Words at an Exhibition–an exhibition in ten chapters and five poems, Busan Biennale, Busan, KR. September 5 - November 8, 2020


Words at an Exhibition–an exhibition in ten chapters and five poems

Curated by Jacob Fabricius

The Busan Biennale is a biannual international contemporary art show that integrated three different art events held in the city in 1998: the Busan Youth Biennale, the first biennale of Korea that was voluntarily organized by local artists in 1981; the Sea Art Festival, an environmental art festival launched in 1987 with the sea serving as a backdrop; and the Busan International Outdoor Sculpture Symposium that was first held in 1991. The biennale was previously called the Pusan International Contemporary Art Festival (PICAF) before it launched.

The biennale has its own unique attribute in that it was formed not out of any political logic or need but rather the pure force of local Busan artists’ will and their voluntary participation. Even to this day their interest in Busan's culture and its experimental nature has been the key foundation for shaping the biennale’s identity.

This biennale is the only one like it in the world that was established through an integration of three types of art events such as a Contemporary Art Exhibition, Sculpture Symposium, and Sea Art Festival. The Sculpture Symposium in particular was deemed to be a successful public art event, the results of which were installed throughout the city and dedicated to revitalizing cultural communication with citizens.

The networks formed through the event have assumed a crucial role in introducing and expanding domestic art overseas and leading the development of local culture for globalized cultural communication. Founded 38 years ago, the biennale aims to popularize contemporary art and achieve art in everyday life by providing a platform for interchanging experimental contemporary art.

For more information: http://www.busanbiennale.org

The total scab–free solidarity and performative silence that struck floor–shows and soundstages from Desert to NJ coast for over half a year, group exhibition at A Tale of a Tub, Rotterdam, NL. September 5 - November 8, 2020


A Tale of a Tub has the pleasure of inviting you to the opening reception of the group exhibition The total scab–free solidarity and performative silence that struck floor–shows and soundstages from Desert to NJ coast for over half a year, presenting work by Lara Almarcegui, Mercedes Azpilicueta, Daniel Jacoby, David Maroto, Falke Pisano, and Victor Santamarina. The exhibition marks the outcome of the inaugural edition of A Tale of a Tub’s annual Open Call for Exhibition Proposals and is curated by Tiago de Abreu Pinto.

For the opening reception we will be working with mandatory time slots, for which you make a reservation hereūüíĆ

We hope to welcome you on September 5!

Storia Notturna, group exhibition at Centrale Fies, Dro, IT. July 17 - August 8, 2020


curated by Simone Frangi and Denis Isaia
Storia Notturna is a collective exhibition curated by Simone Frangi and Denis Isaia, conceived in the context of XL 's live programming as a new episode of exhibitions promoted by Centrale Fies about the countless relationships between objects - whether physical, immaterial or virtual - and the possibility to activate them. The project, on display from 17 July to 8 August at Centrale Fies, brings together a group of international artists who have been able to intensify the mutual relationship between objectivity and performance.  

Storia Notturna acquires its title from the historical-philosophical work of Carlo Ginsburg devoted to the analysis of sabbah, witchcraft and practices of care and material transformation which, inscribed in a "twilight" threshold, nocturnal or dark, have influenced ways of inhabiting the world "beyond rationality", taking on deep social and political meanings in the alternative history of the West.

The artists of exhibition are: Mercedes Azpilicueta, Chiara Camoni, Darius Dolatyari-Dolatdoust, Francesco Fonassi, Luca Frei, Raffaela Naldi Rossano, Anna Perach.

Performance / Documentation / Presentation, group exhibition at Lunds Konsthall, Lund. June 13 - August 23, 2020

Performance / Documentation / Presentation

Mercedes Azpilicueta (born 1981 in Argentina)
Donna Kukama (born 1981 in South Africa)
Hwayeon Nam (born 1979 in Korea)
Alexandra Pirici (born 1982 in Romania)

Performance in itself, in its various and diverse forms, is not new to the art world, and we can trace its origins to the early 20th century. Nevertheless, what is interesting today is how despite this long tradition of the use of performance by artists, it is still somehow at odds with the operational structures and practices intrinsic to museums and galleries. It is only in the past fifteen years that art institutions around the world are creating positions, departments, spaces and collection strategies specifically devoted to performance art. How to exhibit, document, and preserve performance is still challenging for institutions that were originally conceived for exhibiting, collecting and preserving objects and not the performative itself. The distinctions between the actual live performance and its documentation, and the relationship between these and their respective audiences, is today, due to the availability of technology and the economic drivers behind the international art market, contested and blurred. What constitutes the actual artwork, and what is contextual material and or documentation of the work itself, has been in recent years the subject of fruitful and interesting debates by artists, curators, academics and art professionals alike.

