Latex, unicorn, languages: for a dishonest research. Conversation with Mercedes Azpilicueta, Elisabeth Lebovici, Inga Lāce and Virginie Bobin. Villa Vassilieff, Paris. February 24th, 2018

Mercedes Azpilicueta, Untitled, 2018. Courtesy: Mercedes Azpilicueta
Argentinean artist Mercedes Azpilicueta pre­sents her­self as a "dis­honest" researcher. During her res­i­dency at Villa Vassilieff as part of the Pernod Ricard Fellowship, she began writing a script for an upcoming per­for­mance, where she inter­laces the work of the Franco-Argentinian artist Lea Lublin, the series of enig­matic tapestries The Lady and the Unicorn, the lit­erary aes­thetics of the Neobarroso Rioplatens, Chilean reg­gaeton, imag­i­nary char­ac­ters and vagrants of the under­world, as well as the the­o­reti­cians Suely Rolnik and Gloria Anzaldúa.
Mercedes Azpilicueta’s sce­nario was fueled by working ses­sions with the chore­og­ra­pher Pauline Simon, Jean-Baptiste Veyret-Logerias (per­­former and per­­for­­mance maker, and a prac­ti­tioner of per­cep­tive somatic-psy­choe­d­u­ca­tion), the actress Emmanuelle Lafon, the
the­o­reti­cians Suely Rolnik and Gloria Anzaldúa.
Mercedes Azpilicueta’s sce­nario was fueled by working ses­sions with the chore­og­ra­pher Pauline Simon, Jean-Baptiste Veyret-Logerias (per­­former and per­­for­­mance maker, and a prac­ti­tioner of per­cep­tive somatic-psy­choe­d­u­ca­tion), the actress Emmanuelle Lafon, the artist and designer Lucile Sauzet, the film­maker Hélène Harder as well as public work­shops. It tes­ti­fies to a research pro­cess that joy­fully jumps genres, dis­ci­plines and eras, is embodied in mul­tiple voices and lan­guages, solicits the senses as much as the thought and wel­comes the joy of a col­lec­tive con­struc­tion, wobbly and vol­un­tarily cor­rupted.
The dis­cus­sion will take place in the spaces of the exhi­bi­tion Akademia : Performing Life, on view until the 24th of March at the Villa Vassilieff, in which Mercedes Azpilicueta pre­sents Pink pop­ping plank (2018), an art­work that is both sculp­ture, set, script and score to be acti­vated.
Conceived by cura­tors Solvita Krese, Inga Lāce (Latvian Center for Contemporary Art) and Camille Chenais (Villa Vassilieff), the exhi­bi­tion Akademia: Performing Life itself com­poses a poly­phonic nar­ra­tive around the artistic com­mu­nity founded by Raymond Duncan, focusing on a lesser known figure, that of the Latvian dancer and writer Aia Bertrand. Like the weaves cre­ated by its self-taught mem­bers, the exhi­bi­tion inter­twines the threads of myth, cura­to­rial and artistic research, and the sub­jec­tive inter­pre­ta­tion of the sto­ries pro­duced by and around the Akademia.
In the pres­ence of film­maker Hélène Harder, and with the par­tic­i­pa­tion of Raymond Duncan san­dals, latex tumors, a uni­corn and a few poems.
Languages: English, French, Spanish, Latvian ...
Mercedes Azpilicueta is a visual and per­­for­­mance artist from Argentina based in The Netherlands. Drawing on a tran­s­dis­­­ci­­plinary approach within her artistic prac­tice, she develops pro­­jects that explore the affec­­tive qual­i­ties of lan­guage and voice, the polit­ical dimen­­sion of female desire, and the con­nec­­tions between embod­i­­ment, glo­­cal­i­ties and resis­­tance. Her work opts for per­­sonal and par­tic­ular method­­olo­gies such as mnemonic and lit­erary tech­niques, public sound­s­capes in rela­­tion to social and cul­­tural con­di­­tions and the use of per­­for­­ma­­tive ele­­ments for pro­­ducing knowl­­edge, allowing pro­cesses where con­t­in­­gency, asso­­ci­a­­tion and play­­ful­­ness take place.
Élisabeth Lebovici is a his­­to­rian, art critic, activist and writer. She has been a jour­­nalist atLibération, writing in its cul­­tural column from 1991 to 2006. She wrote Femmes Artistes/Artistes Femmes (Hazan, 2007) in col­lab­o­ra­­tion with Catherine Gonnard and runs the blog le beau vice
In 2017, she pub­­lished 
Ce que le sida m’a fait (What AIDS has done to me, Paris, Les presses du réel), an inti­­mate and polit­ical account of inter­sec­­tions between art and activism, seen through the AIDS epi­­demic in the 1980s and 1990s in France and the United States.
Inga Lāce is a curator at the Latvian Centre for Contemporary Art (LCCA) and a cura­to­rial fellow at de Appel arts centre, Amsterdam (2015-2016), where her exam­i­na­tion of the inter­twined rela­tion­ships between nature and cul­ture, and (art) insti­tu­tions and ecology has led to the pro­duc­tion of a sym­po­sium and a pub­li­ca­tion (forth­coming in 2017). She has recently curated the exhi­bi­tions Resilience. Secret Life of Plants, Animals and Other Species at Бükü (the Büro für kul­turelle Übersetzungen) in Leipzig (2016), and Lost in the Archive, with Andra Silapetere, in Riga (2016), which took the LCCA’s archive of con­tem­po­rary art as its starting point. She also curated the exhi­bi­tion (Re)con­struc­tion of Friendship (2014), which was held in the former KGB house in Riga. Lāce co-edited the book Revisiting Footnotes. Footprints of the Recent Past in the Post-Socialist Region with Ieva Astahovska (2015), and she was a curator,with Solvita Krese of the 7th and 8th edi­tions of the con­tem­po­rary art fes­tival Survival Kit (2015- 2016).

