'Bestiario de Lengüitas', solo exhibition curated by Virginie Bobin at CentroCentro, Madrid. October 3, 2019 - January 19, 2020

Bestiario de Lengüitas (Bestiary of Tonguelets )is an evolving project by Argentinian artist Mercedes Azpilicueta, in dialogue with the French curator Virginie Bobin. The exhibition follows the thread of a script written by Mercedes Azpilicueta for a performance that has yet to take place. Fueled by workshops, collaborations and rehearsals with artists, researchers, designers, dancers and singers, the works on view invite a choir of grotesque characters to loudly inhabit the stage of that future performance. Using obsolete knowledge systems, "neobarroso" poems, failed translations and ambiguous ingredients, they try to maintain chaos and excess in a world calling for order, efficiency and transparency.
Its key protagonists include: a Mala-mama, a Sister living in limbo, a Teacher from the future, Fallen angels and a Choir of corpses, all characters from Mercedes Azpilicueta's script; several figures from art history and literature, such as the medieval Lady with the Unicorn, the artist Lea Lublin and the poet Nestor Perlongher, who inspired her writings and drawings; and a selection of plants with both healing and toxic powers, which were carried across the Atlantic to open contamination channels between the Old World and the New. They all play a game of hide-and-seek across films, drawings, sculptures, tapestries and soundtracks, which are conceived as scores, rehearsals, décors, encoded knowledge systems and even characters, rather than as autonomous artworks. In Bestiario de Lengüitas, roles are constantly changing.
The main collaborators to the project include: Lucile Sauzet (costumes), Ana Ausín (furniture) and Vanina Scolavino (graphic design), as well as Laura Fernández Antolín (production assistance), Federico García Monfort (sound), Hélène Harder (film), Julien Jassaud (programming and robotics), Emmanuelle Lafon (performance), Quiela Nuc (film), Ana Roquero (research), Pauline Simon (performance), Javier Villa (research and performance), Tiago Worm Tirone (sound), students from the Masters Projets Culturels et Artistiques and Scènes du Monde (Université Paris 8) and the Máster en Práctica Escénica y Cultura Visual (Universidad de Castilla-La Mancha y Museo Reina Sofía); and participants of different choral schools in Madrid.
Bestiario de Lengüitas is Mercedes Azpilicueta's first solo exhibition in Europe. It is co-produced by CentroCentro, the Museion – Museum of Modern and Contemporary Art, Bolzano/Bozen (Italy) and CAC Brétigny (France). It was initiated during an artistic research residency at Villa Vassilieff - Pernod Ricard Fellowship in 2017. It will be travelling to the Museion – Museum of Modern and Contemporary Art, Bolzano/Bozen, in Spring 2020, and in CAC Brétigny, Autumn 2020.
Mercedes Azpilicueta is a visual and performance artist from Argentina (La Plata, 1981) based in the Netherlands. Her practice involves research and production processes that explore the affective qualities and political dimension of language and voice. In 2018 she presented her first major solo exhibition at the Museo de Arte Moderno de Buenos Aires. She received the Pernod Ricard Fellowship, Paris, in 2017 and was artist-in-residence at the Rijksakademie van de Beeldende Kunsten in Amsterdam in 2015-16. She has an MFA from the Dutch Art Institute/ArtEZ, Arnhem (2013), and a BFA from the Universidad Nacional de las Artes, Buenos Aires (2007); where she also took the Artists' Program 2009-10 at  the Universidad Torcuato Di Tella. She has exhibited her work at REDCAT Gallery (Los Angeles, 2018), Villa Vassilieff (Paris, 2018), MACBA (Barcelona, 2018), Museion (Bozen, 2018), Centro de Arte Dos de Mayo (Móstoles, 2017), Onomatopee (Eindhoven, 2016), TENT (Rotterdam, 2015), Móvil (Buenos Aires, 2015), Irish Museum of Modern Art (Dublin, 2014), Het Veem Theatre (Amsterdam, 2014). In 2019, besides CentroCentro, she will present a solo exhibition at Van Abbemuseum, Eindhoven, as part of Positions #5, curated by Nick Aikens.
Virginie Bobin works at the crossroads of research, curatorial and editorial practices, pedagogy and translation. Until 2018, she was Head of Programs at Villa Vassilieff, a centre for art, research and residencies, which she co-created in 2016. Previously, she worked for Bétonsalon - Center for Art and Research, Witte de With Center for Contemporary Art (Rotterdam), Manifesta Journal, Les Laboratoires d'Aubervilliers and Performa, the New York Biennial for Performing Arts. Her independent curatorial projects have taken place internationally, in such institutions as MoMA, PS1, e-flux space or Tabakalera, and her texts have been published in international exhibition catalogues and magazines (Metropolis M, Manifesta Journal, Frieze /de, Flash Art, Switch on Paper, etc). She sits on the boards of Ecole Supérieure d'Art de l'Agglomération d'Annecy and Centre d'Art Contemporain de Brétigny. In 2018, Virginie Bobin started a practice-based research around the political stakes of translation, in the context of the PhD-in-practice program in Artistic Research at the Akademie der bildenden Künste (Vienna). In parallel, she cofounded, with Victorine Grataloup, the non-profit organization QALQALAH, a future platform for artistic exchanges, research and translation.

