Cuerpos Pájaros / Body-Birds, solo exhibition at Museo de Arte Moderno de Buenos Aires. November 24, 2018 - March, 2019
Cuerpos Pájaros / Body-Birds
curated by Laura Hakel
Museo de Arte Moderno de Buenos Aires
Opening November 24, 2018 - 11:30 hs.
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.
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.
yegua-yeta-yuta, performance at Museo JUMEX as part of Los efectos de la presión y la súbita expulsión, a group exhibition at Galería Hilario Galguera with Genoveva Álvarez, Mercedes Azpilicueta, Sophie Dupont, Xavier Rodríguez, Manu Sol Mateo, Geo Wyeth.
Curated by Mauricio Limón.
Los efectos de la presión y la súbita expulsión
Exhibition: June 9th - August 17th
Galería Hilario Galguera
Los efectos de la presión y la súbita expulsión, Galería Hilario Galguera, México City. July 9th - August 17th, 2018
El cuarto de máquinas
/Los efectos de la presión y la súbita expulsión/
Genoveva Álvarez, Mercedes Azpilicueta, Sophie Dupont, Xavier
Rodríguez, Manu Sol Mateo, Geo Wyeth
curated by Mauricio Limón
Performance cycle: June 2nd - 9th, 2018
Biquini Wax, Museo Jumex Explanade, Kiosko Morisco, Galería Hilario Galguera
Exhibition: June 9th - August 17th
Galería Hilario Galguera
ORGANIZZAZIONE NON PROFIT
PER LA RICERCA ARTISTICA CONTEMPORANEA
with Mercedes Azpilicueta, Filipa Cesar & Luis Henderson, Eli Cortiñas
curated by Martina Angelotti
29.05 > 7.07.2018
At its second edition, CINEMODERNO is structured around the imaginary of video and its performative potential. The project is manifested in the form of festivals diluted over a period of two months, in which artists are invited to perform every two weeks and to present a re-elaboration and reformulation - in a performative key - of a video research already started.
Since from the first edition - which involved the artists Eva and Franco Mattes; Anna Franceschini and Diego Marcon; Teresa Cos; Francesco Fonassi, with a prologue by Massimo Carozzi - CINEMODERNO explores the language of video in all its multiple dimensions - sculptural, sound, visual - to investigate forms of interaction between the visual narration of the film and its hypertextuality, between the two-dimensional form of the projection and the three-dimensional one of its "staging". CINEMODERNO is inspired by an anthropological perspective, which Rachel O. Moore identifies in cinema through the definition of "magic ritual" with the power to revive, heal and enchant.
For this edition CINEMODERNO is configured through three live interventions that return different sets of space - designed for both live and exhibition - for the duration of two weeks each. The invited artists, coming from different physical and mental geographies, are united by research aspects focused on the analysis of performative practices related to cinema or its ritual dimension, often approached through found-footage and documentary techniques, and which investigate the dimension of the "exotic" from very different perspectives and geographical gazes.
From the video performance of the Argentinean and half Italian artist Mercedes Azpilicueta (La Facultad, 2018) who investigates through the movement, language, sound and video, the relationship between the female body and the social body. The "westernized" jungle of the Tarzan series and other previous projects by Eli Cortiñas, whose lecture performance reveals the research process and the relationship between artist and ethnographer, to the political potential returned in a live form, by Filipa Cesar & Luis Henderson's Op-art: a film made with lenses and celluloid photosensitive to the desktop localization engine, which passes from the production of Fresnel lens material to the invention of global satellite navigation systems (GNSS), an instrument announcing the obsolescence of the sighting beacon.
La facultad, 2018
live performance i.c.w. Madelyn Bullard
set until 12th June
a live work introduced in three acts
a test for a vulnerable body in an unknown space
a staccato of different voices, sound clips and projected images.
La facultad is a term coined by Gloria Anzaldúa that refers to the capacity developed by many on the border “to see in surface phenomena the meaning of deeper realities”. It is an instant “sensing”, a quick perception arrived at without conscious reasoning. It is an acute awareness mediated by the part of the psyche that does not speak, that communicates in images and symbols -which are the faces of feelings.