Pernod Ricard Fellowship 2017. Villa Vassilieff, Paris. January 8th - March 3rd, 2018

During the first part of her res­i­dency in April 2017, Mercedes Azpilicueta devel­oped a research into sev­eral artistic fig­ures and tra­jec­to­ries, through meet­ings with art his­to­rians and critics, visits to museums and archive, and long strolls through the city and its under­ground — which she per­ceived as a place of col­lec­tive resis­tance, where bodies per­form dif­fer­ently from over­ground. She wrote a diary, hells, smells & shame, which served both as a draft script. 
During the second part of her res­i­dency in January & February 2018, Mercedes Azpilicueta will develop a script for a filmed per­for­mance, based on a series of working ses­sions with chore­og­ra­pher Pauline SimonJean-Baptiste Veyret-Logerias (per­former and per­for­mance maker, and a prac­ti­tioner of per­cep­tive somatic-psy­choe­d­u­ca­tion), per­former Emmanuelle Lafon, the­o­rist Myriam Suchet and curator Virginie Bobin (Villa Vassilieff) ; as well as on col­lec­tive work­shops with stu­dents from Paris 8 University, Paris 3 – Sorbonne Nouvelle University, and Fondation Maison des Sciences de l’Homme. Additional work­shops will take place at Cité Internationale des Arts on February 2 & 3 as part of We Are Not the Number that We Think We Are, a 36-hour event pro­duced by Bétonsalon - Center for Art and Research & Villa Vassilieff.
Mercedes Azpilicueta will also pro­duce a series of props and « visual mnemonics » in col­lab­o­ra­tion with artist and designer Lucile Sauzet.
Parts of these activ­i­ties will be recorded in col­lab­o­ra­tion with film-maker Hélène Harder, with the aim of pro­ducing a film in the course of the year 2018.
A work by Mercedes Azpilicueta, Pink pop­ping plank, is pre­sented in the exhi­bi­tion Akademia : Performing Life, on view at Villa Vassilieff from January 13 to March 24, 2018. Curated by Solvita Krese & Inga Lāce (Latvian Center for Contemporary Art). 
The work is all at once a sculp­ture, a set, a script, a score, and will be acti­vated during a series of work­shops taking place in the exhi­bi­tion.