Since we are here [screening & performative presentation i.c.w. Celine Berger and Jacco van Uden], Uncertainty Seminars: Other Than Art's Sake, Stroom, The Hague, September 13 - 15, 2019

Uncertainty Seminars

Location: Stroom Den Haag, Hogewal 1-9, The Hague (unless stated otherwise)

Uncertainty Seminars are a series of hybrid events embracing doubt and hesitation as cultural strategy.


13, 14 & 15 September 2019
This edition teases out the multiform positions that artists may inhabit and, vice versa, in what ways other domains seek refuge under the wide umbrella of arts. With contributions by: Dena Yago, Simone Zeefuik, Yamuna Forzani, Stijn Verhoeff & Sjoerd Leijten, discourse | Katayoun Arian, Christian Nyampeta, Daniela & Linda Dostálková, Susan Ploetz, Jacco van Uden, Mercedes Azpilicueta, Céline Berger, Martijntje Hallmann.

Cold Prey, group show curated by Tore Zhang and Francisco Correa Cordero, Lubov Gallery, New York City, September 13 - October 13, 2019.

yegua-yeta-yuta [performance & talk], curated by Max Andrews and Mariana Cánepa Luna, "Today is our tomorrow" / PUBLICS, Club Kaiku, Helsinki. September 12-13, 2019