The summer show at Lunds konsthall this year will explore these issues by showcasing the work of four international artists using performance in their practice. They have been chosen for their particular approaches and their intention to contest what is perceived and defined as performance, thus engaging with exhibition practices, spaces; and with audiences in new ways.


Molecular Love: Act 2 

by Mercedes Azpilicueta. Directed by Maria Naidu. 
Performance every Saturday at Lunds konsthall during the exhibition period between 2–4 pm. The last Saturday of the exhibition the performance will take part at 1pm–3pm.
In collaboration with Sommarlund.


Monument to Work 

by Alexandra Pirici 

Living, public monument in motion.  
Directed by Tyra Wigg

Saturday 22 August: 3–5pm at Stortorget
Sunday 23 August3–5pm at Domkyrkoplatsen

In collaboration with Stenkrossen.


The Garden of Excuses Too

by Donna Kukama 

Outdoor tea room and green house in the inner yard of Lunds konsthall for the visitors. 
In collaboration with the Botanical Garden, Lund University.

 Donna Kukama, The Garden of Excuses Too
A Guide to Hiding from Things That Don´t Exist

With the support of the Ministry of Culture, Sports & Tourism of Korea, Korea Arts Management Service, and the grant program Fund for Korean Art Abroad; and the support of the Public Art Agency Sweden.

The Captive, performance / Positions #5 Telling Untold Stories, Van Abbemuseum, Eindhoven. March 8, 2020



DAY OF PERFORMANCESPositions #5: Telling Untold Stories

14:00 - 17:00
With performances by Mercedes Azpilicueta, Anna Dasovińá, Em’kal Eyongakpa, Mounira Al Solh, Quinsy Gario and invited guests.  

On the final weekend of Positions #5: Telling Untold Stories, the Van Abbemuseum will host an afternoon of performances. Across the exhibition galleries as well as the museum’s auditorium, each of the artists will perform, often alongside collaborators, animating or activating their presentations in different ways. Incorporating elements from the exhibitions, including the costumes of Azpilicueta, the sonic environment of Em'kal Eyongakpa, the embroideries of Mounira Al Solh, the maquette of Glenda Martinus or the the archival histories of Anna Dasovińá - and inviting the audience to inhabit the spaces in different ways, the performances offer further ways of telling untold stories.


The performances will take place at different locations. Start at 14 hr in teh Auditorium, end at 17 hr. Free admission with a valid ticket. No booking required. Some performances will have limited capacity. You can register for these at the information desk before 14 hr.  

The Captive, solo exhibition at Fons Welters, Amsterdam - March 14 - May 16, 2020


Mercedes Azpilicueta (La Plata, Argentina, 1981) lives and works in Amsterdam and Buenos Aires. For her exhibition at Galerie Fons Welters, Azpilicueta shows costume sculptures and a video from a recent series of works called The 

Captive: Here’s a Heart for Every Fate.

Azpilicueta draws inspiration from the Baroque, a movement that has played an important role in her practice in recent years. The idea of excess and the layering of multiple narratives without a single truth appeals to her. Language and literature are always connected in her practice. From these interests Azpilicueta arrived at the neo-Baroque of nineteenth-century Latin America. In a transition period from colony to republic, the Baroque was reinterpreted there as a way to reinvent yourself and the other, and define different cultures and identities. Azpilicueta looked at which figures were relevant at the time and came across the legend of the cautiva Luc√≠a Miranda, as told by Eduarda Mansilla (1834-1892). The story is in line with Azpilicueta’s interest in historical figures, especially muses not included in general historiography. Miranda was the first European woman to be captured by the indigenous people upon arrival in Argentina in the sixteenth century. In this nineteenth-century narrative of the story of Miranda, Mansilla emphasizes the strength of both the resistance Miranda and the indigenous people.
In the video The Fast Gossiper, a silver teapot in the shape of a nandoe, a native Latin American animal, tells the story of Eduarda Mansilla. This teapot is used in Latin America to drink maté tea, with which Azpilicueta mocks the limiting idea of housewives gossiping over tea.

For the sculptures in the exhibition, Azpilicueta looked into nineteenth-century fashion, which revolved around restraining and distorting the female body. The silhouette was manipulated and transformed by corsets and wigs, which she refers to in the costume sculptures in The Captive. The tension that the sculptures contain is juxtaposed by using soft, natural materials. The tense and at the same time sensual costume sculptures become theatrical characters in the space. In their ambiguity, they refer back to the limitations of women in the past, while at the same time instigating the desired freedom for the present and the future.

