La facultad. Performance at REDCAT Gallery, Los Angeles as part of Pacific Standard Time Festival: Live Art LA/LA. January 20th, 2018

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

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

January 20, 5 pm


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

20 de enero, 5 pm


631 W. 2nd St, Los Angeles, 90012

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

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

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

Curators : Solvita Krese, Inga Lace & Camille Chenais

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

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

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

Public school for Social Engagement in Artistic Research 

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

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

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

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

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

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

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

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

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

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

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

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

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

/ / / / / / / / / 

Workshop at SPORE Festival delle contaminazioni SONORE. Cavallerizza Irreale, Torino. October 9-10, 2017

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

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

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

LIVE WORKS  Performance Act Award_Vol. 5

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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


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

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

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

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

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

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

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


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

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


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

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

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

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

I would prefer not to, INÉDITOS 2017, curated by Barbara Cueto. La Casa Encendida, Madrid. Jun 15 - Sep 20, 2017

This exhibition takes its title from Bartleby the Scrivener's famous refusal to perform any task requested of him, "I would prefer not to". Echoing that negation, the show explores the potential of "not-doing" as a political action. Because "not-doing" has no place in the general scheme of things, it poses a threat to the established order perpetuated by neoliberalism. "Not-doing" is a way of overcoming the paradoxical freedom of the current post-Fordist society, where the boss has become a slave to his/her own work in the endless quest for optimisation and productivity, and where success is measured in degrees of exhaustion.

Artists: Mercedes Azpilicueta / Liz Magic Laser / Ben Rivers / Pepo Salazar / Pilvi Takala

On Affection: Mercedes Azpilicueta at Nogueras Blanchard, L´Hospitalet, Barcelona. June 8 - July 14, 2017

La artista argentina Mercedes Azpilicueta presenta la quinta iteración de On Affection, un proyecto colectivo en el espacio de la galería en l'Hospitalet que se alarga en el tiempo, ocupando la temporada 2016-2017. Formada por una serie de posicionamientos individuales, este proyecto nos acerca a prácticas performativas que enfatizan la experiencia del cuerpo y su capacidad para afectar y ser afectado. Los artistas participantes son: Mercedes Azpilicueta, Fermín Jiménez Landa, Benoît Maire, Jacopo Miliani, Bruce Nauman, Christodoulos Panayiotou y Cally Spooner.

Aquello que denominamos performance hoy en día no es lo mismo que fue en sus inicios. La práctica de la performance ha experimentado muchos cambios a lo largo de los años, al mismo tiempo que la supremacía del objeto se ha visto cuestionada. El que no ha cambiado es el potencial afectivo de los actos performáticos sobre el público. Afección es el proceso a través del cual el afecto es transmitido entre cuerpos y no hay una distinción clara entre el individuo y su entorno inmediato. En breve, el afecto no se puede expresar completamente a través del lenguaje y requiere la gramática corporal.

El trabajo de Mercedes Azpilicueta presenta la ambigüedad de una subjetividad personal y sin restricciones que se manifiesta en una experimentación con el cuerpo y con la cualidad afectiva del lenguaje. En esta ocasión presenta una serie de trabajos que reúnen la danza, la escritura y la voz a través de una instalación performática que incluye también videos y notaciones. Este proyecto se despliega a partir de una investigación sobre la noción Spinozeana de la mente y el cuerpo. La serie de trabajos toma este punto de partida histórico y al mismo tiempo lo considera desde una perspectiva contemporánea abordando la compleja dimensión política del deseo femenino: ¿qué significa hoy en día un cuerpo femenino más allá de su cosificación y su función reproductiva? ¿y cuáles son las cualidades afectivas que unen la voz y el cuerpo?

La muestra presenta una instalación en donde se llevará a cabo también una performance. El guión, interpretado por la propia artista y por una bailarina profesional, se compone de fragmentos de poesía, secuencias rítmicas y palabras de-construidas. A su vez, una pieza sonora y con tintes de humor irrumpe en el espacio de manera intermitente, invitando a interactuar con ella. La coreografía, usando una metodología holgada, trae contingencia y da lugar a la improvisación, la asociación y al juego.

A su vez, junto a la instalación performática y a modo de notaciones, se presentan una serie de dibujos en hilo sobre lino y seda que contienen la memoria del trabajo en vivo. Por otro lado, dos videos dan cuenta de otras formas de inscribir la performance. Beso, besito (2017) es un found-footage que sirve como punto de partida inicial de esta serie al presentar un grupo de personas bailando de manera placentera y al unísono. Untitled (2017) es un video que presenta momentos de intimidad y alejamiento entre dos cuerpos en movimiento. Estos micro encuentros, ya sea cuando los cuerpos se tocan, cuando se miran, cuando inspeccionan el espacio, son maneras extrasensoriales e intuitivas de percibir y entender al otro.