The future is happening now. With so much emphasis on the future, its end, and lack of agencies to alter its demise, our thoughts lead us to focus, remind and inform ourselves of the potentialities and (re)constructions of now. There is no time but the present to transform, to reimagine and to represent our moment(s).
Initiated by PUBLICS, Today Is Our Tomorrow is a collaborative, collective, and transdisciplinary festival – a coming together of affinities, alliances and differences. Taking place this year at club Kaiku and the neighbouring spaces Kieku and Stidilä, the program is produced in partnership with numerous local and international organisations, initiatives and institutions. Today Is Our Tomorrow takes the form of a roving constellation of practices, discussions, talks, workshops, installations, interventions, film screenings, events, live performances, DJ sets, curatorial projects, and live music intersecting with one another across three main interconnected venues.
The festival presents in microcosm, alter-futures being enacted, lived and represented as current socio-cultural and artistic practices based in Finland and globally. Our collaborative methodology and consultation aims to represent an ecology and diversity of thought and experience. The 2019 edition of Today Is Our Tomorrow is curated, commissioned, organised in collaboration with: Academy of Fine Arts, Baltic CircleGlobe Art PointIHME HelsinkiKohtaIndex FoundationLatitudesLatvian Centre for Contemporary ArtLive Art and Performance Studies (LAPS)Museum of Impossible FormsosloBIENNALEN, and PUBLICS.
The opening day of Today Is Our Tomorrow presents Mythological Migrations: Chapter 1: The Nightclub, a one-night multidisciplinary exhibit that investigates the nightclub as method, focusing on artistic practitioners looking at queerness and Islam in a migratory context. Commissioned by PUBLICS, the project challenges exclusionary histories in European club culture that specifically target immigrants and people of color. Artists include Tamara Al-Mashouk, and Zulfikar Ali Bhutto aka Faluda Islam, who collectively engage in political tactics and strategies, disrupting the dance floor, and complicating issues of representation and performance through a diasporic lens. The night also premieres Journey to the CharBagh, a film by Abdullah Qureshi centered around the figure of the Buraq, a winged creature with the ability to travel to heaven.
On Friday, Coalition of Care, brings differing moods and perspectives to the festival. The group–Daze Aghaji, Ain Bailey, Anna Tjé, Black Obsidian Sound System (B.O.S.S.), Katarzyna Perlak, Rebecca Bellantoni, Rowdy SS, Maija Baijukya–have been gathered by curator Adelaide Bannerman to embody, act and explore ideas and approaches to care and commitment. Coalition of Care is a sorority of artists, thinkers, and affinities, whilst articulating multiple thoughts, movements and gestures: “Our methods are intentioned and improvisatory, our proposals are contingent on the energy of community and allyship.” Coalition of Care possess senses of joy, precarity and pessimism, doing the productive work of dismantling redundant hegemonies with view to configuring and situating ourselves in reflexive, responsive spaces.
A nomadic queer club concept and discursive platform Karmaklubb* takes over the club on Saturday. The program involves Tony Cokes, Karolinski (live and DJ-set), DJ-sets by DJ Baby Dyke, the collective Konsept [X], as well as a performance by Louis (Harald & Louis) and a talk by Eva Rowson, amongst others. Karmaklubb* is about creating hybrid social spaces for conversations and meetings across categories; an open dialogue cross borders, and constructive approaches towards tolerance and differences.
Across the festival spaces there will be new commissions, installations and sited works on view during the three days by Camille Auer, Leah Beeferman, Tony Cokes, Hlynur Hallsson, Basim Magdy, Marepe, Mona Marzouk, Jaakko Pallasvuo and Skuja Braden. A daily schedule of live performances and intimate events include artists Mercedes Azpilicueta, Mette Edvardsen, Valentin Kimstedt, Hatz Lambo & Varia Sjöström, Lime Rickey International and Plastique Fantastique.
As well as artist talks, lectures and workshops–including And Forever And Forever led by Emmeli Person, Keep It Complex, Kate Rich and Leyya Mona Tawil–there will be a extensive curated programme of films and cinema with artists Camille Auer, Yael Bartana, Jonathas de Andrade, Núria Güell, Honkasalo-Niemi-Virtanen, Jaakko Pallasvuo & MSL, Chris Kraus, Basim Magdy, The Otolith Group, Plastique Fantastique, Anni Puolakka, Sepideh Rahaa and Althea Thauberger, many of which are showing in Finland for the first time.

Camille Auer / Mercedes Azpilicueta / Yael Bartana / Leah Beeferman / Bonaventure / Coalition of Care: Adelaide Bannerman & Daze Aghaji, Ain Bailey, Anna Tjé, Black Obsidian Sound System (B.O.S.S.), Katarzyna Perlak/Rebecca Bellantoni/Rowdy SS, Maija Baijukya / Tony Cokes / Jonathas de Andrade / Desto / Núria Güell / Mette Edvardsen / Terike Haapoja / The Hacker / Hlynur Hallsson / Honkasalo-Niemi-Virtanen / Horse Meat Disco / House of Disappointments / Max Jaarte / Jopo Simeon K / Antti Jussila & Jari Kallio / Karmaklubb*: DJ Baby Dyke, Harald & Louis, Karolinski, Konsept [X], Eva Rowson, Tine Semb / The Karrabing Film Collective / Keep it Complex / Valentin Kimstedt, Hatz Lambo & Varia Sjöström / Chris Kraus / Linda Lazarov / Lime Rickey International / Basim Magdy / Marepe / Mona Marzouk / Mr. A / Mythological Migrations: Chapter 1: The Nightclub: Tamara Al-Mashouk, Zulfikar Ali Bhutto / Hanna Ojanen & Yu Chuan / The Otolith Group / Jaakko Pallasvuo / Bhavisha Panchia / Plastique Fantastique / Anni Puolakka / Sepideh Rahaa / Kate Rich / Schoolboi Cute / Skuja Braden / Althea Thauberger / Vidisha S / Wekesa & Renaz
Curators & Advisors: 
Ali Akbar Mehta, Marianne Savallampi & Vishnu Vardhan / Max Andrews & Mariana Cánepa Luna / Danai Anagnostou & Abdullah Qureshi / Lucy Badrocke / Bronwyn Bailey-Charteris, Marti Manen & Emmeli Person / Adelaide Bannerman / Eva González-Sancho Bodero & Per Gunnar Eeg-Tverbakk / Satu Herrala / Solvita Krese & Inga Lāce / Anders Kreuger / Kristiina Mäenpää / Tero Nauha / Paul O’Neill & Eliisa Suvanto / Mika Palonen / Marju Rotinen / Saskia Suominen / Paula Toppila & Päivi Matala

Since we are here [screening & project presentation i.c.w. Celine Berger and Jacco van Uden], Rijksakademie Public Program, Rijksakademie van Beeldende Kunsten, Amsterdam. September 11, 2019.