For The Captive Azpilicueta collaborated with Lucile Sauzet (costumes) and Azul De Monte (video).

Bestiario de Leng√ľitas [Bestiary of Tonguelets], MUSEION, Bolzano/Bozen - February 14 - May 17, 2020

Opening 14/02/2020, 19h

From 15/02 to 13/05/2020

Museion presents, as part of an international shared project, the first solo exhibition in Italy by Mercedes Azpilicueta (b. La Plata, Argentina, 1981)In a world that demands order, efficiency and transparency, Azpilicueta’s project walks on a razor edge of chaos and excess. Bestiario de Leng√ľitas (Bestiary of Tonguelets), in fact, follows a script written by the artist herself for a future performance that may or may not take place. Drawings, costumes, sculptures, audio and video installations, wallpapers and a chorus of grotesque characters inhabit the exhibition space, which is presented as a stage that is ready to involve all the visitor’s senses in the experience. So, through a combination of visual and theatrical strategies and a strong element of humour, the artist invites us to call into question the ways in which we live in this world.

Curated by Virginie Bobin

In collaboration with con CentroCentro di Madrid e CAC Br√©tigny


'Telling Untold Stories', POSITIONS #5, curated by Nick Aikens, Van Abbemuseum, Eindhoven. Opening November 30, 2019 - March 8, 2020.

Dutch museum solo debuts
Five emerging artists tell intriguing stories from around the world

This Saturday the exhibition Positions #5: Telling Untold Stories opens at the Van Abbemuseum in Eindhoven. The show consists of solo presentations by Mounira Al SolhMercedes AzpilicuetaAnna DasovińáEm’kal Eyongakpa and Quinsy Gario. Having presented their work abroad, they are now making their museum solo debuts in the Netherlands. The presentations, that include new and recent work, can be seen in ten galleries of the museum's temporary exhibition wing. The result is an intriguing representation of emerging artists who live and work in the Netherlands. What connects the five artists is their interest in different forms of storytelling, often relating to histories and events from the countries where they are from, but remain untold in the context of the Netherlands. The exhibition is open through 8 March 2020 and has been made possible in part thanks to the Ammodo Foundation and the Mondriaan Fund.

Mounira Al Solh (Lebanon, 1978)
Encounters and conversations with others form the starting point for Mounira Al Solh's work. Since 2012 Al Solh has been drawing portraits of people forced to leave their homes due to conflict, based on the extensive conversations she has had with them. The press called the project I strongly believe in our right to be frivolous one of the high points of Documenta 14, after which there was a solo in the Art Institute of Chicago in 2018. There are also a number of embroidery works to be seen, made partly in collaboration with Stichting Ik Wil from Eindhoven (a foundation committed to an inclusive society). The film Freedom is a habit I am trying to learn is a new work. Al Solh spent 24 hours with each of four women - Rogin, Waad, Hanin and Zeina - in the cities to which they moved from Lebanon and Syria (Zutphen, Washington DC, Oslo and Sharjah). The film was realised in collaboration with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution in Amsterdam and the Sharjah Art Foundation. 

Mercedes Azpilicueta (Argentina, 1981)
The starting point for Mercedes Azpilicueta’s presentation is the legend of Luc√¨a Miranda, as recorded by the 19th century female author Eduarda Mansilla. It inspired Azpilicueta to produce new work consisting of sound, video, costumes and tapestries. Miranda was the first Cautiva, a European woman captured by the indigenous people on her arrival in 16th century Argentina. Mansilla wrote a version of the story which emphasised the strength of both the indigenous people and Miranda in their resistance to domination. The tapestries, woven in the TextielLab in Tilburg, and costumes are inspired by the era in which Mansilla lived. The videos and sounds refer to characters from Mansilla's books. Azpilicueta recently had her European solo debut with an exhibition in CentroCentro in Madrid.

Anna Dasovińá (The Netherlands, 1982)
An ongoing body of work by Anna Dasovińá’s centres on the decision by the Dutch government to send Dutch Blue Helmets to Srebrenica, declared a 'safe haven' by the UN, in the east of Bosnia and Herzegovina, to protect the area.  Following the fall of the enclave in July of 1995, 8,372 people were murdered. The way in which these events were remembered, or rather concealed, in the Netherlands was the motive for Anna Dasovińá's ongoing research into the language and images used to describe and contextualise 'Srebenica', before and after the fall of the enclave. For the first time, in Positions #5, various works are presented together, composed of images, video material and documents from the archives of the Dutch Ministry of Defence, obtained by the artist by invoking the WOB (the Dutch Freedom of Information Act). The video Before the Fall there was no Fall was realised in collaboration with Framer Framed in Amsterdam, where it will also be shown in 2020.