Mercedes Azpilicueta nació en La Plata, Argentina en 1981; vive y trabaja entre Rotterdam y Milán.

Forum of Live Art Amsterdam, May 30, 31, June 1, 2017

Forum of Live Art Amsterdam 2017
May 30, 31, June 1 from 7:30 Pm
June 2, 3 from 8 PM
Arti et Amicitiae (Rokin, 112) and Frascati Theater (Nes, 71)

From May 30 to June 3, 2017 FLAM presents a week of ongoing experimental Live Art presentations, featuring a program of cross-disciplinary and radically experimental work by more than twenty local and international artists.

For its seventh iteration, FLAM explores questions around self-presentation, self-transformation and a heightened state of alterity (otherness) in the digital age. With a particular focus on the performativity of ‘the self’, the artists respond to different states of alterity by, for example, subverting the specific roles and social codes of today’s social media platforms. The possibilities to create, manipulate and perform different selves through selfies and constant status updates, have given rise to a variety of questions about performance and performativity. FLAM 2017 aims to provoke reflection and debate about the ways in which states of alterity, performativity and otherness are embodied and manifested in daily presentations of the self. Next to Live Art, this year’s program includes a residency, workshops and a panel discussion about alterity.

Curated by Rose Akras in collaboration with Titus Nouwens, Alice Pons en Olivia Reschofsky

Participating artists: Alondra Castellanos Arreola, Anthony Nestel, Bea McMahon, Beati Niesyta Jolanda, Black Circus, Cathrine Andresen, Clara Saito, David Bloom, Eva Susova, Fernando Belfiore, Geo Wyeth, HellFun (Josefin Arnell & Max Göran) , Jean-Lorin Sterian, Joaquin Wall, Julian Weber, Maciej Sado, Mariana Lanari & Adriana Macul, Mercedes Azpilicueta, Peter Baren, Samira Elagoz, Simon Asencio, Vincent Riebeek, Zuzanna Ratajczyk

For more information and the programme go to

PR & Communication: Katayoun Arian, Graphic Design & Social Media: Bea Correa, Production: Rob Visser, Technique: Ivy van de Veer
Cover Image D3US/X\M4CHIN4, Fernando Belfiore, photo by Paul McGee

ArteBA DIXIT, Buenos Aires, May 24-27, 2017

Los Derivados / The Derivatives, at SlyZmud, Buenos Aires, May-June 2017

Pernod Rircard Fellowship at Villa Vassilieff/Betonsalon, Paris. April, 2017

Copi (Raúl Damonte Botana - Buenos Aires, 1939 - Parigi 1987) was a writer, cartoonist, and playwright who spent most of his career in Paris. Still from video at the exhibition L´Esprit Francais at La maison rouge. 
I spent the month of April in Paris to start my research at Villa Vassilieff/Betonsalon. I will resume the work in January and February, 2018 to make a project that will involve performance, video and sound. 

More information here:

The take-over, The Hague University of Applied Sciences / Rijksakademie van Beeldende Kunsten, Amsterdam

In March 2017 the artist Mercedes Azpilicueta and Jacco van Uden, head of the Change Management Research Group at the Hague University of Applied Sciences, will temporarily swap their positions. They will take over each other’s’ work and everything that comes with it, for one entire month. Their personal experiences, comprehensively documented with texts, audio and video recordings are going to be analyzed from two different angles. Organisational philosopher Mieke Moor (Member of the Change Management Research Group) will reflect on their experience in a discourse analysis. Video artist Céline Berger together with Jacco and Mercedes, will create a video essay inspired by the experience. Both explorations, the discursive and the artistic one, will feed a series of events in 2018. Artists, managers and management experts, philosophers, art historians and critics will be invited to review and critically discuss The take-over; experiment with a broader public.
The take-over; is a research project, both academic and artistic in nature. Its aims are to provide rich food for thought, to deepen the exchange of knowledge between art and management. The radical gesture of taking over each other´s work is expected to generate new insights, questioning our preconceptions on the worlds we work in, thus revealing new areas for action. This unique experience will gather people from the art and management world, let them exchange and discuss in a new and challenging way about their fields of work.

