tag:blogger.com,1999:blog-33012329138726020422024-03-12T23:17:51.119-03:00mercedes azpilicuetamhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comBlogger117125tag:blogger.com,1999:blog-3301232913872602042.post-70564715345874221652020-09-03T12:15:00.010-03:002020-09-03T12:18:01.096-03:00Words at an Exhibition–an exhibition in ten chapters and five poems, Busan Biennale, Busan, KR. September 5 - November 8, 2020<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzmJTxUSOZcWoguX5bBeEhE5MomRgQjFF1uTgo4EuJjs9XKbrVePG1Z72hbc5yh5go8e8zfmL1D0eI9raRifF142aYpqpv15ulVTXp8FitdoZFByqrq0ujDhOpZ9ntV_FeRtUm1EebvOw/s2048/_DSC1824.tif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzmJTxUSOZcWoguX5bBeEhE5MomRgQjFF1uTgo4EuJjs9XKbrVePG1Z72hbc5yh5go8e8zfmL1D0eI9raRifF142aYpqpv15ulVTXp8FitdoZFByqrq0ujDhOpZ9ntV_FeRtUm1EebvOw/s320/_DSC1824.tif" width="320" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><span style="font-family: arial; font-size: x-small;"><br /></span></p><p><span style="font-family: arial; font-size: x-small;">Words at an Exhibition–an exhibition in ten chapters and five poems</span></p><p><span style="font-family: arial; font-size: x-small;">Curated by Jacob Fabricius</span></p><p><span style="font-family: arial; font-size: x-small;"><span style="caret-color: rgb(85, 85, 85); color: #555555;">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.</span><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><span style="caret-color: rgb(85, 85, 85); color: #555555;">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.</span><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><span style="caret-color: rgb(85, 85, 85); color: #555555;">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.</span><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><br style="caret-color: rgb(85, 85, 85); color: #555555; margin: 0px; padding: 0px;" /><span style="caret-color: rgb(85, 85, 85); color: #555555;">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.</span></span></p><p><span style="font-family: arial; font-size: x-small;"><span style="caret-color: rgb(85, 85, 85); color: #555555;"><br /></span></span></p><p><span style="font-family: arial; font-size: x-small;"><span style="caret-color: rgb(85, 85, 85); color: #555555;">For more information:<a href="http://www.busanbiennale.org" target="_blank"> http://www.busanbiennale.org</a></span></span></p>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-63087468547767511192020-09-03T11:50:00.004-03:002020-09-03T11:50:50.527-03:00The 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<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgive1DAhjrLRanlQQZYTl-ZcyxSgxN6dQRmwges-2yEP3TfrxEmkYZ8-AZD1lsiknjMFKPut0QbQz-Qc_QVG_UZErIzoKdCUnCOKk4RnnedZdWqYnc4pXjcN5Xabhhew7dZlkREbQzJj4/s560/exhibition-visual4-373x560.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="373" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgive1DAhjrLRanlQQZYTl-ZcyxSgxN6dQRmwges-2yEP3TfrxEmkYZ8-AZD1lsiknjMFKPut0QbQz-Qc_QVG_UZErIzoKdCUnCOKk4RnnedZdWqYnc4pXjcN5Xabhhew7dZlkREbQzJj4/s320/exhibition-visual4-373x560.jpg" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><br /></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><br /></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><span style="font-family: arial; font-size: x-small;"><br /></span></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><span style="font-family: arial; font-size: x-small;">A Tale of a Tub has the pleasure of inviting you to the opening reception of the group exhibition <em style="box-sizing: inherit;">The total scab–free solidarity and performative silence that struck floor–shows and soundstages from Desert to NJ coast for over half a year</em>, 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 <em style="box-sizing: inherit;">Open Call for Exhibition Proposals</em> and is curated by Tiago de Abreu Pinto.</span></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><span style="font-family: arial; font-size: x-small;">For the opening reception we will be working with mandatory time slots, for which you make a reservation <a href="https://ataleofatub.stager.nl/The%20Total%20Scab-Free%20Solidarity/tickets" style="box-sizing: inherit; color: #dfc098; text-decoration: none;">here</a>. <img alt="💌" class="emoji" src="https://s.w.org/images/core/emoji/12.0.0-1/svg/1f48c.svg" style="background-image: none; border: none; box-shadow: none; box-sizing: inherit; display: inline; height: 1em; margin: 0px 0.07em; max-width: 100%; padding: 0px; vertical-align: -0.1em; width: 1em;" /></span></p><p style="-webkit-hyphenate-limit-lines: 2; -webkit-hyphens: auto; box-sizing: inherit; caret-color: rgb(51, 51, 51); color: #333333; margin: 0px 0px 1.475em;"><span style="font-family: arial; font-size: x-small;">We hope to welcome you on September 5!</span></p>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-11669774327886008732020-09-03T11:47:00.001-03:002020-09-03T11:48:04.737-03:00Storia Notturna, group exhibition at Centrale Fies, Dro, IT. July 17 - August 8, 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqM9pYiG7BzMiyHCCjCcmlVBEZ1QmCzm2Tz88aazQhoTAohhFC-WAXY-YHhlvlYhynKYJ8NVFeYO6ObgVBzFd0Zg4Uuw99ipKMlblXkN0UZFNbYvVCWB9cusiTpRV3NH0t69dPAgFgvS8/s2000/StoriaNotturna_phRobertasegata1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqM9pYiG7BzMiyHCCjCcmlVBEZ1QmCzm2Tz88aazQhoTAohhFC-WAXY-YHhlvlYhynKYJ8NVFeYO6ObgVBzFd0Zg4Uuw99ipKMlblXkN0UZFNbYvVCWB9cusiTpRV3NH0t69dPAgFgvS8/s320/StoriaNotturna_phRobertasegata1.jpg" width="320" /></a></div><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="settedue" style="box-sizing: border-box; margin: 0px; padding: 20px 0px; width: 544px;"><span class="testobianco3" style="box-sizing: border-box; line-height: 1.2em; margin: 0px; padding: 10px 0px 0px;"><span style="font-family: arial; font-size: x-small;"><br /></span></span></div><div class="settedue" style="box-sizing: border-box; margin: 0px; padding: 20px 0px; width: 544px;"><span style="font-family: arial; font-size: small;">STORIA NOTTURNA</span></div><div class="settedue" style="box-sizing: border-box; margin: 0px; padding: 20px 0px; width: 544px;"><span class="testobianco3" style="box-sizing: border-box; line-height: 1.2em; margin: 0px; padding: 10px 0px 0px;"><span style="font-family: arial; font-size: x-small;"><span class="Stile2" style="box-sizing: border-box; line-height: 1.2em; margin: 0px; padding: 0px;">curated by Simone Frangi and Denis Isaia</span></span></span></div><div class="settedue" style="box-sizing: border-box; margin: 0px; padding: 20px 0px; width: 544px;"><span class="testoprincipalegrandetits" style="box-sizing: border-box; cursor: default; line-height: 1.5em; margin: 0px; padding: 0px;"><span style="font-family: arial; font-size: x-small;"><strong style="box-sizing: border-box; margin: 0px; padding: 0px;">Storia Notturna</strong> 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. <br style="box-sizing: border-box; margin: 0px; padding: 0px;" /><br style="box-sizing: border-box; margin: 0px; padding: 0px;" /><strong style="box-sizing: border-box; margin: 0px; padding: 0px;">Storia Notturna </strong>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.<br style="box-sizing: border-box; margin: 0px; padding: 0px;" /><br style="box-sizing: border-box; margin: 0px; padding: 0px;" />The artists of exhibition are: <strong style="box-sizing: border-box; margin: 0px; padding: 0px;">Mercedes Azpilicueta, Chiara Camoni, Darius Dolatyari-Dolatdoust, Francesco Fonassi, Luca Frei, Raffaela Naldi Rossano, Anna Perach.