"Nous ne sommes pas le nombre que nous croyons être" an event of the Daniel & Nina Carasso Foundation, in part­ner­ship with the École poly­tech­nique / École nationale supérieure des Arts Décoratifs and the Cité inter­na­tionale des arts. Produced by Bétonsalon - Center for Art and Research & Villa Vassilieff. February 2nd & 3rd, 2018

An Arts & Sciences event to   imagine the future!
From Friday, February 2nd to Saturday, February 3rd 2018
2 days and 1 night, 36 hours non-stop
“We are not the number we think we are” will offer an expe­ri­ence for 36 hours non-stop, involving hun­dreds of artists, researchers and thinkers from var­ious geo­graph­ical and dis­ci­plinary back­grounds. At the heart of the pro­ject: within working spaces, focusing on hetero­ge­neous groups of people and col­lec­tives, gath­ered tem­porarily around pressing issues of our con­tem­po­rary world. They will take over mul­tiple spaces within the Cité inter­na­tionale des arts in Paris, a meeting ground open to the dia­logue between cul­tures where vis­i­tors will be invited to reflect on the pre­sent and map together path­ways for the future. The common thread of this bound­less pro­gramme is the fic­tional world of The Compass Rose (1982) a book of short sto­ries by science fic­tion writer Ursula K. Le Guin.
We will be searching for "a common lan­guage in which all resis­tance to instru­mental con­trol dis­ap­pears and all hetero­geneity can be sub­mited to dis­as­sembly, reassembly, invest­ment, and exchange." (Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century" in Simians, Cyborgs and Women: The Reinvention of Nature, New York; Routledge, 1991.)
"We are not the number we think we are" will depart from Ursula K. Le Guin’s col­lec­­tion of short sto­ries, The Compass Rose, to explore the realm of fic­­tion and create the nec­es­sary dis­­­tance from bare reality to best under­­s­tand the issues of the pre­sent time. We will try to sketch the land­s­cape of what could exist in the future by drawing some lines from these short sto­ries, which by their great variety of tones and sub­­­jects invite us to move in every direc­­tion at once. They explore fan­­tastic futures, that are imag­i­­nary, but likely, making us envi­­sion other worlds while showing us the one we know. They will script to inhabit dif­ferent real­i­ties, and build alter­­na­­tives to the way we live today. We will try to get out of our com­­fort zone, accept the unpre­­dictable, find our way through the unknown and ques­­tion again the value of evi­­dence, doubt, acci­­dent and inves­ti­­ga­­tion.
The explo­ra­tion of these fic­­tional con­ti­­nents will tem­­porarily take over the Cité inter­­na­­tionale des arts. It will become the place where pro­cesses of work and devel­op­­ment of knowl­­edge will be made pal­­pable, vis­ible, audible. Over two days and one night, sci­en­tists, artists, designers, researchers in human sciences, cura­­tors, and many others will gather and get involved in the con­struc­­tion of new types of expe­ri­ences to ques­­tion our cer­­tain­ties and test hypotheses on what we believe and what we know, and allow for the emer­­gence of new forms of sit­u­ated knowl­­edge. The dia­­logue between these par­tic­i­­pants will allow us to ask our­­selves this fun­­da­­mental ques­­tion: how to invent forms which summon and rep­re­sent, which acti­­vate and mobi­lize by involving con­stel­la­­tions of players in order to imagine a desir­able future and a pro­­ject of society that emerges from our col­lec­­tive will?
An event of the Daniel & Nina Carasso Foundation, in part­ner­ship with the “arts & sciences” Chair, founded by the École poly­tech­nique / École nationale supérieure des Arts 
Décoratifs – PSL / Daniel & Nina Carasso Foundation and the Cité inter­na­tionale des arts.
Produced by Bétonsalon - Center for Art and Research & Villa Vassilieff
Curated by Mélanie Bouteloup
Steering comitee: Samuel Bianchini (EnsAD), Jean-Marc Chomaz (École poly­tech­nique), Emmanuel Mahé (EnsAD - PSL), Anastassia Makridou-Bretonneau (Daniel & Nina Carasso Foundation), Valérie Pihet (SACRe - PSL) and Bénédicte Alliot (Cité inter­na­tionale des arts)
Free entry (sub­ject to avail­ability)*
* Except for the Discontrol Party, 10pm-5:30am – 10€. 
Tickets :
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La facultad. Performance at REDCAT Gallery, Los Angeles as part of Pacific Standard Time Festival: Live Art LA/LA. January 20th, 2018

Presented as part of Pacific Standard Time Festival: Live Art LA/LA

Mercedes Azpilicueta’s performance La Facultad introduces multiple narratives as a body moving in the space activates different voices, sound clips, and projected images. The script features two characters: Yuko, a survivor of the U.S. attack on Hiroshima in 1945; and Justine, the main fictional character of the book Justine or The Misfortunes of Virtue (1787) by the Marquis de Sade. The two voices are selected from The Words of Others (1967), a literary collage by Argentine artist León Ferrari. Other sources used in the work include poetry of Chicana artist Gloria Anzaldúa, the illustrations of Justine by Czech transgender artist Toyen (aka Marie Čermínová), and gestures from singer Mina Mazzini.

