Mercedes Azpilicueta / Pernod Ricard Fellowship 2017
In residency in April 2017 and from January to February 2018
Mercedes Azpilicueta is currently a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam. She earned an MFA from the Dutch Art Institute/ArtEZ, Arnhem and a BFA from Universidad Nacional de las Artes, Buenos Aires; where she also did the Artists Program from Universidad Torcuato Di Tella. Her work has appeared in numerous exhibitions, festivals and events, including The Poetry Readings Program, documenta13, Offener Kanal Café, Kassel, 2012; Composing through words, Het Veem Theatre, Amsterdam, 2013; Dutch Art Insitute Instanbul, Galata Fotoğrafhanesi Fotoğraf Akademisi, Istanbul, 2013; Performatón, Museo de Arte Moderno, Buenos Aires, 2014; Artistic Justice: Positions on the Place of Justice in Art, Irish Museum of Modern Art, Dublin, 2014; Doors of Perception, A Tale of a Tub, Rotterdam, 2014; Todo Afuera Adentro, Móvil, Buenos Aires, 2015; Motion / Labour / Machinery, TENT, Rotterdam, 2015; and Geometric Dancer Doesn’t Believe in Love, Finds Aspiration and Ecstasy in Spirals, SlyZmud Gallery, Buenos Aires, 2016.
- Todo afuera adentro (All Outside Inside), 2015, performative installation, variable dimensions., Interprètes : Natalia Albero, Jair Almar, Paula Campana Cristal, Liza Casullo, Sol Crespo, Rochi Gallardo, Marina Lazo, Malena Ledesma, Marina Mariasch, Graciela Montoya, Edgar Robba, Liv Schulman et Gabino Torlaschi. Musical advisor : Osvaldo Ledesma. Móvil, Chela, Buenos Aires, April, 25 - June, 6 2016. Courtesy of Ramiro Iturrioz.
STATEMENT OF INTENT
“During my residency at Villa Vassilieff, I will research the political dimension of desire in relation to affects; the biocultural, biodigital and biophysical body; and gender dissent in an aesthetic context. What are the affects that compose a body and how can these affects enter into a new composition with the affects of another body? To broaden my investigation, I will work with a concept coined by Suely Rolnik, anthropophagic subjectivity, and its possibilities to connect to the political dimension of desire from a de-colonial perspective. (…) I believe a practice based on an anthropophagic subjectivity can develop de-colonial aesthetics in order to break away from modern knowledge, so rooted in colonial history. Overall, an anthropophagic and political subjectivity could create a space for inventing other common, shared, collective forms that we could inhabit together, far from the modern truth-value assigned to a particular narrative.
In the second part of my research, I would like to investigate the modern legacy in Paris, especially female artists and artists who have subverted the gender binary such as Valentine de Saint-Point, Natalia Goncharova and Valeska Gert to mention a few. From these archives I would like to choose the material that has a connection to voice, sound and to the affective quality of language. I would like to see how these references can be re-visited through an anthropophagic subjectivity and therefore, to be de-modernized. (…)”