</strong></span></span></div>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-66414820763245365852020-09-03T11:32:00.009-03:002020-09-03T11:37:42.203-03:00Performance / Documentation / Presentation, group exhibition at Lunds Konsthall, Lund. June 13 - August 23, 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs04UpanhEY4TDEa4i82H7n2sDcx-KCAlIPWHHBpBeCmXOZ_x-pEQJ71glViaKTLdBz86_Bl8sSyFCi9PQgz0zKLVHYBcvzmMlhbewuHDmOfs1vZW2W5lX65Cn0sFkbC_C4m56jyUuves/s2048/lundskonsthall_performance_2020-55.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs04UpanhEY4TDEa4i82H7n2sDcx-KCAlIPWHHBpBeCmXOZ_x-pEQJ71glViaKTLdBz86_Bl8sSyFCi9PQgz0zKLVHYBcvzmMlhbewuHDmOfs1vZW2W5lX65Cn0sFkbC_C4m56jyUuves/s320/lundskonsthall_performance_2020-55.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><span style="font-family: arial;">Performance / Documentation / Presentation</span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0px 0px 10px; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;">Mercedes Azpilicueta (born 1981 in Argentina)<br style="box-sizing: border-box;" />Donna Kukama (born 1981 in South Africa)<br style="box-sizing: border-box;" />Hwayeon Nam (born 1979 in Korea)<br style="box-sizing: border-box;" />Alexandra Pirici (born 1982 in Romania)</span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0px 0px 10px; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;">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.</span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0px 0px 10px; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;">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.<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">Program<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /></span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><em style="box-sizing: border-box;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">Molecular Love: Act 2 </span></span></em></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;">by Mercedes Azpilicueta. </span><span lang="" style="box-sizing: border-box; color: black; margin: 0px;">Directed by Maria Naidu. <br style="box-sizing: border-box;" />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.<br style="box-sizing: border-box;" />In collaboration with Sommarlund.</span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;"> </span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><em style="box-sizing: border-box;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">Monument to Work </span></span></em></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">by Alexandra Pirici </span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">Living, public monument in motion. <br style="box-sizing: border-box;" />Directed by Tyra Wigg</span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;">Saturday 22 August: 3<span lang="" style="box-sizing: border-box; color: black; margin: 0px;">–5pm</span> at Stortorget<br style="box-sizing: border-box;" />Sunday 23 August<strong style="box-sizing: border-box;">: </strong>3<span lang="" style="box-sizing: border-box; color: black; margin: 0px;">–5pm</span> at Domkyrkoplatsen</span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">In collaboration with Stenkrossen.<br style="box-sizing: border-box;" /><br /></span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;"> </span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><em style="box-sizing: border-box;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">The Garden of Excuses Too</span></span></em></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;"><span style="font-family: arial; font-size: x-small;">by Donna Kukama </span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0cm 0cm 0.0001pt; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;"><span lang="" style="box-sizing: border-box; color: black; margin: 0px;">Outdoor tea room and green house in the inner yard of Lunds konsthall for the visitors. <br style="box-sizing: border-box;" /></span><span style="box-sizing: border-box; color: black; margin: 0px;">In collaboration with the Botanical Garden, Lund University.<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /></span></span></p><p style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 24px; margin: 0px 0px 10px; padding: 0px; text-shadow: none;"><span style="font-family: arial; font-size: x-small;"><span style="box-sizing: border-box; color: black;"><a href="https://lundskonsthall.se/globalassets/lundskonsthall/utstallningar/hafte---donna-kukama---tfr---10p-2.pdf" style="-webkit-font-smoothing: antialiased !important; box-sizing: border-box; color: black; font-weight: bold; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.004) 1px 1px 1px; transition: all 0.3s initial initial;" title="Garden"> <span lang="" style="box-sizing: border-box; margin: 0px;">Donna Kukama, The Garden of Excuses Too<br style="box-sizing: border-box;" />A Guide to Hiding from Things That Don´t Exist</span> </a> <br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /></span><span style="box-sizing: border-box; color: black;"><span lang="" style="box-sizing: border-box; margin: 0px;">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.</span></span></span></p>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-64924612144295327662020-09-03T11:23:00.000-03:002020-09-03T11:23:01.131-03:00The Captive, performance / Positions #5 Telling Untold Stories, Van Abbemuseum, Eindhoven. March 8, 2020<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHFD91LYMC3drxhCDdplHxIh5dx6XqoLHKv4FB61TcuvNI5fdPRyyu_PR7bfeOwMDyG48cDgAgm5gpERLaII_UQQtcUj5bZ2P_k2hiq2v_Lx-zBX6tT5UJj9rlG2cqyIQCVYzOGH7J1w/s2048/1-DSC08684.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1154" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHFD91LYMC3drxhCDdplHxIh5dx6XqoLHKv4FB61TcuvNI5fdPRyyu_PR7bfeOwMDyG48cDgAgm5gpERLaII_UQQtcUj5bZ2P_k2hiq2v_Lx-zBX6tT5UJj9rlG2cqyIQCVYzOGH7J1w/s320/1-DSC08684.JPG" width="320" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="overviewItem overviewItem--programme" style="box-sizing: inherit; caret-color: rgb(101, 100, 100); color: #656464; font-weight: 600; margin: 0px 0px 1.875rem; padding: 0px; position: relative; z-index: 2;"><div class="row" style="-webkit-box-align: start; -webkit-box-direction: normal; -webkit-box-flex: 1; -webkit-box-orient: horizontal; align-items: flex-start; box-sizing: inherit; display: flex; flex-flow: row wrap; flex-grow: 1; margin: 0px -0.9375rem; max-width: 75rem; padding: 0px;"><div class="columns small-12 medium-6" style="-webkit-box-direction: normal; -webkit-box-flex: 0; -webkit-box-orient: vertical; box-sizing: inherit; display: flex; flex-direction: column; flex: 0 0 50%; margin: 0px; max-width: 50%; min-height: 1px; padding: 0px 0.9375rem;"><div class="overviewItem-meta" style="background-color: white; box-sizing: inherit; color: black; margin: 0px; padding: 0px;"><span style="font-family: arial; font-size: x-small;">event</span></div><h2 style="box-sizing: inherit; color: black; letter-spacing: 0px; line-height: 1.4; margin: 0px 0px 0.125rem; max-width: 100%; padding: 0px; text-rendering: optimizeLegibility; text-transform: uppercase;"><span class="overviewItem-title overviewItem-title--noMarginBottom hasColor" style="box-sizing: inherit; color: rgb(0, 204, 0) !important; display: block; line-height: 1.5; margin-bottom: 0px;"><span style="font-family: arial; font-size: x-small;">DAY OF PERFORMANCES</span></span><span class="overviewItem-subtitle overviewItem-subtitle--noMarginBottom hasColor" style="box-sizing: inherit; color: rgb(0, 204, 0) !important; margin-bottom: 0px; text-transform: none;"><span style="font-family: arial; font-size: x-small;">Positions #5: Telling Untold Stories</span></span></h2><div class="overviewItem-meta" style="box-sizing: inherit; color: black; margin: 0px; padding: 0px;"><span style="font-family: arial; font-size: x-small;">07/03/2020</span></div><div class="overviewItem-meta" style="box-sizing: inherit; color: black; margin: 