January 20, 5 pm


631 W. 2nd St, Los Angeles, 90012
Presentado como parte del Pacific Standard Time Festival: Live Art LA/LA
El performance de Mercedes Azpilicueta La Facultad, introduce múltiples narrativas a partir de su propio movimiento en el espacio, al mismo tiempo que activa diferentes voces, sonidos, e imágenes proyectadas. El guión cuenta con dos personajes: Yuko, una sobreviviente del ataque estadounidense a Hiroshima en 1945; y Justine, el personaje de ficción del libro Justine o los infortunios de la virtud (1787) del Marqués de Sade. Las dos voces se eligieron de Palabras ajenas (1967), un collage literario del artista argentino León Ferrari. Otras fuentes utilizadas en el trabajo incluyen la poesía de la artista Chicana Gloria Anzaldúa, las ilustraciones de Justine por la artista transgénero Checo Toyen (aka Marie Čermínová), y los gestos de la cantante Mina Mazzini.

20 de enero, 5 pm


631 W. 2nd St, Los Angeles, 90012

Presented as part of the Pacific Standard Time Festival: Live Art LA/LA, organized by REDCAT and supported by a major grant from the Getty Foundation. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

Akademia : Performing Life. Villa Vassilieff, Paris. Jan 12 - Mar 24, 2018

With : (-)auteur, Mercedes Azpilicueta (Pernod Ricard Fellow), Ieva Balode, Yaïr Barelli, Aia Bertrand, Raymond Duncan, Ieva Epnere, Barbara Gaile, Daiga Grantina, Myriam Lefkowitz, Mai-Thu Perret, Andrejs Strokins

Curators : Solvita Krese, Inga Lace & Camille Chenais

Akademia : Performing Life will look at narratives and themes springing from Akademia, a community and an alternative school established in the 1910s by Raymond Duncan, American dancer and artist, and since the 1920s co- run by Aia Bertrand, a dancer, writer and an expatriate from Latvia. Akademia was a manifestation of their ideological syncretism blending socialist principles, the desire to revive ancient Greece and a “natural” Latvian way of life. The exhibition aims to explore the ideas and principles embodied by Akademia at its inception as potential alternatives to traditional models of education, creation and community life, while also questioning its more obscure aspects.

This exhibition is coproduced with the Latvian Centre for Contemporary Art (Riga, Latvia).

ENGAGE Public school for Social Engagement in Artistic Research. VIR Viafarini-in-residence, Milan. October 9-20, 2017

Public school for Social Engagement in Artistic Research 

curated by Viafarini in collaboration with Sunug
VIR Viafarini-in-residence, Viafarini DOCVA Fabbrica del Vapore and other places in Milan 

under the Patronage of Comune di Milano
with the collaboration of Assessorato Educazione e Assessorato Politiche Sociali
with the collaboration as social ambassadors of FabriQ - Incubator for Social Innovation of Milan City Council