Fabbrica del Vapore,
SOMATECHNICS, group exhibition at Museion / Museum of Modern and Contemporary Art of Bozen, IT. Opening May 24th, 2018
Transparent travelers and obscure nobodies
curated by Simone Frangi
DIPLAYED WORKS: Pauline Boudry / Renate Lorenz; Sophie Utikal; Ursula Mayer; Patrizio Di Massimo; Adelita Husni-Bey; Danilo Correale
PERFORMANCE and PUBLIC PROGRAM: Mercedes Azpilicueta; Marissa Lôbo; Muna Mussie
Opening: 24th May 2018
On occasion of the tenth anniversary of its new venue, Museion is turning the spotlight on its original mission, namely the idea of fostering dialogue between northern Europe and the Mediterranean area. Somatechnics offers a contemporary take on these elements, bringing together pieces by artists who work in Austria and Italy and explore the physical, administrative and symbolic borders of the two countries.
The proposal was selected from a pool of projects by eight curators under the age of 45. The jury which chose the winning project comprised: Massimiliano Gioni, associate director and head curator of the New Museum, New York, and artistic director of The Trussardi Foundation in Milan; Matthias Mühling, Director of the Städtische Galerie im Lenbachhaus in Munich, and Letizia Ragaglia, Director of Museion.
Somatechnics is a multidimensional program dedicated to the complex relationships between racial and gender embodiments, visuality and mobility in Italy and Austria and in the borderlands in which these two nations intersect.
Taking its cue from the historical and geo-cultural peculiarities of South Tyrol, the project explores the processes of construction and artificial fabrication of bodily identity in its bonds to linguistic identity and to the multiple senses of belonging and inscription which abusively try to confine our bodies in specific territories.
In this sense, Somatechnics takes up the suggestion of activist, politician and writer Alexander Langer - who fought throughout the Eighties and the Nineties against the rise of nativism and ethno-nationalism in the region - to understand the ethnical conflicts in the locality of South Tyrol as a prism through which it was possible to read the actual and future challenges of the co-habitation of pluralities in contemporary Europe.
Bridging Langer’s critique of the politics of integration of minorities as a form of nationalistic assimilationism to the praise of linguistic queerness of Gloria Anzaldúa, Somatechnics proposes to move towards pragmatic alternatives to identiarian monolingualism and explores social and political bodily experience as a negotiated heteroglossia in which our “belonging” is produced performatively through engagement, antagonism, and trans-affiliations and not through a pre-given set of internalized identifications.
The project revolves around what Joseph Pugliese and Susan Stryker call somatechnics and the role they play in the construction of social and political asymmetries among subjects circulating in contemporary Europe. The somatechnical perspective suggests that our “material corporeality (soma) is inextricably conjoined with the techniques and technologies (technics) through which bodies are formed and transformed”. The project focuses in particular on those acts and habits of bodily profiling - put in place by the colonial project of whiteness in its intersection with sexism, classism and forms of stigmatizations linked to religious belonging - which target certain bodies on the basis of visual stereotypes about their race, gender, class, religion or sexual orientation.
In crossing the figure of the transparent traveller reconstructed by Rachel Hall and the figure of the obscure no-bodyproposed by Denise Ferreira Da Silva, Somatechnics reenacts the critique that Édouard Glissant precociously addressed to the western “requirement for transparency” imposed on social subjects in order to “understand” them without any residual ambiguity.
The cultural performance of transparency is inherently asymmetrical and tied to interlocked forms of discriminations that normalize “whiteness, able-bodiedness, and heterosexuality”. In this frame, subjects with non conforming genders, races, classes, sexualities, citizenship status, disabilities, ages, or religions are deemed obscure and presumed to be a threat. This slow violence based on the visuality of suspectness transform some bodies more that others in “strage” no-bodies. Bodies “out of place at home”: uncomfortable, exposed, noticeable, vulnerable and less mobiles.
The project looks at practitioners who have been analyzing, denouncing or subverting the processes of construction of the biased dichotomy between transparency and obscurity as well as at practices that have been praising for a “right to opacity” as an ethics of work. In the economy of the project, opacity emerges in fact as a non-binary interstitial force of resistance, opposing to the systemic reduction of our fractal bodily being to the obviousness of transparency and dichotomies in bodily expressions.