0px; padding: 0px;"><span style="font-family: arial; font-size: x-small;">14:00 - 17:00</span></div></div></div><div class="overviewItem-social" style="bottom: 0px; box-sizing: inherit; margin: 0px; padding: 0px; position: absolute; right: 0px;"><div class="t3ce" id="c1809" style="box-sizing: inherit; 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box-sizing: inherit; display: flex; flex-direction: column; flex: 0 0 50%; margin: 0px; max-width: 50%; min-height: 1px; padding: 0px 0.9375rem;"><div class="overviewItem overviewItem--programme" style="box-sizing: inherit; font-weight: 600; margin: 0px 0px 1.875rem; padding: 0px; position: relative; z-index: 2;"><div class="overviewItem-meta" style="background-color: white; box-sizing: inherit; color: black; margin: 0px; padding: 0px;"><span style="font-family: arial; font-size: x-small;">With performances by Mercedes Azpilicueta, Anna Dasović, Em’kal Eyongakpa, Mounira Al Solh, Quinsy Gario and invited guests. </span></div></div><p style="box-sizing: inherit; line-height: 1.5; margin: 0px 0px 1.5rem; max-width: 100%; padding: 0px; text-rendering: optimizeLegibility;"><span style="font-family: arial; font-size: x-small;">On the final weekend of <span style="box-sizing: inherit; font-style: italic; line-height: inherit;">Positions #5: Telling Untold Stories</span>, 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 Dasović - and inviting the audience to inhabit the spaces in different ways, the performances offer further ways of telling untold stories.</span></p><h4 style="box-sizing: inherit; color: black; font-weight: 600; letter-spacing: 0px; line-height: 1.4; margin: 0px 0px 0.125rem; max-width: 100%; padding: 0px; text-rendering: optimizeLegibility; text-transform: uppercase;"><span style="font-family: arial; font-size: x-small;">PRACTICAL INFORMATION</span></h4><p style="box-sizing: inherit; line-height: 1.5; margin: 0px 0px 1.5rem; max-width: 100%; padding: 0px; text-rendering: optimizeLegibility;"><span style="font-family: arial; font-size: x-small;">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. </span></p></div></div>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-29082652019082323722020-09-03T10:05:00.006-03:002020-09-03T10:07:09.703-03:00The Captive, solo exhibition at Fons Welters, Amsterdam - March 14 - May 16, 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFOJGGe_ZPqpWSwdQwGZjM4ravftpTMtkOsVXV8IhqWnSAPHciFD_7YHgR_ARXDlG1A-VqiMy2NmRj7eB21ZUH9Nn1qqEnB-7Zuu3wroORsuM4NejRFLVMe8h6HDL8NtDLB2HSRmcY6Q/s1686/Screenshot+2020-09-03+at+15.03.02.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1420" data-original-width="1686" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFOJGGe_ZPqpWSwdQwGZjM4ravftpTMtkOsVXV8IhqWnSAPHciFD_7YHgR_ARXDlG1A-VqiMy2NmRj7eB21ZUH9Nn1qqEnB-7Zuu3wroORsuM4NejRFLVMe8h6HDL8NtDLB2HSRmcY6Q/s320/Screenshot+2020-09-03+at+15.03.02.png" width="320" /></a></div><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;"><br /></span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;"><br /></span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;"><br /></span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;">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 </span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;">Captive: Here’s a Heart for Every Fate.</span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;">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 Lucía 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.<br />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.</span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;">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.</span></p><p style="border: 0px; caret-color: rgb(2, 2, 2); color: #020202; font-family: "open sans", sans-serif; margin: 0px 0px 1.5em; padding: 0px;"><span style="font-size: x-small;">For The Captive Azpilicueta collaborated with Lucile Sauzet (costumes) and Azul De Monte (video).</span></p>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-46425240378046621292020-09-03T07:30:00.002-03:002020-09-03T10:08:33.550-03:00Bestiario de Lengüitas [Bestiary of Tonguelets], MUSEION, Bolzano/Bozen - February 14 - May 17, 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetaToZFBwi4yOqrz9cSs3Lvqx35GvikI7vExN4JrNX3q3YQ-_NHkhL0kK9vybT5BLiTLxSBnGk4VSL1V1EhbX5BNrBgfZ-TN1UpiXgsTYeCagpcKXHEhYEKNugmGgIcZ3ca8rKhSE8XU/s2048/mercedes_70x100_stampa_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1452" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetaToZFBwi4yOqrz9cSs3Lvqx35GvikI7vExN4JrNX3q3YQ-_NHkhL0kK9vybT5BLiTLxSBnGk4VSL1V1EhbX5BNrBgfZ-TN1UpiXgsTYeCagpcKXHEhYEKNugmGgIcZ3ca8rKhSE8XU/s320/mercedes_70x100_stampa_.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;">Opening 14/02/2020, 19h</span></span></p><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;">From 15/02 to 13/05/2020</span></span></p><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;">Museion presents, as part of an international shared project, the first solo exhibition in Italy by Mercedes Azpilicueta (<span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">b. La Plata, Argentina, 1981</span><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">)</span><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">. </span>In a world that demands order, efficiency and transparency, Azpilicueta’s project walks on a razor edge of chaos and excess. <span style="border: 0px; font-stretch: inherit; font-style: italic; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Bestiario de Lengüitas</span> (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.</span></span></p><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;"><br /></span></span></p><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;">Curated by Virginie Bobin</span></span></p><p style="border: 0px; caret-color: rgb(98, 98, 98); font-stretch: inherit; line-height: inherit; margin: 0px 0px 15px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="font-family: arial; font-size: x-small;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">In collaboration with</span><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> con CentroCentro di Madrid e CAC Brétigny</span></span></p></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-12369768266265841332019-12-12T09:15:00.000-03:002019-12-12T09:28:20.217-03:00'Telling Untold Stories', POSITIONS #5, curated by Nick Aikens, Van Abbemuseum, Eindhoven. Opening November 30, 2019 - March 8, 2020. <div class="separator" style="clear: both; text-align: center;">
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<strong style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;"><span style="color: #000001; font-family: "arial" , sans-serif; font-size: 9pt;">Dutch museum solo debuts</span></strong><b style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif;"><span style="color: #000001; font-family: "arial" , sans-serif; font-size: 9pt;"><br /><strong>Five emerging artists tell intriguing stories from around the world</strong></span></b><span style="color: #000001; font-family: "arial" , sans-serif; font-size: 9pt;"><br /><br />This Saturday the exhibition <em>Positions #5: Telling Untold Stories </em>opens at the Van Abbemuseum in Eindhoven. The show consists of solo presentations by <strong>Mounira Al Solh</strong>, <strong>Mercedes Azpilicueta</strong>, <strong>Anna Dasović</strong>, <strong>Em’kal Eyongakpa</strong> and <strong>Quinsy Gario</strong>. 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.