Milan, 9 - 20 October 2017
ph. Maurizio Cattelan, RAUSS, 1991, GAM Bologna

Engage Public School participantsTim Rollins (USA, recommended by ISCP), Maria Magdalena Campos Pons (Cuba), - Todd Lester (Brasil), Vitshois Mwilambwe Bondo (Democratic Republic of Congo, recommended by Rijksakademie); Moussa Traoré (Senegal), Alex Mawimbi (Kenya – UK), Zoya Sardashti (Iran – Italy), Mercedes Azpilicueta (Argentina – Italy), Muna Mussie (Eritrea – Italy), Délio Jasse(Angola – Italy), Ilaria Lupo (Italy – Lebanon), Beatrice Catanzaro (Italy, Milan), Jacopo Miliani (Italy, Milan), Nicolò Degiorgis (Italy, Bolzen), Francesco Fonassi (Italy, Brescia), Caterina Erika Shanta (Italy, Pordenone), Leone Contini (Italy, Florence), Enrico Floriddia (France – Italy, Catania), Baukje Spaltro (Italy – the Netherlands), Oriana Haddad (Italy – Egypt), Maurice Mbikayi (Democratic Republic of Congo
), Maurice Pefura (Camerun - Italy Milano), Ako Atikossie (Togo, Italy Milan), Sandra Hauser (Germany).
Engage Academy Awards: Barbara Baiocchi (Italy, Varese), Saverio Bonato (Italy, Venice), Pamela Diamante (Italy, Bari), Carlo Miele (Italy, Milan), Isabella Mongelli (Italy, Taranto), Matteo Pasin (Italy, Treviso), Raziel Perin (Dominican Republic - Italy, Milan), Rui Wu (China - Italy, Milan).

ENGAGE is a training and research program, curated by Viafarini in collaboration with Sunugal, addressed to Italian and international artists, inviting them to spend a period of one week residency / workshop in Milan between 9 - 20 October 2017, in dialog with local social and creative mediators, aiming at researching and experimenting innovative ways of interaction between art practices and social sphere.

ENGAGE relies on the collaboration of Sunugal (Milan/Dakar), organizations for intercultural dialogue and cooperation; of leading European and international institutions in the field of contemporary arts and culture –Rijksakademie van beeldende kunsten (Amsterdam), Akademie Schloss Solitude (Stuttgart), Delfina Foundation (London), Residency Unlimited (New York City), ISCP International Studio & Curatorial Program (New York City), Futura Projects (Prague), for the communication of the Open Call.

ENGAGE is a Public School, an educational format already tested at an international scale, based upon the horizontal and non-hierarchical interaction between artists, community and cultural mediators, encouraging communities to take part in the planning and reconfiguration of the urban environment, so as to create new knowledge and networks of collaboration.
ENGAGE project is based upon the role of artist as driver for social innovation and socially engaged practices, able to foster intercultural dialog, mutual understanding and social inclusion among people from different cultures and backgrounds in Europe.

The Public School invites 20 artists whose practice implies interaction with urban communities, as well as research-based practices studying contemporary collective imaginaries. We look for artistic practices interested in understanding the implications of the great change under way: from an artistic as well as social, political and anthropological point of view.
The selection take into account the ability of the artist to foster communication between diverse fields of knowledge: from science to religion, from economy to politics, so as to overstep the self-reference of art-based discourse, aiming towards the creation of alternative models of public action.

The project aims to the creating new strategies capable of making visible and intervening in issue linked to transcultural dialogue and social and urban exclusion and vulnerability such as:
gender oppression;
racism and xenophobia;
_ discrimination and oppression based on religious belonging

ENGAGE Public School is also looking for 20 sociocultural operators, able to bring to the working committee the needs expressed by their respective urban communities. The Public School let the artists work according to the report for social interaction presented by the operators for social innovation, who facilitate the dialog between artists and local communities. The workshop, that takes place from 11 until 20 October, is coordinated by Viafarini team: Patrizia Brusarosco, PhD Simone Frangi, Giulio Verago, Mihovil Markulin, Giulia Brivio

ENGAGE Public School involves artists/teachers and Professors of the educational institutions of Viafarini network, from Fine Arts Academies to Universities, from Art Schools and other High School

_ During October and November 2017 artists draft proposals for artistic interventions to be realized in Milan, according to the needs expressed by local communities during the workshop;
_ From December 2017 until April 2018 
ENGAGE evaluate the possibility for the proposals to be produced;
_ In May 2018 
all the interventions and proposals are part of a show to be inaugurated in Milan.

