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Lightening the existential vacuum
on-going research part I



“Our time has grown short, narrow, contracted, so the stimulus hardly translates into desire, and desire hardly translates into conscious contact, and contact hardly translates into pleasure".  Franco ‘Bifo’ Berardi, Futurability.

From a curatorial perspective I am interested in experimenting with exhibition formats that engage different audiences whose sensitivity and attention are being shaped by the overflowing effect of information in contemporary culture. Today´s paradigm brings a sensation of time acceleration intensified by the permanent co-habitation in Cyberspace, transforming the way citizens process information, as well as the time for observing and thinking through cultural practices.  During 2016-2017 I’ve been developing an academic individual research which raises questions around this subject matter. This thinking process was conceptualised through the embodiment of artworks by Argentinean artists Nicolás Gullotta, Mercedes Azpilicueta and Florencia Vecino.

Within the context of digital anthropology and the emergency of a new subjectivity, I was interested in the strength that Azpilicueta and Vecino’s performances had, as tools to mobilise the mind and the body of contemporary automatized individuals. At the same time, I thought of Gullotta´s and Azpilicueta’s videos as subtle mental strategies directed to the viewer with the same purpose. These are practices that stand as alternatives of reflection upon what is referred as the conditions of hypercomplexity (Franco ‘Bifo’ Berardi), including time perception, the biorhythm, algorithm and the imperatives of self-design, among other themes. In this context of visual and semiotic oversaturation, the mind and the body are disentangled, making an impact at an individual and a social level. As a wakeup call, Azpilicueta, Gullotta and Vecino’s works make use of the potency of the body as disrupting gestures against all kinds of mechanization.

Text:  Renata Zas
Image: courtesy Mercedes Azpilicueta, Nicolás Gullota and Florencia Vecino.


Only available in English ATM





Master’s Dissertation. Contemporary Art Theory.

Goldsmiths University of London, Department of Visual Culture.Tutor Irit Rogoff. September 2017


Departing from a body of artworks by Contemporary Argentinean artists, I raised questions related to the contemporary human condition embedded in digital life: psychopathologies, the cancellation of dead time, the characteristics of the new subjectivity, the de-activation of the potency of the body.


BIO Nicolás Gullotta (b. 1983 in Buenos Aires. Based in Buenos Aires). He has a BA in Fine Arts from the National University of the Arts, Buenos Aires. In 2009 he participated in LIPAC (Laboratory for Research in Contemporary Practices), dependent on the University of Buenos Aires. He also participated in a workshop by Carlos Amorales at Di Tella University (Buenos Aires 2010). He participates in Residences: Stichting Kaus Australis (Rotterdam, 2013); Skowhegan School of Painting and Sculpture (Maine, 2014); and Gasworks (London, 2015). He received a special mention by the Faena Art Prize in Buenos Aires (2015). In 2016 he participates in the group exhibition “El ejercicio de las cosas” (The exercise of things) curated by Sonia Becce and Mariano Mater at Centro Conde Duque, Madrid.

BIO Mercedes Azpilicueta (b. 1981 in La Plata, Buenos Aires. Based in Milano and Rotterdam). Mercedes Azpilicueta is an artist and performer. In 2017 she received the Pernod Ricard Fellowship from Villa Vassilieff/Bétonsalon, Paris. During 2015 and 2016 she did the Rijksakademie van Beeldende Kunsten, Amsterdam. She has a MFA from the Dutch Art Institute/ArtEZ, Arnhem and a BFA from the National University of Arts, Buenos Aires. She has shown her work at TENT and A Tale of a Tub, Rotterdam; Van Abbemuseum and Onomatopee, Eindhoven; Het Veem, Amsterdam; Centro de Arte 2 de Mayo, Madrid; Irish Museum of Modern Art, Dublin; The Poetry Readings Program, Documenta13, Kassel; Galata Fotoğrafhanesi, Istanbul; Raw Material Company, Dakar; Chinese European Art Center, Xiamen; Centro Cultural Borges and Móvil, Buenos Aires. Her current projects include ‘ENGAGE, Public school for Social Engagement in Artistic Research’ curated by Viafarini in collaboration with Sunugal, Milan; ‘The take over’ i.c.w. Jacco van Uden and Céline Berger, The Hague/Amsterdam; and a new solo performance for REDCAT/CalArts, Los Angeles. In 2018 she will present her first solo institutional exhibition at the Buenos Aires Museum of Modern Art.

BIO Florencia Vecino (b. 1985 in Tandil, Buenos Aires. Based in Buenos Aires). Graduated from San Martin Theatre´s Contemporary Ballet Workshop. She was fellow of the Centre of Artistic Investigations, Buenos Aires (2014) and of the Artist´s Programme of Di Tella University in Buenos Aires (2015). She interpreted works by re-known Argentinean composers such as Luis Garay, Diana Szeinblum, Emilio García Wehbi, Luis Biasotto, Laura Kalauz and Alan Pauls. In 2015 she was invited to participate in the Contemporary Festival Archaelogies of the Future, an International Festival of Contemporary Ballet, Performance and Knowledge.

only available in English ATM

From the understanding of this big and complex panorama I embedded myself in media theory, sociology and philosophy, to contextualise how algorithmic culture affect the global subject. Moreover, I have also tried to think of the differences in which the global and the local intersect along this paradigm, setting some hypotheses which I would like to develop further in my next research. Overall, my analysis on the artists’ works highlighted the potency of the body in the Internet Era, and speculated around local differences between Latin American, Central Europe and the U.S.

for more info about
Nicolás Gullotta_visit http://www.nicolasgullotta.com/
Mercedes Azpilicueta_visit http://www.mercedesazpilicueta.info/
Florencia Vecino_visit: http://ciacentro.org.ar/node/1751



︎


I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

Wallace Stevens
Thirteen Ways of Looking at a Blackbird



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