<br /><br /><strong>Mounira Al Solh</strong> (Lebanon, 1978)<br />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 <em>I strongly believe in our right to be frivolous</em> 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 <em>Freedom is a habit I am trying to learn</em> 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. <br /><br /><strong>Mercedes Azpilicueta</strong> (Argentina, 1981)<br />The starting point for Mercedes Azpilicueta’s presentation is the legend of Lucìa 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.<br /><br /><strong>Anna Dasović</strong> (The Netherlands, 1982)<br />An ongoing body of work by Anna Dasović’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 Dasović'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 <em>Before the Fall there was no Fall</em> was realised in collaboration with Framer Framed in Amsterdam, where it will also be shown in 2020.<br /><br /><strong>Em’kal Eyongakpa</strong> (Cameroon, 1981)<br />Em’kal Eyongakpa's large-scale installation is a part of the project sǒ bàtú, 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.<br /><br /><strong>Quinsy Gario</strong> (Dutch Antilles, 1984)<br />In <em>Positions #5</em>, 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 Jörgen Gario are a personal way of reporting the uprising on Curaçao in 1969. Also exhibited is <em>Bevrijdingskunst</em>, a work consisting of 200 slides from the archives of the Ons Suriname Association in Amsterdam. Gario's floor installation <em>Black, Basically A Genealogical Materialist Analysis</em>, which consists of small black objects, provokes questions about the significations of the colour black and what it means to be black.<br /><br /><strong>Public programme</strong><b><br /></b><br /><u>Opening </u><br />In the presence of the artists Saturday 30 November at 16 hrs. Admission is free when you show your ticket. Registration through the website.<br /><br /><u>Embroidery cafés </u><br />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.<br /><br /><u>Spoken Word event </u><br />With Stokely Dichtman and Jörgen Gario on Thursday 6 February from 19 to 22 hrs<br /><br /><u>Performances</u><br />By Mounira Al Solh, Mercedes Azpilicueta, Anna Dasović, Em’kal Eyongakpa and Quinsy Gario. Admission is free when you show your ticket. On Saturday 7 March 2020.<br /><br /><u>Lectures</u><br />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 <a data-saferedirecturl="https://www.google.com/url?q=http://www.museumkaart.nl&source=gmail&ust=1576239371256000&usg=AFQjCNGU8QRFzPRW-VqVepfiDHrjaCatxw" href="http://www.museumkaart.nl/" style="color: #1155cc;" target="_blank">www.museumkaart.nl</a><br /><br /><strong>Curator</strong><br />Nick Aikens together with assistant curator Evelien Scheltinga<br /><br /><strong>Collaborative partners</strong><br />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 Dasović); 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).</span><br />
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mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-29894670479764634132019-12-12T09:00:00.003-03:002019-12-12T09:29:58.232-03:00Disegni [SOLO presentation] curated by Luís Silva and João Mourão, with NoguerasBlanchard at Artissima Art Fair, Turin. November 1 - 3, 2019<div class="separator" style="clear: both; text-align: center;">
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<br />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-5861679391751694042019-12-12T08:55:00.002-03:002019-12-12T09:25:16.446-03:0011a 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<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">2018</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Instalación de seda natural a dos tonos con lino cosido, y audio.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">200 x 150 cm</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Cortesía de la artista y de la galería Nogueras Blanchard</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">«yegua-yeta-yuta»</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">2015</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Performance</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Cortesía de la artista y de la galería Nogueras Blanchard</span></span></div>
<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><span style="font-size: x-small;"><br /></span></b>
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<span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-small;">Mercedes Azpilicueta nació en Buenos Aires, pero desde hace unos años y tras un periodo intermedio en Italia, reside en Holanda. Su trabajo está 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 relación artesanal con la materia, prefiriendo procesos naturales y sostenibles, calificados como poco rentables, y su interés por el rescate de mujeres aparcadas por los relatos oficiales a través de investigaciones que describe como “poco honestas”, pero que dan lugar a ejercicios especulativos preñados de posibilidad. En este marco, el cuerpo —físico y subjetivo, pero sobre todo como archivo colectivo— es un lugar central tanto de enunciación como de inscripción de las valencias políticas, sociales e históricas que lo definen. Así, cuestiones como el exceso, la violencia, la afectividad o el potencial de transformación que se encuentran en el lenguaje popular, en figuras históricas menores o en las coreografías sociales, hayan un lugar importante en su trabajo.</span></span></div>
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<span style="font-size: x-small;"><span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">El proyecto </span><span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yegua-yeta-yuta</span><span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> del que hacen parte la performance e instalación que acoge la Bienal representa bien todo ello. En él Azpilicueta recopila insultos dirigidos a mujeres en lunfardo o castellano rioplatense, una jerga surgida en los arrabales porteños hace más de un siglo y hoy extendida por toda la geografía del Río de la Plata y el lenguaje común. Se trata de un proyecto abierto y sin fin: cuenta con más de 400 insultos registrados en una lista que no hace más que crecer. La tela </span><span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yegua-yeta-yuta I, </span><span style="background-color: transparent; color: black; font-family: "helvetica neue" , sans-serif; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">que funciona como mnemónica visual o partitura de la performance y el audio que lo acompaña, permite leer tras el bello reflejo color melocotón 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 público, son marcas que quedan inscritas no sólo sobre el cuerpo que los recibe sino por extensión sobre el cuerpo colectivo de mujeres, al demostrar la violencia de género alojada en la cotidianidad del habla. Esta violencia es todavía más pronunciada en la performance, en la que Azpilicueta va recitando en orden alfabético la lista de vejaciones recopiladas, mientras recorre y se retuerce por el espacio y entre el público. A base de forzar la pronunciación, la declamación adquiere un ritmo y musicalidad, que como ocurre con la iridiscencia de la seda en la instalación, enmascara el ataque en una suerte de canción rimada. Pero tanto en una obra como en la otra, el público atraviesa y es atravesado por el mensaje que la obra activa, haciendo imposible el sustraerse de su complicidad.</span></span></div>
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<br class="Apple-interchange-newline" />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-16906973634859835662019-09-24T10:58:00.000-03:002019-12-12T09:26:40.586-03:00'Bestiario de Lengüitas', solo exhibition curated by Virginie Bobin at CentroCentro, Madrid. October 3, 2019 - January 19, 2020<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: italic; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></span></span>
