Automóvel [Automobile]

2012
(left) Cinthia Marcelle, Automóvel [Automobile], 2012. single-channel video (16:9). 7 min 11 sec; (right) Confronto [Confrontation], 2005. single-channel video (4:3). 7 min 50 sec. Courtesy of the artist and Galeria Vermelho. SeMA Biennale Mediacity 2016 NERIRI KIRURU HARARA. Seoul Museum of Art. 2016. Photo: Gim Ik Hyun, Hong Cheolki
Cinthia Marcelle, Automóvel [Automobile] still, 2012. single-channel video (16:9). 7 min 11 sec. Courtesy of the artist and Galeria Vermelho. Still image frame: Lucas Barbi. Still image: courtesy of the artist and Galeria Vermelho

In Automóvel [Automobile], a camera captures cars speeding along a two way street on an ordinary weekday in the middle of a city. An instant later, one side of the road becomes completely blocked and we begin to hear the sound of clamorous horns and cars broken down on the road are emitting smoke. Then we see an image of the drivers and their passengers getting out and slowly pushing their cars; the same situation arises on the opposite side of the road. In the end, all the cars on the road are being pushed by people as day gradually changes to night. Seeing the cars no longer able to run, and drivers forced to get out and push them makes us reconsider the speed of our lives to which we have become accustomed. In addition, the drivers who ultimately become trapped in the dark night as they push their cars forward remind us of the evil Corinthian king Sisyphus who was condemned to hell after his death where he was forced to eternally push a boulder up a steep mountain, and we are compelled to rethink the exact meaning of moving forward.

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The screen is worth protecting. Or create the value of protecting the screen.