Sound artist and composer, undertakes research into musical education and researches and constructs sculptures, installations and sound emblems. He is a lecturer at the Federal University of Minas Gerais – UFMG. He has composed musical pieces which were performed at the following festivals: ISIM Conference (EUA, 2007), 3rd Bienal Patagônica (2007), Encuentro de Arte Sonoro Tsonami (Chile, 2007), Buenos Aires 2009 and 2011, Festival Zeppelin 2008 (Espanha), Encontro de Música Improvisada de Atouguia da Baleia, MIA (Portugal 2013 and 2014). Created and participated in the Stracs Harampálaga group, which was dedicated to creating sound interventions in public spaces, Olhocaligari, comprising of a fusion of poetry and experimental music and participation in the Sonax Group, with whom he still currently performs. With this group Marco recorded Sonax (2008) which was released on CD by the European label Creative Sources Recordings. With a Master’s Degree in Multimedia and a PhD in Education, he has published articles in the areas of Soundtrack composition, Music Education and the Curation of Contemporary Music. Marco was also a Curator of the Paisagens Plásticas Sonoras exhibition (2005), the First Meeting of Improvised Music, held at Unicamp in December 2007 and creator of the Encontro de Costas, meeting with Portuguese and Brazilian experimental musicians. He is the composer of the CD’s Novelo Elétrico (Electric Clew, Creative Sources Recordings, 2014), Rios Enclausurados (Cloistered Rivers, Seminal Records, 2015) and RUMOR, collective project with Gloria Damijan, Eduardo Chagas and Abdul Moimême (Creative Sources Recording, 2015) and author of the book Walter Smetak, the alchemist of sounds, published by Perspective / SESC (2008).
My artistic direction and research has focused on the poetic-political construction of sound spaces, be they miniaturized, environmental, territorial, performative or simulated. What always interested me in music was what was not strictly music, in other words, what was on the other side of the border and obliging me to cross. The relationship with the physical space, with the visual form, with the concept; what interested me was utilizing unwanted sounds in the production of desired sounds – the moment of time anticipating the music, which marks the agreement between the separation of the ordinary and the extraordinary. The sound as generator of the form and the form as generator of the sound.
I think that when the artist creates something, he/she creates not only that something, but also invents a way to do it. Inventing is a way of doing and inventing is a way of being and acting in the world. Therefore, artistic practices are political forms, ways of organizing actions, perceptions, the sensitive, a continuous process of exchange, of sharing and confrontation.