<span style="font-size: x-small;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: italic; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Bestiario de Lengüitas </span>(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.</span></div>
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<span style="font-size: x-small;">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 <span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: italic; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Bestiario de Lengüitas</span>, roles are constantly changing.</span></div>
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<span style="font-size: x-small;">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.</span></div>
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<span style="font-size: x-small;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: italic; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Bestiario de Lengüitas</span> 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.</span></div>
<div style="-webkit-hyphens: none; border: 0px; box-sizing: border-box; font-family: tex_gyre_herosregular, sans-serif; font-stretch: inherit; line-height: 1.3em; margin-bottom: 25px; padding: 0px; text-align: justify; vertical-align: baseline; word-break: break-word;">
<span style="font-size: x-small;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mercedes Azpilicueta</span> 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.</span></div>
<div style="-webkit-hyphens: none; border: 0px; box-sizing: border-box; font-family: tex_gyre_herosregular, sans-serif; font-stretch: inherit; line-height: 1.3em; margin-bottom: 25px; padding: 0px; text-align: justify; vertical-align: baseline; word-break: break-word;">
<span style="font-size: x-small;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Virginie Bobin</span> 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.</span><br />
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mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-81813354367977897652019-09-24T10:51:00.002-03:002019-09-24T10:52:48.390-03:00Since 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 <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg4V3xBBsMZc1wztjmcEVZWGKNxpl5UkxZaVobCiTGwrvdF6KdX6gtHnnZoppQzOa_zPEZN0AME3FDFyH79uC1GuZhGN1lnDlxooIxTvezJsF1Ikotf_BLdTQIosXZlz891P1GnjAoItc/s1600/Screenshot+2019-09-24+at+15.50.40.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg4V3xBBsMZc1wztjmcEVZWGKNxpl5UkxZaVobCiTGwrvdF6KdX6gtHnnZoppQzOa_zPEZN0AME3FDFyH79uC1GuZhGN1lnDlxooIxTvezJsF1Ikotf_BLdTQIosXZlz891P1GnjAoItc/s1600/Screenshot+2019-09-24+at+15.50.40.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="837" data-original-width="1600" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg4V3xBBsMZc1wztjmcEVZWGKNxpl5UkxZaVobCiTGwrvdF6KdX6gtHnnZoppQzOa_zPEZN0AME3FDFyH79uC1GuZhGN1lnDlxooIxTvezJsF1Ikotf_BLdTQIosXZlz891P1GnjAoItc/s320/Screenshot+2019-09-24+at+15.50.40.png" width="320" /></a></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Location: Stroom Den Haag, Hogewal 1-9, The Hague (unless stated otherwise)</span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="caret-color: rgb(255, 255, 255);">Also check out:</span><span style="caret-color: rgb(255, 255, 255);"> </span><a href="https://uncertainty.stroom.nl/" style="caret-color: rgb(255, 255, 255); text-decoration: none;" target="_blank">https://uncertainty.stroom.nl</a></span></div>
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<a href="http://stroom.nl/activiteiten/manifestatie.php?m_id=4860150" style="text-decoration: none;" target="_self"><span style="background-color: white; color: black; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Uncertainty Seminars: Other Than Art's Sake</span></a></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">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.</span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-6242266947734315462019-09-24T10:48:00.002-03:002019-09-24T10:48:53.199-03:00Cold Prey, group show curated by Tore Zhang and Francisco Correa Cordero, Lubov Gallery, New York City, September 13 - October 13, 2019. <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFB-aI4413Ci7wy0g_rb48LJfeUmDwEGgNDuURbVgKu0FxPZKNMbOYffcIFWalm3_pJBkjU6BsSNltAN8cIGl6o-rx9QHc0IR5LcObhA1JyRx9UOQlp53MUly-xtKkJeT5zBvLvfr8mc/s1600/Screenshot+2019-09-24+at+15.47.45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1190" data-original-width="1188" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFB-aI4413Ci7wy0g_rb48LJfeUmDwEGgNDuURbVgKu0FxPZKNMbOYffcIFWalm3_pJBkjU6BsSNltAN8cIGl6o-rx9QHc0IR5LcObhA1JyRx9UOQlp53MUly-xtKkJeT5zBvLvfr8mc/s320/Screenshot+2019-09-24+at+15.47.45.png" width="319" /></a></div>
<br />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-3977612315483729832019-09-24T10:44:00.003-03:002019-09-24T10:46:15.299-03:00yegua-yeta-yuta [performance & talk], curated by Max Andrews and Mariana Cánepa Luna, "Today is our tomorrow" / PUBLICS, Club Kaiku, Helsinki. September 12-13, 2019 <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg3QVobX1rrxfD5M_72m0NCpauwS4Cem9Y-NY-5_xrCu71Py-jzx4JBKbld7bBax1slQ7EZTwRV6IvMKzHbS_ItdeDOC7PiX1WqHAyqrQ-Q3RJtBn45grZvXJtNPXjHq_1JiwJLv5NfA4/s1600/Publics-Instagram-Post-TIOT-1920x1920.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg3QVobX1rrxfD5M_72m0NCpauwS4Cem9Y-NY-5_xrCu71Py-jzx4JBKbld7bBax1slQ7EZTwRV6IvMKzHbS_ItdeDOC7PiX1WqHAyqrQ-Q3RJtBn45grZvXJtNPXjHq_1JiwJLv5NfA4/s320/Publics-Instagram-Post-TIOT-1920x1920.png" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; letter-spacing: 0.01em;">The future is happening now. With so much emphasis on </span><span style="border: 0px; box-sizing: border-box; font-family: "arial" , "helvetica" , sans-serif; letter-spacing: 0.01em; margin: 0px; outline: 0px; padding: 0px;">the future</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; letter-spacing: 0.01em;">, 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).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Initiated by PUBLICS, <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Today Is Our Tomorrow</span> is a collaborative, collective, and transdisciplinary festival – a coming together of affinities, alliances and differences. Taking place this year at <a href="https://clubkaiku.fi/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">club Kaiku</a> and the neighbouring spaces Kieku and Stidilä, the program is produced in partnership with numerous local and international organisations, initiatives and institutions. <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Today Is Our Tomorrow</span> 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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">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 <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Today Is Our Tomorrow</span> is curated, commissioned, organised in collaboration with: <a href="https://www.uniarts.fi/en/academy-of-fine-arts" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Academy of Fine Arts,</a> <a href="https://balticcircle.fi/en/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Baltic Circle</a>, <a href="http://www.globeartpoint.fi/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Globe Art Point</a>, <a href="https://www.ihmehelsinki.fi/en/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">IHME Helsinki</a>, <a href="http://www.kohta.fi/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Kohta</a>, <a href="http://indexfoundation.se/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Index Foundation</a>, <a href="http://www.lttds.org/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Latitudes</a>, <a href="https://lcca.lv/en/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Latvian Centre for Contemporary Art</a>, <a href="https://www.uniarts.fi/teak/ma-programme-live-art-and-performance-studies-laps" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Live Art and Performance Studies (LAPS)</a>, <a href="https://museumofimpossibleforms.org/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">Museum of Impossible Forms</a>, <a href="https://www.oslobiennalen.no/" style="-webkit-font-smoothing: antialiased !important; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-shadow: rgba(0, 0, 0, 0.00392157) 1px 1px 1px; transition: opacity 300ms cubic-bezier(0.25, 0.1, 0.25, 1);">osloBIENNALEN</a>, and PUBLICS.