Please join on us on Wednesday 11 September for the screening of the film Since we are here, followed by a conversation with the makers Mercedes AzpilicuetaCéline Berger, and Jacco van Uden.

In March 2017 Mercedes Azpilicueta and Jacco van Uden swapped jobs for a full month. Mercedes (AR/IT) took on the position as head of a research group on change management, while Jacco (NL) took over Mercedes’ work as a visual and performance artist. The aim of this exchange was to explore how art and organization relate to each other.

Investigating and questioning the preconceptions of the worlds we work in – the world of ‘the other’ and as well as one’s own world. In a style that mirrors the capricious nature of the job swap itself, 'Since we are here' reflects on experiences that are as much individual as they are universal: feeling estranged, adjusting to new spaces, and finding new areas for action.

- Introduction by Arno van Roosmalen, director Stroom Den Haag
- Screening
- Conversation with the film makers and audience, moderated by Arno van Roosmalen

This project was developed with the kind support of Rijksakademie van beeldende kunsten, The Hague University of Applied Sciences, Andrea von Braun Stifting, Pauwhof Fonds and Stichting Niemeijer Fonds.

BIENALSUR, Bienal Internacional de Arte Contemporáneo de América del Sur, Centro Cultural de Córdoba, Córdoba, AR. June 13 - September, 2019

A Day with Marie Vassilieff, group exhibition at Maison des Arts Bernard-Anthonioz and the Library of the Maison Nationale des Artistes, Nogent-sur-Marne, i.c.w. Villa Vassilieff, Paris. May 16 - July 21, 2019

A Day with Marie Vassilieff
At Fondation des Artistes – Nogent-sur-Marne (MABA, Maison Nationale des Artistes, Bibliothèque Smith-Lesouëf)
Mercedes Azpilicueta, Carlotta Bailly-Borg, Yto Barrada, Michel François, Christian Hidaka, Laura Lamiel, Mohamed Larbi Rahhali, Anne Le Troter, Flora Moscovici, Émilie Notéris, Thu-Van Tran, Marie Vassilieff
curated by Mélanie Bouteloup & Émilie Bouvard
May 16 – July 21, 2019
« Il nous faut, dans un monde où nous existons que passées sous silence, au propre dans la réalité sociale, au figuré dans les livres, il nous faut donc, que cela nous plaise ou non, nous constituer nous-mêmes, sortir comme de nulle part, être nos propres légendes dans notre vie même, nous faire nous-mêmes êtres de chair aussi abstraites que des caractères de livres ou des images peintes. » 
Monique Wittig, « Avant –note » dans Djuna Barnes, La Passion, Paris, Flammarion, 1982, p.16
The Fondation Nationale des Arts Graphiques et Plastiques (FNAGP) in Nogent-sur-Marne and the Villa Vassilieff in Paris pay tribute to the figure of Marie Vassilieff who lived in their walls at different times of her life, through the exhibition A Day with Marie Vassilieff which unfolds in all their exhibition spaces: Maison Nationale des Artistes (MNA, retirement home of Nogent-sur-Marne, entrance hall and large living room), the Maison des Arts Bernard-Anthonioz (MABA), the Library of the MNA in Nogent-sur- Marne, and the Villa Vassilieff, 21 avenue du Maine in Paris). This project is based on a partnership between Bétonsalon – Center for Art and Research, the Villa Vassilieff – Pernod Ricard Fellowship and the FNAGP. This exhibition is curated by Mélanie Bouteloup, director of Bétonsalon – Center for Art and Research & Villa Vassilieff, and Émilie Bouvard, curator and historian of art.
Marie Vassilieff was a central figure in Montparnasse from the first half of the 20th century, both through her visual work and her charismatic role as mediator between artists, intellectuals, critics, and other fauna of artistic Paris from 1910-1930. This position is evident in the set of photographs collected and commented by the artist Billy Klüver in 1997 under the title A Day with Picasso (MIT Press) where she appears with Pablo Picasso, Jean Cocteau or Max Jacob, and in the testimonies of all the artists or critics who attended her. However, in our great modernist narratives, we have hardly remembered it. When it appears (especially in biographies of “great” modern artists such as Picasso, Modigliani, Braque, Foujita, etc.), she often takes the features of a stewardess, a cook, a socialite in Montparnasse, or a maid-servant, yet her work and her life deserve special attention. Marie Vassilieff was, through the Academies that she created and directed, through her canteen, and even in her artistic work, deepening Cubism, developing dada approaches of assembly and fusion of art and life, a welcoming personality and a catalyst of Montparnasse. The life and work of Marie Vassilieff seem to have been characterized above all by a desire for permanent decompartmentalization, between the domestic space and the public space (she transforms her studio into an academy and then a canteen), between fine arts and arts applied (she treats her pictorial work with the same care as her making of dolls, stage sets, or bottle doors), etc. It is this unifying figure, with an unknown art, on which we wish to take a contemporary look. Artist, woman, stateless, she joined by her research, her artistic approach and her life attitudes that are resolutely contemporary.

