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In her practice Mercedes Azpilicueta utilizes her voice and body as affective media. Recently she has introduced dance, movement and choreography in her live works. Various elements and bodies interact within a space to constitute and convey emotion and meaning. Azpilicueta opts for an increasingly loose methodology to allow for contingency and make room for improvisation, association and more playfulness. Starting point is sensing and understanding the other through non-rational relations. Central to this investigation is the female body, its relationship with other bodies, reproduction and bacteria.”
Vincent van Velsen, Molecular Love, RijksakademieOPEN, Amsterdam, 2016

 

“Azpilicueta´s work is significant insofar as she reproduces the affective marks of lived language even when she does not understand the logical markers of the language before her. Mercedes uses her own body as space where the affective traces of others´ language are gathered as sediment, traces that she brings back to life in making her work. In the privileged selection of the affective markers for her work, she retraces the evolution of language towards the total systematisation of ancient forces of production and mimetic reception, and tends to release those of magic.”

Daniela Brunand, Geometric Dancer Doesn’t Believe in Love, Finds Aspiration and Ecstasy in Spirals at SlyZmud, Buenos Aires, 2016. 

 

“Somewhere between the body and language, without being either but perhaps both at the same time, the voice is that space where our inside and outside merge. Using the voice as a primary source, Mercedes Azpilicueta unmasks on one hand the way the voice is created by the whisper, the shout, onomatopoeia, singing, snippets of conversation and poetry. On the other hand, the voice is also crossed by the absurd, the cliché, the sagacity and even violence, within the time and space in which we develop our humanity and locality. In Azpilicueta´s provocative and hypnotic vocal arrangements where the body is used as a musical instrument, that unique, inimitable voice appears in full nudity, showing its ability to lead us out of ourselves, to places where neither the body nor the mind would have allowed us to reach.”
Aguado, Alejandra, Todo Afuera Adentro / Everything outside inside at Móvil, Buenos Aires, 2015.

 

“Mercedes’s work addresses the ambiguity of a personal and unrestrained at times collective subjectivity, applied to a rigorous formality and experimentation with sound and the affective quality of language.”
If I Can´t Dance I Don´t Want to Be Part of Your Revolution. Amsterdam, 2013

 

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