For further information and to confirm your interest please write to with documentation about your research.
Object: ENGAGE Public School

/ / / / / / / / / 

LIVE WORKS performance act award Vol. 5. Centrale Fies, Dro / Trento. July 10 - 23, 2017

curated by
Barbara Boninsegna (artistic director of Centrale Fies, Dro)
Simone Frangi (artistic director of Viafarini, Milan)
Daniel Blanga-Gubbay (founder of Aleppo, Brussels)
Fabio Sajiz (technical curator)
Stefania Santoni and Maria Chemello (production)
CONTACT Centrale Fies, Loc. Fies 1, Dro (TN), Italy

LIVE WORKS is a platform dedicated to live contemporary practices that contribute to deepening and broadening the idea of performance, following the current evolution of performance and its styles. This platform aims to measure the concreteness of performance in the real world, investigating the double of nature of LIVE - in person and alive - highlighting those moments in which performance integrates with the dynamics of life.
Created in 2013 by Centrale Fies, in collaboration with Viafarini, the LIVE WORKS platform includes: LIVE WORKS Performance Act Award, The Free School of Performance, Centrale Fies Performance Art Collection.

LIVE WORKS  Performance Act Award_Vol. 5

The award LIVE WORKS includes a creative residency period, for nine selected projects. LIVE WORKS sees performance as a work space, and as an instrument and cultural exercise. Starting from the notion of performance in the visual art practice, the prize is unique in its particular attention to hybrid research, underlining the openness and fluidity of performance, its social and political implications and its level of public understandability. The competition is open to a wide range of emerging performative actions, including: Performances, sound and new media arts, text-based performances, lecture performances, multimedia storytelling, choreographic practices, relational and workshop-based projects, and other projects questioning the idea of performativity beyond the body.

Artists and professionals from any geographic location can enter the competition, as individuals or in groups, with a single project. The competition only accepts unpublished or long-term projects that need to be developed and/or concluded, for which participation would represent an evolution of the project or it’s final chapter.

The nine projects selected by LIVE WORKS will be invited to participate in a production residency at Centrale Fies from the 10th to the 20th July 2017,  during which each project will have a budget of € 1000,00 to contribute to the production of the performance.

The production of the performance projects during the residency will be supported by diverse types of curatorship, from theoretical to technical development.

During the residency phase, Centrale Fies will provide a technician and a production manager to assist the artists as they develop the selected projects. The residency phase is an essential part of the development of the competition and of the selected projects.

In the event that the residency cannot be carried out in the period indicated in the competition announcement, it is possible to organize alternative forms of residency. The proposal for an alternative residency must be justified by the typology and characteristics of the projects presented.

The performances produced will be presented during the 37th edition of the Drodesera Festival of Performing Arts (21st, 22nd, 23rd July 2017). On this occasion, the nine winning projects will be seen and discussed by a board of international professionals, working for festival, institutions residency and production programs that sustain and produce research in performance. The board will be actively involved in public and private meetings with the nine artists.

The nine selected projects can benefit of a further 10-day residency at Centrale Fies in a period betweenthe 1st August and  the 31st December 2017.

For Live Works vol. 5 the guest board is composed by:

Lorenzo Benedetti (Director of Kunstmuseum St. Gallen);
Vincent Honoré (Chief curator at David Roberts Art Foundation, London and curator of the XIII Baltic Triennale); 
Eva Neklyaeva (Director of Santarcangelo Festival);
Manuel Segade (Director of Centro de Arte Dos de Mayo, Madrid and curator of Spanish Pavillion at 57th Venice Biennale);
Christine Tohmé (Director of Ashkal Alwan, Beirut and curator of Sharjah Biennial 13).

«ye-gua-ye-ta-yu-ta» / Picnic Sessions. CA2M Centro de Arte 2 de Mayo, Móstoles. July 6, 2017

Picnic Sessions «Arbustos, sustancias, pelos, ruidos»

En forma de declamación, Mercedes Azpilicueta recita en una jerga del castellano rioplatense, más de 400 insultos dirigidos a mujeres en Argentina. A modo de exorcismo antropofágico, la pronunciación de cada insulto es desarmada fonéticamente hasta tal punto que se vuelve un canto. De esta manera, el significado peyorativo de cada insulto es transmutado vocalmente, adquiriendo un nuevo valor. Para el espectador, el guión parece no estar compuesto por insultos, ya sea porque muchos son jerga o lunfardo o, porque las palabras están pronunciadas y desarmadas de tal manera que no es posible conectarlas con su significado usual. La performance ocurre de continuo y oscila entre el guión y la improvisación. El público se encuentra con una pieza vocal por momentos tragicómica, que invita a reflexionar acerca de la gramática de la desigualdad y cómo esta es cómplice sutil de la agresión verbal: violencia de género invisible pero manifiesta en nuestra oralidad cotidiana.
Comisarias: Magui Dávila y Maria Jerez
Apertura de puertas 20:30 #AccesoLibre