'Scores for Rotterdam' i.c.w. John Bingham-Hall, as part of Post-Opera, TENT, Rotterdam. April 18 - June 30, 2019

Scores For Rotterdam, 2019
a project by Mercedes Azpilicueta & John Bingham- Hall
with Zuri Ramirez & The Codarts Composers Ensemble, Tarwewijk choir, de Groene Connectie.
Installation 14 min. [natural felt, plastic paper, metal rods, threads, sound]
Performance 1 hr.
Urban spaces influence and transform the human voice, affecting not only what we can hear, but also how we can make our voices perceived within them. Scores For Rotterdam investigates this relationship through vocal experiments recorded at three sites of the city, selected for their distinct sonic qualities: metro station Wilhelminapier, the Maastunnel and the concrete forest beneath the railway viaduct at Mevlanaplein.
The urban setting is mirrored in vocality as the non-verbal singing voices offer guidance to imagine the space around them. Unexpectedly, the baritone singer at the metro station resembles the “buffo” character (from the comic genre opera buffa) as his voice traverses and “dismisses” the city noise but also playfully engages with it.
In the exhibition Post-Opera, an installation composed of three textile bodies translate these experiments onto tangible pieces, marking architectural patterns and the dynamics of sounds passing through them. The textiles seem to clothe invisible bodies, which are made perceptible by the voices they emit.
Scores for Rotterdam was part of Post-Opera group exhibition at TENT Rotterdam curated by Kris Dittel and Jelena Novak. April 19 2019 – June 30 2019
The performance was realized on May 25, 2019
Concept: Mercedes Azpilicueta, John Bingham- Hall
Voice recordings: Zuri Ramirez & The Codarts Composers Ensemble, Tarwewijk choir, de Groene Connectie
Sound recording and editing: Clare Gallagher
Textile assistants: Laura Fernández Antolin, Darwin Erwin Winkelaar
Photos: Aad Hoogendoorn

¡Oh Eduarda! performance at Museo de Arte Moderno de Buenos Aires. April 13 - 14, 2019