Exploring the diagnostic potential of different media (painting, installation, sonic research, video-based and performance-based practices), the project conveys practitioners that conceive critique both as a clinic and joyfully affermative activity and have employed affectivity as a powerful tool for deconstructing hegemonic imaginaries of race and gender.
ye-gua-ye-ta-yu-ta & Bestiaire of Tonguelets i.c.w. Decorum at IDIORHYTHMIAS, MACBA Museu d'Art Contemporani de Barcelona, May 4th, 2018
In its many forms and manifestations, Action art has questioned the logic of the spectacle and the distance between producers and receptors; between those who perform and those who simply watch, or so it seems. Being a programme of performances, Idiorhythmias feels the need to examine what it is that attracts an audience and what configures it. While the previous edition cast a critical reflection on the role of institutions and their capacity to ‘institute’ practices, set disciplinary limits and draw up the rules of the game, as well as examining their responsibility as guarantors of the relationship between artist and public, the present edition focuses on the viewers to explore the multiple roles they can play and the spaces allocated to them by the institutions.
Programme curated by Soledad Gutiérrez, independent curator, and Pablo Martínez, MACBA’s Head of Programming.
8 pm Mercedes Azpilicueta and Decorum, Bestiare of Tonguelets (2018), performance
Naufus Ramírez-Figueroa, Fino Fantasma (2015–17), performance
Mercedes Azpilicueta, Ye-gua, Ye-ta, Yu-ta (2017), performance
Venue: Exhibition gallery, Convent dels Àngels.
One of the art forms that has most radically confronted the relationship with the public is the happening. In this sense, we welcome the exhibition Oscar Masotta. Theory as Action, currently at MACBA, which investigates the contribution of Masotta, an intellectual whose work is based on transmission, repetition and artistic forms such as the happening and the ‘anti-happening’ (1966). The programme also features the screening of Segunda vez(2018), a film by Dora García inspired by Julio Cortázar’s eponymous short story, presenting two re-enactments – or repetitions, to use Masotta’s psychoanalytic terminology – of two of the happenings created by Masotta in Buenos Aires during the 1960s. Happening, public, author, musical score/script, filming and repetition are some of the concepts to be discussed in the context of Dora García’s film, and as part of this year’s programme.
Another concept developed by Masotta was dematerialisation as an artistic practice and resistance, a concept first expressed by him in a lecture given at the Instituto di Tella in 1967 under the title ‘After Pop: We Dematerialise’, which MACBA has recently re-published in its collection of online publications Quadern Portàtil. A common reflection in many of the works included in the present edition of Idiorhythmias, the idea is central to the practice of Mette Edvardsen, featured in this year’s programme. In her work objects become tools to trigger the public’s imagination, so they become active thanks to dematerialisation. Edvardsen’s performances are part of a body of work built upon the research the artist has been conducting over the last decade. In her seminal piece Private Collection (2002), the dancer/choreographer enters the world of objects and their presence on the stage. Her relationship with objects, already apparent in this early work, is proof of her capacity to transform through a game of absence and presence. Edvardsen pushes her investigations to the limit in two works from a trilogy she produced from 2011 to 2015: Black and No Title. Here language plays with the objects, while the presence of the artist on stage alters the real space. The performative power of words cannot only do things, but also summon things by their appearance and disappearance. While in these pieces the activation of the public’s imagination and the orality of the dematerialised text are fundamental, in Oslo (2017), it is the performer who disappears to make room for the spatial presence of the text and other multiple voices. Accompanying these performances, a selection of Edvardsen’s video works and publications will be available for consultation in the atrium of the Museum.
Running parallel to the presentation of Edvardsen’s work and closely linked to the idea of idiorhythmia, the programme opens with a concert by Luke Fowler and Richard Youngs, a kind of musical dialogue experimenting with various genres and invented instruments.
While dematerialisation is important for the development of this programme, so is the construction or recreation of other imaginaries through words and the invocation of other beings, as in the work by Mercedes Azpilicueta, Ye-gua, Ye-ta, Yu-ta (2015–17), and her collaboration with Decòrum, the Museum’s choir, on the ‘dishonest investigation’ of texts by the Argentine poet Néstor Perlongher; the analyrical recital Jinete Último Reino Frag. 3 , by María Salgado and Fran MM Cabeza de Vaca, a call to subjective disobedience aiming to provoke emotion through words; and Fino Fantasma (2015–17), by Naufus Ramírez-Figueroa, a subtle piece about life beyond death, a kind of journey to the materialisation of that which no longer exists.