Em’kal Eyongakpa (Cameroon, 1981)
Em’kal Eyongakpa's large-scale installation is a part of the project s«í b√†t√ļ, on which the artist has been working since 2015. The title means 'bath for the ears' in Kenyang, a language spoken in Manyu (Cameroon). Using water and sound as major elements, Eyongakpa creates an alternative environment within the museum. It forms a connection with Cameroon folk tales, in which 'other worlds' arise in caves when vulnerable groups of people retreat into them in times of peril. Sound recordings of nature, which Eyongakpa made in the forests of South Cameroon, merge with the sounds of Cameroon poems being read aloud and the intercepted messages of political prisoners and prisoners of war from all over the world. At present, a solo exhibition of Eyongakpa's work can be seen in The Showroom in London.

Quinsy Gario (Dutch Antilles, 1984)
In Positions #5, Quinsy Gario shows a series of works about the recent history of the former Dutch colony the Dutch Antilles. Gario visited the island of Sint Maarten with his mother, Glenda Martinus, in the summer of 2019. There, Gario made an 8 mm film, based on the locations shot in a film produced in 1947 by the RVD (Netherlands Government Information Service). A maquette, made by Gario’s mother, paintings by his uncle, Rudsel Martinus and great uncle, Mauricio Onofra, dolls made by his aunt, Gala Martinus, music by his cousins Quinton and Shaquire Martinus and a poem by his brother J√∂rgen Gario are a personal way of reporting the uprising on Cura√ßao in 1969. Also exhibited is Bevrijdingskunst, a work consisting of 200 slides from the archives of the Ons Suriname Association in Amsterdam. Gario's floor installation Black, Basically A Genealogical Materialist Analysis, which consists of small black objects, provokes questions about the significations of the colour black and what it means to be black.

Public programme

In the presence of the artists Saturday 30 November at 16 hrs. Admission is free when you show your ticket. Registration through the website.

Embroidery caf√©s 
Embroidery workshops given by handicraft experts, inspired by the collaboration between Mounira Al Solh and Stichting Ik Wil On Saturday 21 December, 11 January, 25 January, 8 February and 22 February from 11 to 13 hrs. Registration through the website.

Spoken Word event  
With Stokely Dichtman and Jörgen Gario on Thursday 6 February from 19 to 22 hrs

By Mounira Al Solh, Mercedes Azpilicueta, Anna Dasovińá, Em’kal Eyongakpa and Quinsy Gario. Admission is free when you show your ticket. On Saturday 7 March 2020.

By curator Nick Aikens for holders of the Dutch Museum Card. On Wednesday 11 December and Friday 10 January at 11:30 hrs. Registration through the website www.museumkaart.nl

Nick Aikens together with assistant curator Evelien Scheltinga

Collaborative partners
The exhibition has been made possible in part by the Ammodo Foundation and the projects in the exhibition were realised thanks to the Mondriaan Fund and in collaboration with: TextielLab, Tilburg (Mercedes Azpilicueta); Framer Framed, Amsterdam (Anna Dasovińá); Stichting Ik Wil, Eindhoven; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam, Sharjah Art Foundation, Sharjah (all Mounira Al Solh) and the University of Sint Maarten; Ons Suriname Association, Amsterdam and Wereldmuseum Rotterdam (all Quinsy Gario).

If you have any questions:
Neeltje van Gool, Communication & Press 
T: +31 (0)40 238 1019 / M: +31 (0)6 1299 5794 
E: pressoffice@vanabbemuseum.nl

Disegni [SOLO presentation] curated by Luís Silva and João Mourão, with NoguerasBlanchard at Artissima Art Fair, Turin. November 1 - 3, 2019

11a Biennal d'Art Leandre Cristòfol, curated by Cèlia de Diego, Julia Morandeira Arrizabalaga & David Armengol. Centre d'Art La Panera, Lleida. October 29, 2019 - January 12, 2020

Yegua-yeta-yuta I
Instalación de seda natural a dos tonos con lino cosido, y audio.
200 x 150 cm
Cortesía de la artista y de la galería Nogueras Blanchard