Oh Eduarda! was presented at Museo de Arte Moderno de Buenos Aires on April 13 & 14th, 2019 as part of Mercedes Azpilicueta’s solo exhibition Cuerpos Pájaros [Body-Birds].
After reading the children’s story La Jaulita Dorada by Eduarda Mansilla, ¡Oh Eduarda! composes the dialogue between two sisters, who imagine oniric micro-stories and situations around the idea of homeness. The performance presents a fantastic experience within that domestic sanctuary, where the sisters travel, dream and cross the threshold that separates the public from the private to confess the fear of darkness, of the deformed, of the lack of roots and their desire to be always together.
Fragments of Mansilla’s story and biography intermingle in the performance, associating the voices of the sisters with those of Eduarda, the domestic space with the act of writing, the temporality of Eduarda’s life with the sisters’ childhood memories. Weaving those elements, ¡Oh Eduarda! builds a hypersensitive universe, where objects and animals have voices and memories.
The performance explores the complex cross-link of the notions of displacement, identity, affectivity and homeness.
Concept & Script: Mercedes Azpilicueta
Performance: Mercedes Azpilicueta, Agustina Muñoz
Live sound: Liza Casullo
Lights: Matías Sendón
Research: Verónica Rossi
Photo Credits: Guido Limardo & Gregory Bohnenblust
A partir de la lectura del cuento infantil La Jaulita Dorada de Eduarda Mansilla, ¡Oh Eduarda! compone el diálogo entre dos hermanas, quienes imaginan en un contexto onírico microrrelatos y situaciones en torno del hogar. La performance presenta una experiencia fantástica dentro de ese santuario doméstico, desde donde las hermanas viajan, suenan y cruzan el umbral que separa lo público de lo privado para confesar el miedo a la oscuridad, a lo deforme, a la falta de arraigo y sus ganas, siempre, de estar juntas.
Fragmentos del cuento de Mansilla y de su biografía se entremezclan en la performance, asociando las voces de las hermanas con las de Eduarda, el espacio doméstico con la escritura, la temporalidad de la vida de Eduarda con las memorias infantiles de las hermanas. Con esos elementos, jOh Eduarda! construye un universo hipersensible, en donde los objetos y los animales tienen voces y memorias.
Como en varias de las piezas que componen la exposición “Cuerpos Pájaros”, la perfomance da cuenta del entrecruzamiento complejo de las nociones de desplazamiento, identidad, afectividad y hogar.

Cuerpos Pájaros / Body-Birds, solo exhibition at Museo de Arte Moderno de Buenos Aires. November 24, 2018 - April, 2019

Cuerpos Pájaros / Body-Birds 
curated by Laura Hakel
Museo de Arte Moderno de Buenos Aires
Opening November 24, 2018 - 11:30 hs. 

At the Moderno, Mercedes Azpilicueta (La Plata, 1981, lives and works in Amsterdam) will present a series of artworks made in the past five years that have never before been seen in the country as well as a new film commissioned by the Moderno and a performance piece conceived especially for this exhibition.
This panoramic selection of artworks, curated by Laura Hakel, a curator at the Moderno, will highlight the social, emotional and economic elements of Azpilicueta’s work as expressed in voice, body and language. Her works place the focus on how voice and language reveal certain aspects about behaviour that we see and hear everyday. To gather material for her performances, Azpilicueta collects, interprets and manipulates words and sounds from everyday situations such as street hawking, text messaging and behaviour in public spaces, situations where an invisible network of assumptions come into play. The artist exposes these assumptions, showing what can and cannot be achieved through communication and how we construct symbols of excessive strength, or even violence, in our everyday oral language.

Matchmaking event "Art: Innovation engine in the 21st century", table host at The Hague University of Applied Sciences, The Hague, NL. October 29th, 2018

The research group Change Management from The Hague University of Applied Sciences (THUAS) in the person of dr. Jacco van Uden and In4Art co-founder Rodolfo Groenewoud – van Vliet cordially invite you to the matchmaking event ‘Art: Innovation engine in the 21st century’ as part of  the Dutch National Research Agenda.

DATE                    Monday 29 October 2018
VENUE                 THUAS, Johanna Westerdijkplein 75 in The Hague
TIMES                  12.00 – 18.00 (including lunch and networking drink)

In the National Research Agenda art is presented as the engine for innovation and reflection in a high-tech society. Artists, as stated, see things differently and see different things, thereby creating new possibilities. When it comes to new technologies, artists can identify underused features, overlooked perspectives or potential applications. The artist can be positioned at the base of radical development. The big question for parties that rely on innovation is: How to involve artists? That is what we will be talking about on 29 October.

During the event we bring together organisations that deal with innovation and/or art daily. Amongst the invitees we include companies with a clear focus on technological innovation, artists working on the intersection of art and science/technology, art institutions, knowledge institutions and public organisations.

Together we will identify the opportunities and challenges when it comes to collaborations between innovation driven organisations and artists. Questions we will be asking include: what can we learn from comparable collaborations in the past? How can we deal with the often present tension between the functional goal-oriented strategy within organisations as opposed to the autonomy of the artist? Under what conditions can a collaboration succeed?