Le Final—Performances et projections, CAC Brétigny, Brétigny-sur-Orge. July 1, 2017

Commencée par «JUMP», ses translations approximatives et ses traductions ratées, enchaînant avec «Vocales» et la construction de voix multiples et dissonantes, poursuivie par «Discours Primal» de Liz Magic Laser et l’art oratoire autoritaire ou libérateur, la saison des Chants de distorsion se termine par un final qui réunit les différentes approches du thème annuel dans sa relation au territoire. Thème s’entend ici dans son acception musicale, comme un motif qui innerve l’ensemble des projets menés. 

L’expression «champ de distorsion» désigne la puissance charismatique de Steve Jobs, co-fondateur d’Apple, qui réussirait semble-t-il à influencer les plus rétifs de ses collaborateurs. On raconte qu’un champ magnétique déforme la perception de quiconque l’approche. Si les œuvres provoquent cette modification de la réalité, elles ont ceci de particulier que leurs chants se construisent dans la relation même qui les relie à celui, celle ou ceux qui écoutent.

En écho à «Discours Primal», l’exposition Liz Magic Laser en cours au centre d’art du 13 mai au 30 juillet 2017, ce final des chants de distorsions sillonne les routes de l'Etampois, de l’Arpajonnais, les vallées de l’Orge et de l’Yvette pour faire résonner les voix multiples, les rumeurs, les balbutiements et autres langues inventées.

Le 1er juillet, la programmation itinérante s'arrête un moment au CAC Brétigny pour un après-midi de performances et de projections.


Angelique BuissonLina Schlageter, "La forme du mouvement", performance (15h, 16h et 17h)
Rudolf Laban invente dans les années 1920 un système d'écriture du mouvement appelé cinétographie, adapté et mis en scène par Angélique Buisson pour son projet "La forme du mouvement" mené avec deux classes de l'école Lamartine à Saint-Michel-sur-Orge (91). Au CAC Brétigny, la danseuse Lina Schlageter traduira et décodera la partition écrite par les élèves, qui auront composé une notation du mouvement à partir de langage gestuel et d'objets scéniques.

Géraldine Longueville, "Les eaux situées" (titre provisoire), présentation (15h15)
"Les eaux situées est une présentation de mes recherches sur l'élaboration d'un bitter conçu à partir de plantes, racines et épices présentes sur le territoire du Val d'Orge.
Obtenu grâce à la macération de plantes amères dans de l'alcool, le bitter est une liqueur qui fait son apparition majoritairement dans les pays occidentaux à la fin du 19e siècle.
Composé de différentes plantes et racines provenant de ressources "indigènes" et/ou "tropicales", sa consommation a évolué au fil des siècles. Un temps thérapeutique, il est prescrit contre les maux d'estomac et l'indigestion. Mélangé avec du sucre et des fruits, il devient très populaire pendant la Prohibition. Aujourd'hui, le bitter est surtout considéré comme un condiment puissant apportant aux cocktails une pointe d'amertume.
À partir d'éléments végétaux glanés dans les alentours du centre d'art, de l'histoire ouvrière agricole du Val d'Orge, ainsi que d'une réflexion sur les notions d'acclimatation et d'intégration, il s'agira de présenter mes sources constituant les "ingrédients" de cette recette à venir." (Géraldine Longueville)

Projections (16h15)
Avec des vidéos de Mercedes Azpilicueta, Ulla von Brandenburg*, Alejandro Cesarco*, Till Roeskens* et Katarina Zdjelar
*œuvres de la collection du Frac île-de-france.