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">The opening day of <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Today Is Our Tomorrow</span> presents <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;"><span style="border: 0px; box-sizing: border-box; color: #999999; margin: 0px; outline: 0px; padding: 0px;">Mythological Migrations: Chapter 1:</span> <span style="border: 0px; box-sizing: border-box; color: #999999; margin: 0px; outline: 0px; padding: 0px;">The Nightclub</span></span>, 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 <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Journey to the CharBagh</span>, a film by Abdullah Qureshi centered around the figure of the Buraq, a winged creature with the ability to travel to heaven.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">On Friday, <span style="border: 0px; box-sizing: border-box; color: #999999; margin: 0px; outline: 0px; padding: 0px;"><span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Coalition of Care</span></span>, 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. <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Coalition of Care </span>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.” <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">Coalition of Care</span> 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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">A nomadic queer club concept and discursive platform <span style="border: 0px; box-sizing: border-box; color: #999999; margin: 0px; outline: 0px; padding: 0px;">Karmaklubb*</span> 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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">As well as artist talks, lectures and workshops–including <span style="border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px;">And Forever And Forever</span> 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.</span></div>
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<span style="letter-spacing: 0.01em;">Camille Auer / Mercedes Azpilicueta / Yael Bartana / Leah Beeferman / Bonaventure / </span><span style="border: 0px; box-sizing: border-box; letter-spacing: 0.01em; margin: 0px; outline: 0px; padding: 0px;">Coalition of Care</span><span style="letter-spacing: 0.01em;">: 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 / </span><span style="border: 0px; box-sizing: border-box; letter-spacing: 0.01em; margin: 0px; outline: 0px; padding: 0px;">Karmaklubb*</span><span style="letter-spacing: 0.01em;">: 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 / </span><span style="border: 0px; box-sizing: border-box; letter-spacing: 0.01em; margin: 0px; outline: 0px; padding: 0px;">Mythological Migrations: Chapter 1: The Nightclub:</span><span style="letter-spacing: 0.01em;"> 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</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">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</span></div>
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mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-5829181743105243422019-09-24T10:42:00.001-03:002019-09-24T10:46:40.482-03:00Since 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.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Y_WadNRFaARd4nz-FPwMipxW8Q2IFAvOL9E80IDhQ3vXDfXhTcH-VVq3DqRkkl4sXWzKgYJSSFTQzwUTfytm2iyXLTQ4rEMXBZ-_ib292WPrbuv7CWek1qQDYA3ZJB-q-XwtTmhShvI/s1600/unnamed-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="1600" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Y_WadNRFaARd4nz-FPwMipxW8Q2IFAvOL9E80IDhQ3vXDfXhTcH-VVq3DqRkkl4sXWzKgYJSSFTQzwUTfytm2iyXLTQ4rEMXBZ-_ib292WPrbuv7CWek1qQDYA3ZJB-q-XwtTmhShvI/s320/unnamed-2.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><span style="background-color: white; color: #202020; font-family: "helvetica";"><span style="background-color: white; color: #202020; font-family: "helvetica";">Please join on us on Wednesday 11 September for the screening of the film </span><em style="background-color: transparent;">Since we are here</em><span style="background-color: white; color: #202020; font-family: "helvetica";">, followed by a conversation with the makers </span><strong style="background-color: transparent;">Mercedes Azpilicueta</strong><span style="background-color: white; color: #202020; font-family: "helvetica";">, </span><strong style="background-color: transparent;">Céline Berger</strong><span style="background-color: white; color: #202020; font-family: "helvetica";">, and </span><strong style="background-color: transparent;">Jacco van Uden</strong><span style="background-color: white; color: #202020; font-family: "helvetica";">.</span></span></span></div>
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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.</div>
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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.</div>
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<span style="background-color: white; color: #202020; font-family: "helvetica";">- Introduction by </span><span class="il" style="background-color: transparent; color: #202020; font-family: "helvetica";">Arno</span><span style="background-color: white; color: #202020; font-family: "helvetica";"> van Roosmalen, director Stroom Den Haag</span></div>
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- Screening</div>
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<span style="background-color: white; color: #202020; font-family: "helvetica";">- Conversation with the film makers and audience, moderated by </span><span class="il" style="background-color: transparent; color: #202020; font-family: "helvetica";">Arno</span><span style="background-color: white; color: #202020; font-family: "helvetica";"> van Roosmalen</span></div>
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<span style="background-color: white; color: #202020; font-family: "helvetica";">This project was developed with the kind support of </span><span class="il" style="background-color: transparent; color: #202020; font-family: "helvetica";">Rijksakademie</span><span style="background-color: white; color: #202020; font-family: "helvetica";"> van beeldende kunsten, The Hague University of Applied Sciences, Andrea von Braun Stifting, Pauwhof Fonds and Stichting Niemeijer Fonds.</span></div>
</span></span>mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-9315717810239016022019-09-24T10:37:00.002-03:002019-09-24T10:37:37.415-03:00BIENALSUR, Bienal Internacional de Arte Contemporáneo de América del Sur, Centro Cultural de Córdoba, Córdoba, AR. June 13 - September, 2019 <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizy9DzKtyJ0dGEaC7ap8-GWNOylTn6SrQrH7dmpTr5Zty482qO9d_In4h_JkHxj5cp792iBBYJXciD-iaTWyIY4s_gvFLYCsn2aVVt5Ig1KP_0gkmXkjpYVEf6SdiOsLNxcVQVkNmcoaQ/s1600/invitacion_centro+cultural+cordoba_digital.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1514" data-original-width="1361" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizy9DzKtyJ0dGEaC7ap8-GWNOylTn6SrQrH7dmpTr5Zty482qO9d_In4h_JkHxj5cp792iBBYJXciD-iaTWyIY4s_gvFLYCsn2aVVt5Ig1KP_0gkmXkjpYVEf6SdiOsLNxcVQVkNmcoaQ/s320/invitacion_centro+cultural+cordoba_digital.jpg" width="287" /></a></div>
