Marcus Couto (Marcvs) is a Brazilian audiovisual artist whose work emerges from the convergence of experimental cinema, sound art, physical painting, and artificial intelligence. His practice unfolds in the friction between the material and the immaterial — paint, noise, pixel, voice, texture — creating narratives that oscillate between dream, archive, and the supernatural. His audiovisual work is marked by images that seem to surface from damaged memories: analog textures, invented films, impossible cameras, lost archives, symbolic creatures, ritualistic loops. Sound — industrial noise, synthesizers, vocal textures, subterranean rhythms — drives the internal dramaturgy of the images.Physical painting acts as both an origin point and an aesthetic contaminant. His canvases, often abstract or figurative in collapse, carry gestures, stains, and materialities that later expand into video and digital post-production. Many of the textures, colors, atmospheres, and “defects” present in his films originate first in acrylic, in the brushstroke, in the pressure of a palette knife. In his practice, painting functions as a tactile laboratory for cinema and sound — a form of “physical memory” that feeds the entire body of work. He is also cofounder of the electronic music project Osasco Dynamics, featured in publications such as The Wire, Vice, and Spin, where he develops industrial soundscapes and experimental techno, often integrating live video and layers of narrative into performances. Marcvs constructs sensory experiences that are not merely seen or heard — but felt as if arriving from another surface of time.
Marcus Couto (Marcvs) is a Brazilian audiovisual artist whose work emerges from the convergence of experimental cinema, sound art, physical painting, and artificial intelligence. His practice unfolds in the friction between the material and the immaterial — paint, noise, pixel, voice, texture — creating narratives that oscillate between dream, archive, and the supernatural. His audiovisual work is marked by images that seem to surface from damaged memories: analog textures, invented films, impossible cameras, lost archives, symbolic creatures, ritualistic loops. Sound — industrial noise, synthesizers, vocal textures, subterranean rhythms — drives the internal dramaturgy of the images.Physical painting acts as both an origin point and an aesthetic contaminant. His canvases, often abstract or figurative in collapse, carry gestures, stains, and materialities that later expand into video and digital post-production. Many of the textures, colors, atmospheres, and “defects” present in his films originate first in acrylic, in the brushstroke, in the pressure of a palette knife. In his practice, painting functions as a tactile laboratory for cinema and sound — a form of “physical memory” that feeds the entire body of work. He is also cofounder of the electronic music project Osasco Dynamics, featured in publications such as The Wire, Vice, and Spin, where he develops industrial soundscapes and experimental techno, often integrating live video and layers of narrative into performances. Marcvs constructs sensory experiences that are not merely seen or heard — but felt as if arriving from another surface of time.