Lidwine Prolonge, "ALM", performance (17h15)
"En juin-juillet 2017 aura lieu/a eu lieu un ensemble d’actions et d’expériences sous le titre ALM, protocole initié en 2007. Il sera/a été divisé en deux plans : Plan A + Plan B.
Le plan A sera/a été déployé dans l’espace public, sur le territoire du CAC Brétigny.
Le plan A sera/a été : une rumeur, une infiltration, une captation, une transmission, une lévitation, un transport, un long circuit, un rythme, une distorsion, un pas, une annonce, un oracle, une dispersion d’heures.
Le plan B prendra/a pris la forme d’une séance publique le 1er juillet au CAC Brétigny.
Le plan B sera/a été : une séance d’écoute, une séance de réécoute, une séance d’hypnose, un récit d’anticipation, la constitution d’un répertoire, la signature d’un pacte, une perturbation des temps, une superposition des espaces, une transmutation, un faux-pas, un battement de chœur, un orage, un court-circuit, un rassemblement d’heures, un chant, un final, un faux-final." (Lidwine Prolonge)


CAC Brétigny
Centre d’art contemporain
Rue Henri Douard
91220 Brétigny-sur-Orge
+33 (0)1 60 85 20 78

Entrée libre.
Ouvert du mardi au samedi de 14h à 18h et le dernier dimanche de l’exposition. Fermé les 25 mai et 14 juillet.
Nocturnes les soirs de représentation au Théâtre.

Accès depuis Paris en RER C (30 minutes environ):
Toutes les 15 minutes trains BALI, DEBA, DEBO, ELBA direction Dourdan, Saint-Martin d’Étampes, arrêt Brétigny.
De la gare de Brétigny, suivre la direction Espace Jules Verne, prendre le boulevard de la République, continuer sur la place Chevrier, prendre légèrement à droite sur la rue Danielle Casanova, et au rond-point prendre la première sortie rue Henri Douard.

Accès en voiture:
Depuis Paris, A6 direction Lyon, sortie Viry-Châtillon, Fleury-Mérogis, puis Brétigny centre.
Depuis Évry, francilienne direction Versailles, sortie 39B direction Brétigny.
Depuis Versailles, francilienne direction Évry, sortie Brétigny centre.
Pour venir en covoiturage, rejoignez le groupe BLABLACAC(B).

Across the Board, lecture i.c.w. Jacco van Uden & Céline Berger at Witte de With Center for Contemporary Art, Rotterdam. June 23, 2017

Across the Board is a long-term platform for professional development through cross-disciplinary exchange. Led by visiting tutors – significant agents in the fields of art, business, and politics – a select group of promising professionals works together to locate (and re-evaluate) the shared values between their respective domains and to confront the opposing philosophies and methodological frictions that arise through their exchange. The program, with a series of masterclasses at its core, attempts to co-formulate a more pluralized and nuanced trajectory, to be activated within their independent domains and within the cultural field at large. Towards the long-term goal of exchange between the participants, Across the Board aims to not only fuel the foundation of connections during the program, but to also provide a lasting platform between its future alumni.

OWNNOW: individual encounters with drawings by René Daniëls. Initiated and curated by Sara Giannini. Van Abbemuseum, Eindhoven. June 23-24-25, 2017


As part of the research programme Deviant Practice we invite you to participate in the individual sessions where you will uncover and experience new relations to Daniëls’ practice. The sessions are free of charge and you can sign up individually or with a person you feel very connected to. 

The individual encounters will take place on June 23, 24 and 25 depending on the number of subscriptions and will last 1h30m.


The focus of the sessions will be constellations of drawings by Daniëls selected from the archives of the René Daniëls Foundation, a great part of which is hosted and managed by the Van Abbemuseum. The drawings span several decades of production and many of them have not been presented in public before. The selection and display of the drawings follow Daniëls’ own scattering of meaning, identity and time. Past and future blur, triggering infinite interpretations. 

What happens when we experience art outside of our rational mind, beyond the rules of language, regardless of the etiquettes? During the workshop you will experience new ways of sensing and relating to artworks by René Daniels in a safe space where all bodies and types of language are welcome to express themselves.

Performance artist Mercedes Azpilicueta and performance artist/reiki practitioner Stav Yeini will help you disconnect from your routines, forget about your roles and expectations and re-discover your body and voice. After the sessions these different languages and gestures will form a new “relational archive” of the works. This archive won’t be based on definitions, categories or chronologies as is common in the museum, but on personal associations, open to future interpretations and imaginations. As Mariam Ghani said “Our Index begins in the gaps where language ends." 

OWNNOW is developed by Sara Giannini (semiotician and curator) in collaboration with Mercedes Azpilicueta (performance artist) and Stav Yeini (performance artist and Reiki practitioner).