The goal of the afternoon is to formulate an agenda towards a large-scale research project in 2019. Also, we are looking for partners to join us in this project (matchmaking). Thus, this will be an event for inspiration, knowledge sharing and building networks through keynote speeches and breakout sessions.

Afterwards THUAS and In4Art will be very willing to discuss to further explore this subject within the context of your organisation, through a collaborative research project.

Lunds konsthall Ute - Videokonst frå Argentina, public art program, Lunds konsthall, Lund, SE. June 20th - September 16th, 2018

Joaquin Aras, The Order of Things, 2013, digital video

Lunds konsthall Ute – Video Art from Argentina: Joaquin Aras, Mercedes Azpilicueta, Eugenia Calvo, Fabio Kacero, Nicolas Mastracchio, Juane Odriozola
Lunds konsthall / Lund City 20 June– 16 September 2018 
Alejandra Aguado (Buenos Aires,1976) is a curator based in Buenos Aires, co-founder and co-director of Móvil, an independent non-profit organisation with a particular focus on experimentation, geared to commissioning young Argentine artists first solo projects. She has in collaboration with Debora Voges from Lunds konsthall curated this year’s Lunds konsthall Ute programme, which will showcase video works by emerging Argentine contemporary artists. Lunds konsthall Ute is a yearly programme of temporary public art installations curated by Lunds konsthall in the city centre. 

Miércoles de SOMA, Geo Wyeth & Mercedes Azpilicueta, artist talk, SOMA México. June 6th, 2018

Geo Wyeth y Mercedes Azpilicueta

La voz es el medio por el cual Mercedes Azpilicueta se aproxima a las cualidades afectivas del lenguaje en diferentes niveles y disciplinas, tanto políticas como performáticas. A partir del trance y la expresión no racional, su obra aborda temas como el deseo femenino y la resistencia corporal, fomentando procesos de contingencia y asociación. Sus obras retoman técnicas literarias, ambientes sonoros públicos y el uso de elementos performativos reflexionando constantemente en 
torno a la producción del conocimiento.

Recibió la Beca Pernod Ricard de París (2017) y fue residente en la Rijksakademie van Beeldende Kunsten de Ámsterdam (2015 - 2016). Cuenta con una maestría en Bellas Artes por el Dutch Art Institute/ArtEZ de Arnhem y una Licenciatura en Bellas Artes de la Universidad Nacional de Arte de Buenos Aires. Ha exhibido y hecho performance en el Museion, Bolzano, Italia (2018); MACBA, Barcelona, España (2018); D21 Kunstraum, Leipzig, Alemania (2018); Villa Vassilieff, París, Francia (2018); REDCAT Gallery, Los Ángeles, EUA (2018); Centro de Arte 2 de Mayo, Móstoles, España (2017); Chinese European Art Center, Xiamen, China (2017); TENT, Rotterdam, Países Bajos (2015); Irish Museum of Modern Art, Dublin, Irlanda (2014) y en The Poetry Reading Program, Documenta13, Kassel, Alemania (2012).


Geo Wyeth trabaja con música, performance, instalación y video. Partiendo de su interés por el conflicto y la experimentación, Wyeth utiliza el humor para llevar al espectador al límite a partir de la confrontación. Sus obras surgen de lugares inciertos y de los espacios de alienación de la cultura artística, de la familia, de la ciudad, de la industria de la música y de las demandas del capitalismo en relación a la identidad. Inspirado por la estética del entretenimiento americano, Wyeth se recrea a sí mismo a través de espectáculos que oscilan entre lo cómico, lo siniestro y lo agobiadamente serio. 

Ha presentado su trabajo en el New Museum, MoMA PS1, New York Live Arts, Kate Werble Gallery, La MaMa Theatre, The Pyramid Club, The Studio Museum y Joe’s Pub, Nueva York, MoCA, Los Ángeles e ICA, Boston, EUA; Stedelijk Museum, Ámsterdam, TENT y Showroom MAMA Rotterdam, Países Bajos.
Estuvo en residencia en la Rijksakademie van Beeldende Kunsten en Ámsterdam (2015 - 2016). Geo vive y trabaja entre Ámsterdam, Rotterdam y Nueva York.

Los artistas se presentarán en Miércoles de SOMA en el marco de "Los efectos de la presión y súbita expulsión", realizada por El cuarto de máquinas bajo la curaduría de Mauricio Limón.