The take over  (in progress)
i.c.w. Jacco van Uden & Céline Berger
Den Haag Hogeschool, The Hague / 
Rijksakademie van Beeldende Kunsten, Amsterdam

For more information please visit:

ARCO, Madrid / Opening section / SlyZmud, Buenos Aires

2017 Pernod Ricard Fellowship, Villa Vassilieff, Paris

Announcing selected artists for the 2017 Pernod Ricard Fellowship 
March 1, 2017–February 28, 2018 

Villa Vassilieff 
Villa Marie Vassilieff, Chemin du Montparnasse
21 Avenue du Maine
75015 Paris
Hours: Tuesday–Saturday 11am–7pm 
T +33 1 43 25 88 32 
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Pernod Ricard and Villa Vassilieff are delighted to announce the four selected artists for the 2017 Pernod Ricard Fellowship:

Mercedes Azpilicueta (Argentina), Samit Das (India), Ndidi Dike (Nigeria) and Koki Tanaka (Japan). 

The Pernod Ricard Fellowship is conceived as a research and artistic platform, experimenting with non-linear models of generating and distributing knowledge to encourage different possible connections between researchers, contemporary artists, cultural institutions, non-profit organizations and the general public.

Inheriting the cosmopolitan and convivial spirit of the historical studio, art academy and artists’ cantina founded and run by Marie Vassilieff in Montparnasse, the Fellows enjoy a bespoke support, special meetings with researchers and art professionals relevant to their needs, and access to a rich network of institutions in France and abroad. Each project will develop into a program of exhibitions, performances, seminars and workshops at Villa Vassilieff, and a publication series.

Through the prism of voice, sound and language, Mercedes Azpilicueta will research the political dimension of desire in relation to affects; the biocultural, biodigital and biophysical body; and gender dissent in an aesthetic context, with a focus on modern female artists who subverted the gender binary such as Valentine de Saint-Point, Natalia Goncharova and Valeska Gert.

Samit Das will investigate the visual vocabulary of Indian modern art in resonance with Paris as world cultural capital, attempting to reassess the idea of modernism in India and the role of Western art, with a special focus on the numerous Indian artists who visited and stayed in France.

Ndidi Dike questions the way pre- and post-colonial histories and legacies of resource control have been shaping the African continent (or the Global South) politically, economically and socially. She will focus on the Democratic Republic of Congo, its past and present, conducting research at the Centre Pompidou, Quai Branly museum as well as other archives.

Koki Tanaka’s work visualizes and reveals the multiple contexts latent in the most simple everyday acts. Inspired by an encounter with a Japanese chef in Belleville, he plans to retrace histories of Asian and Japanese immigrants during and post war time in Paris, in relation with local restaurants.

The 2017 Pernod Ricard fellows were selected by an international Artistic Committee composed of:

Yuko Hasegawa, Artistic Director, Museum of Contemporary Art, Tokyo
Sunjung Kim, Director, Art Sonje Center, Seoul 

Victoria Noorthoorn, Director, Museo de Arte Moderno de Buenos Aires
Sumeshwar Sharma, Curator & co-Founder, the Clark House Initiative, Bombay
Benjamin Seroussi, Director, Casa do Povo, Sao Paulo
Bisi Silva, Director, CCA, Lagos 

Bernard Blistène, Director, MNAM CCI – Centre Pompidou, Paris 

Colette Barbier, Director, Fondation d’Entreprise Ricard, Paris
Mélanie Bouteloup, Director, Bétonsalon – Center for Art and Research, Paris
Virginie Bobin, Head of Programs, Villa Vassilieff, Paris

In 2016, the Pernod Ricard fellows were Andrea Ancira (curator and researcher, Mexico), Zheng Bo (artist, China), Sojung Jun (artist, South Korea)
and Ernesto Oroza (artist, USA/Cuba).

About Villa Vassilieff
Villa Vassilieff, a cultural establishment owned by the City of Paris, opened its doors in February 2016, in the heart of Montparnasse, on the site of Marie Vassilieff’s former studio, which until 2013 housed the Musée du Montparnasse. It is run by Bétonsalon—Center for Art and Research, which is thus opening its second site of activities. Villa Vassilieff is conceived as a place for working and living, where to stimulate the blossoming of ideas, encounters and the sharing of knowledge. Pernod Ricard is its leading sponsor.

About Pernod Ricard
Since its creation, Pernod Ricard has become a renowned actor in the French and international contemporary art scene. The group is a prime supporter of many art institutions, among which Centre Pompidou, Saatchi Gallery, Guggenheim Bilbao and New Museum, while its various brands conduct numerous actions in support of contemporary art and artists, such as Fondation Ricard for Contemporary Art, or Absolut Vodka and Havana Club’s initiatives among others, with the mission to render art widely accessible to all.