HORSE VICTORIA AMAZONICA REPRESENTATIVES BETWEEN THE STREET AND THE HILL, A GARDEN THE JUNGLE IS THE HEAD EDUCATION BY THE STONE THE WEIGHT OF THE MANGROVE URUBÚ HAS DRIED LEGS SWEAT
QUALÉ, MANÉ? THIRD CINEMA SITUATED KNOWLEDGES, GLOBAL ECOLOGIES 12 STEPS AND A HOLE IN THE VALLEY
FESTIVAL PROTAGONISTAS AT HAU SITUATED KNOWLEDGES, GLOBAL ECOLOGIES
SENEGAMBIA BLEIBT UNKNOWN UNIVERSITY THE HAIRY GODDESS MISSTORY MYSTERY-BOUFFE ADAPTATION 230 000 cm UNTITLED (HOMAGE TO PIRANESI) NEUKÖLLN PARADISE
WORLD OF ART: ART AND CLIMATE CHANGE CHILE INTERNATIONAL II DESILHA 3 BLUE CANARY FIRE, FAÍSCA, FUNKE THE ENDOTIC READER N.1 THE GARDENER, THE RUBBER TAPPER AND THE HERBALIST THE EVER-GARDEN EFFECT: PUBLICATION 230 000 cm HUMAITÁ
CINEMATECA BRASILEIRA COMMON IMAGINARIES LATEX - ICI BERLIN DESILHA 2021 BÄRENZWINGER - TAZ BÄRENZWINGER - ARTIST TALK WITH PAZ GUEVARA SÜDSTELLIUM - TAZ ZKM - TERRESTRIAL UNIVERSITY BERLINISCHE GALERIE BERLIN ART LINK SEVEN CROSSROADS AGROPOETICS AT SAVVY CONTEMPORARY
BARBARA MARCEL
PAU-BRASIL

2022-2023, Brazil/Germany. Video, color, sound, 23’18”.

Pau-Brasil: from colour to sound, takes as its starting point the tree that gives its name to the country Brazil, its first resource exploited by the Portuguese in the Americas. The wood has been used worldwide for the production of violin bows since the fifteenth-century Europe and due to its historical and current overexploitation, it is a highly endangered species. The project proposes a critical dialogue with the centenary of Brazilian modernism in 1922, understanding the anthropophagy as an early forms of resistance to the colonialities of knowing, imagining and being.


2022-23, Pau-Brasil. Experimental documentary / Video installation. 23’18. Film still. © Barbara Marcel 2022-23, Pau-Brasil. Experimental documentary / Video installation. 23’18. Film still. © Barbara Marcel 2022-23, Pau-Brasil. Experimental documentary / Video installation. 23’18. Film still. © Barbara Marcel 2022-23, Pau-Brasil. Experimental documentary / Video installation. 23’18. Film still. © Barbara Marcel 2018, SELF-PORTRAIT BRAZILWOOD. Digital photograph, part of a series of works about the history of vegetal extractivism in the Brazilian Atlantic Forest. © Barbara Marcel





© 2021 Barbara Marcel