20 min
Cortesía de la artista y de la galería Nogueras Blanchard

Mercedes Azpilicueta naci√≥ en Buenos Aires, pero desde hace unos a√Īos y tras un periodo intermedio en Italia, reside en Holanda. Su trabajo est√° atravesado por una fuerza performativa y un posicionamiento radicalmente feminista, dos vectores que se manifiestan abiertamente tanto en los contenidos como en los modos de hacer que despliega. Ejemplos de ello son el modo en que prioriza una relaci√≥n artesanal con la materia, prefiriendo procesos naturales y sostenibles, calificados como poco rentables, y su inter√©s por el rescate de mujeres aparcadas por los relatos oficiales a trav√©s de investigaciones que describe como “poco honestas”, pero que dan lugar a ejercicios especulativos pre√Īados de posibilidad. En este marco, el cuerpo —f√≠sico y subjetivo, pero sobre todo como archivo colectivo— es un lugar central tanto de enunciaci√≥n como de inscripci√≥n de las valencias pol√≠ticas, sociales e hist√≥ricas que lo definen. As√≠, cuestiones como el exceso, la violencia, la afectividad o el potencial de transformaci√≥n que se encuentran en el lenguaje popular, en figuras hist√≥ricas menores o en las coreograf√≠as sociales, hayan un lugar importante en su trabajo.

El proyecto Yegua-yeta-yuta del que hacen parte la performance e instalaci√≥n que acoge la Bienal representa bien todo ello. En √©l Azpilicueta recopila insultos dirigidos a mujeres en lunfardo o castellano rioplatense, una jerga surgida en los arrabales porte√Īos hace m√°s de un siglo y hoy extendida por toda la geograf√≠a del R√≠o de la Plata y el lenguaje com√ļn. Se trata de un proyecto abierto y sin fin: cuenta con m√°s de 400 insultos registrados en una lista que no hace m√°s que crecer. La tela Yegua-yeta-yuta I, que funciona como mnem√≥nica visual o partitura de la performance y el audio que lo acompa√Īa, permite leer tras el bello reflejo color melocot√≥n de la seda las palabras bordadas “yegua”, “machona”, “ortiva” o “sacada”; los hilos cuelgan de manera desordenada, dando cuenta del proceso inacabado de la mano de la artista. Al igual que estas palabras cosidas sobre la piel de la tela, los insultos y agresiones proferidos contra mujeres, normalmente de manera verbal en el espacio p√ļblico, son marcas que quedan inscritas no s√≥lo sobre el cuerpo que los recibe sino por extensi√≥n sobre el cuerpo colectivo de mujeres, al demostrar la violencia de g√©nero alojada en la cotidianidad del habla. Esta violencia es todav√≠a m√°s pronunciada en la performance, en la que Azpilicueta va recitando en orden alfab√©tico la lista de vejaciones recopiladas, mientras recorre y se retuerce por el espacio y entre el p√ļblico. A base de forzar la pronunciaci√≥n, la declamaci√≥n adquiere un ritmo y musicalidad, que como ocurre con la iridiscencia de la seda en la instalaci√≥n, enmascara el ataque en una suerte de canci√≥n rimada. Pero tanto en una obra como en la otra, el p√ļblico atraviesa y es atravesado por el mensaje que la obra activa, haciendo imposible el sustraerse de su complicidad.

Text by Julia Morandeira

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

Bestiario de Leng√ľitas (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, d√©cors, encoded knowledge systems and even characters, rather than as autonomous artworks. In Bestiario de Leng√ľitas, 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 Leng√ľitas 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 Br√©tigny (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 Br√©tigny, 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 (M√≥stoles, 2017), Onomatopee (Eindhoven, 2016), TENT (Rotterdam, 2015), M√≥vil (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 B√©tonsalon - 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 Sup√©rieure d'Art de l'Agglom√©ration d'Annecy and Centre d'Art Contemporain de Br√©tigny. 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 K√ľnste (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 C√°nepa 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 Stidil√§, 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 Tj√©, 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, N√ļria G√ľell, 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 Tj√©, Black Obsidian Sound System (B.O.S.S.), Katarzyna Perlak/Rebecca Bellantoni/Rowdy SS, Maija Baijukya / Tony Cokes / Jonathas de Andrade / Desto / N√ļria G√ľell / 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 Sj√∂str√∂m / 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 C√°nepa Luna / Danai Anagnostou & Abdullah Qureshi / Lucy Badrocke / Bronwyn Bailey-Charteris, Marti Manen & Emmeli Person / Adelaide Bannerman / Eva Gonz√°lez-Sancho Bodero & Per Gunnar Eeg-Tverbakk / Satu Herrala / Solvita Krese & Inga LńĀce / Anders Kreuger / Kristiina M√§enp√§√§ / Tero Nauha / Paul O’Neill & Eliisa Suvanto / Mika Palonen / Marju Rotinen / Saskia Suominen / Paula Toppila & P√§ivi Matala