<br />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-39384867396895649772019-09-24T10:35:00.001-03:002019-09-24T10:35:39.690-03:00A 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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2j2aMBESNMnX1EDtsboooOkRd7r0RfjXwsKWSMF2oXJCg02miVothyphenhyphen12O3pgHdPHiEQxYtcy3_SJotD3AFF0TLeihqU4UZo_9uhw_NHeFoArlTmZl6VphYoaYwbktLAZXR6gb7sggdYA/s1600/Screenshot+2019-09-24+at+15.33.56.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1262" data-original-width="830" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2j2aMBESNMnX1EDtsboooOkRd7r0RfjXwsKWSMF2oXJCg02miVothyphenhyphen12O3pgHdPHiEQxYtcy3_SJotD3AFF0TLeihqU4UZo_9uhw_NHeFoArlTmZl6VphYoaYwbktLAZXR6gb7sggdYA/s320/Screenshot+2019-09-24+at+15.33.56.png" width="210" /></a></div>
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<span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">A Day with Marie Vassilieff</span></span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">At Fondation des Artistes – Nogent-sur-Marne (MABA, Maison Nationale des Artistes, Bibliothèque Smith-Lesouëf)</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">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</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">curated by Mélanie Bouteloup & Émilie Bouvard</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">May 16 – July 21, 2019</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">« 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. » </span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Monique Wittig, « Avant –note » dans Djuna Barnes, La Passion, Paris, Flammarion, 1982, p.16</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-62470933120984797802019-09-24T10:28:00.002-03:002019-09-24T10:28:52.492-03:00'Scores for Rotterdam' i.c.w. John Bingham-Hall, as part of Post-Opera, TENT, Rotterdam. April 18 - June 30, 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHfDKnIZc2SuuZXN2Xyp3oq5xMXn9oRZ2mENYqz88DUKG8JTHKlORlNp6vhteCGjDIZTCJhjyXSxxj4Ek_Fh0yoF4mQ_RoIAgAZLuyZOFnn168KxTVFwHSloAPIhB5OAhgrsNvkxr-Yc/s1600/Screenshot+2019-09-24+at+15.26.55.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHfDKnIZc2SuuZXN2Xyp3oq5xMXn9oRZ2mENYqz88DUKG8JTHKlORlNp6vhteCGjDIZTCJhjyXSxxj4Ek_Fh0yoF4mQ_RoIAgAZLuyZOFnn168KxTVFwHSloAPIhB5OAhgrsNvkxr-Yc/s320/Screenshot+2019-09-24+at+15.26.55.png" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGNHZB2lqwknPMUrJO8WVzVGcbcEghNRYrysylAsr-V_0W-VVmOH1nj1EhC1CGNC1WejKa5ZBEhgVGW9Pd3YwCzIKNMWRdIssEpDk0vpJQOVkyFg7P-HoTwGL8LEjcEi3LDtYYC4F-2yU/s1600/Screenshot+2019-09-24+at+15.26.48.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1204" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGNHZB2lqwknPMUrJO8WVzVGcbcEghNRYrysylAsr-V_0W-VVmOH1nj1EhC1CGNC1WejKa5ZBEhgVGW9Pd3YwCzIKNMWRdIssEpDk0vpJQOVkyFg7P-HoTwGL8LEjcEi3LDtYYC4F-2yU/s320/Screenshot+2019-09-24+at+15.26.48.png" width="320" /></a></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Scores For Rotterdam, </span>2019</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">a project by Mercedes Azpilicueta & John Bingham- Hall</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">with Zuri Ramirez & The Codarts Composers Ensemble, Tarwewijk choir, de Groene Connectie.</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Installation 14 min. [natural felt, plastic paper, metal rods, threads, sound]</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Performance 1 hr.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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. <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Scores For Rotterdam</span> 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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Scores for Rotterdam </span><span style="font-family: "pontano sans" , sans-serif; font-style: inherit;">was part of Post-Opera group exhibition at TENT Rotterdam curated by Kris Dittel and Jelena Novak. April 19 2019 – June 30 2019</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Credits:</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Concept: Mercedes Azpilicueta, John Bingham- Hall</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Voice recordings: Zuri Ramirez & The Codarts Composers Ensemble, Tarwewijk choir, de Groene Connectie</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sound recording and editing: Clare Gallagher</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Textile assistants: Laura Fernández Antolin, Darwin Erwin Winkelaar</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Photos: Aad Hoogendoorn</span></span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-10262559587164385212019-09-24T10:20:00.000-03:002019-09-24T10:20:51.377-03:00¡Oh Eduarda! performance at Museo de Arte Moderno de Buenos Aires. April 13 - 14, 2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Oh Eduarda!</span><span style="font-family: "pontano sans" , sans-serif; font-style: inherit;"> </span><span style="font-family: "pontano sans" , sans-serif; font-style: inherit;">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].</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">After reading the children’s story <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Jaulita Dorada</span> by Eduarda Mansilla, <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">¡Oh Eduarda!</span> composes the dialogue between two sisters, who imagine oniric micro-stories and situations around the idea of <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">homeness</span>. 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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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, <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">¡Oh Eduarda!</span> builds a hypersensitive universe, where objects and animals have voices and memories.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">The performance explores the complex cross-link of the notions of displacement, identity, affectivity and homeness.</span></span></div>
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<span style="font-size: x-small;"><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Credits:</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Concept & Script: Mercedes Azpilicueta</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Performance: Mercedes Azpilicueta, Agustina Muñoz</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Live sound: Liza Casullo</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Lights: Matías Sendón</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Research: Verónica Rossi</span><br /><span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Photo Credits: Guido Limardo & Gregory Bohnenblust</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
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<span style="border: 0px; font-family: "pontano sans" , sans-serif; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">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.</span></span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-46779101009335522322019-02-16T08:03:00.000-03:002019-02-16T08:03:51.492-03:00El viejo sueño de la simetría / The old dream of symmetry, solo exhibition at NoguerasBlanchard, Madrid. Feb 14 - March 23, 2019<div class="separator" style="clear: both; text-align: center;">
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<br />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-88532545045439227452019-02-16T08:01:00.000-03:002019-02-16T08:01:09.498-03:00Lo que llamamos carne / What we call flesh, NoguerasBlanchard at MATERIAL, MX. Feb 7 - 10, 2019<div class="separator" style="clear: both; text-align: center;">
