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