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<br />mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-10637812840752677992018-11-22T09:30:00.001-03:002019-02-16T07:50:44.081-03:00Cuerpos Pájaros / Body-Birds, solo exhibition at Museo de Arte Moderno de Buenos Aires. November 24, 2018 - April, 2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Cuerpos Pájaros / Body-Birds </i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">curated by Laura Hakel</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Museo de Arte Moderno de Buenos Aires</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Opening November 24, 2018 - 11:30 hs. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">At the Moderno, <span style="box-sizing: border-box;">Mercedes Azpilicueta</span> (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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">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.</span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-76048536724601975892018-11-20T09:41:00.003-03:002018-11-20T09:43:09.274-03:00Matchmaking event "Art: Innovation engine in the 21st century", table host at The Hague University of Applied Sciences, The Hague, NL. October 29th, 2018 <div class="MsoNormal" style="background-color: white; color: #222222; text-align: justify;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">The research group Change Management from The Hague University of Applied Sciences (THUAS) in the person of <u>dr. Jacco van Uden</u> and In4Art co-founder <u>Rodolfo Groenewoud – van Vliet</u> cordially invite you to the matchmaking event ‘Art: Innovation engine in the 21st century’ as part of the </span><u><span lang="EN-GB" style="color: blue;"><a data-saferedirecturl="https://www.google.com/url?q=https://emea01.safelinks.protection.outlook.com/?url%3Dhttps%253A%252F%252Fwww.nwo.nl%252Fen%252Fpolicies%252Fdutch%252Bnational%252Bresearch%252Bagenda%26data%3D02%257C01%257CJ.C.vanUden%2540hhs.nl%257C76c03374c8ce44429b3f08d61fb3f57e%257Ca2586b9bf8674b3c93635b435c5dbc45%257C0%257C0%257C636731255122386607%26sdata%3DxBuu9VE5%252Fms%252BKUG%252FtAfxFIo1bvWVLViZo19AJZJXdro%253D%26reserved%3D0&source=gmail&ust=1542803824607000&usg=AFQjCNExL068XA3Gh2yy_YpTdQR6CmaGEA" href="https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.nwo.nl%2Fen%2Fpolicies%2Fdutch%2Bnational%2Bresearch%2Bagenda&data=02%7C01%7CJ.C.vanUden%40hhs.nl%7C76c03374c8ce44429b3f08d61fb3f57e%7Ca2586b9bf8674b3c93635b435c5dbc45%7C0%7C0%7C636731255122386607&sdata=xBuu9VE5%2Fms%2BKUG%2FtAfxFIo1bvWVLViZo19AJZJXdro%3D&reserved=0" style="color: #1155cc;" target="_blank"><span style="color: blue;">Dutch National Research Agenda</span></a></span></u><span lang="EN-GB" style="color: black;">.</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b><span style="color: black;">DATE</span></b><span style="color: black;"> Monday 29 October 2018</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b><span lang="EN-GB" style="color: black;">VENUE </span></b><span lang="EN-GB" style="color: black;">THUAS, Johanna Westerdijkplein 75 in The Hague</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b><span lang="EN-GB" style="color: black;">TIMES </span></b><span lang="EN-GB" style="color: black;">12.00 – 18.00 (including lunch and networking drink)</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">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: <i>How</i> to involve artists? That is what we will be talking about on 29 October.</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">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.</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">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?</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">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.</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-GB" style="color: black;">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.</span><u></u><u></u></span></div>
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mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-40474633803323996022018-11-20T09:35:00.004-03:002018-11-20T09:36:31.077-03:00Lunds konsthall Ute - Videokonst frå Argentina, public art program, Lunds konsthall, Lund, SE. June 20th - September 16th, 2018<div class="separator" style="clear: both; text-align: center;">
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<strong><span style="font-size: xx-small;">Lunds konsthall Ute – Video Art from Argentina: <strong>Joaquin Aras, Mercedes Azpilicueta, Eugenia Calvo, Fabio Kacero, Nicolas Mastracchio, Juane Odriozola</strong></span></strong></div>
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<strong><span style="font-size: xx-small;">Lunds konsthall / Lund City 20 June– 16 September 2018 <strong><b><strong><b><strong><b><br /></b></strong></b></strong></b></strong></span></strong></div>
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<span style="font-size: xx-small;">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. </span></div>
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<span style="font-family: "verdana"; font-size: xx-small;">Press release: </span><span style="background-color: transparent;"><span style="font-family: "verdana"; font-size: xx-small;"><a href="https://lundskonsthall.se/globalassets/konsthall/utstallningar/lund_ute_a3.pdf">https://lundskonsthall.se/globalassets/konsthall/utstallningar/lund_ute_a3.pdf</a></span></span></div>
mhttp://www.blogger.com/profile/10368549385205364730noreply@blogger.comtag:blogger.com,1999:blog-3301232913872602042.post-5590013616843685262018-11-20T09:29:00.002-03:002018-11-20T09:30:20.881-03:00Miércoles de SOMA, Geo Wyeth & Mercedes Azpilicueta, artist talk, SOMA México. June 6th, 2018<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; letter-spacing: 1px;"><span style="font-size: xx-small;">Geo Wyeth y Mercedes Azpilicueta</span></span><br />
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;">La voz es el medio por el cual </span><strong style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; line-height: inherit; margin: 0px; padding: 0px; text-align: justify;">Mercedes Azpilicueta</strong><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;"> 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 </span><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;">torno a la producción del conocimiento.</span></span><br />
<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;"><span style="font-size: xx-small;"><br /></span></span>
<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;"><span style="font-size: xx-small;">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).</span></span><br />
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;">\\\\\\\\\\\</span><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><strong style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; line-height: inherit; margin: 0px; padding: 0px; text-align: justify;">Geo Wyeth</strong><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;"> 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. </span><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;">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.</span><br style="background-color: white; box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; text-align: justify;" /><span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;">Estuvo en residencia en la Rijksakademie van Beeldende Kunsten en Ámsterdam (2015 - 2016). Geo vive y trabaja entre Ámsterdam, Rotterdam y Nueva York.</span></span><br />
<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; text-align: justify;"><span style="font-size: xx-small;"><br /></span></span>
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