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Mercedes Azpilicueta (born in La Plata, Argentina in 1981) is a visual and performance artist living and working in Amsterdam and Buenos Aires. Her artistic practice brings together various characters from the past and the present, who manifest as voices, shapes, texts, traces and memories into her multi-layered works. Calling herself a “dishonest researcher”, Azpilicueta navigates through multiple references and fields of knowledge, from art history to popular music, from literature to street culture, falling in love with dissident figures and trajectories —feminist, queer, migrant, exiled individuals— who haunt her scripts, performances and videos. Yet, her work never indulges into cold reverence or archival fascination. By engaging the body with all its flaws and potentials —her own body, that of her muses and collaborators, that of the spectators, but also fantasized ones— Azpilicueta embraces its fragility as well as its capacity for resistance and care.

Most specifically known for her performance and language-based works, Mercedes Azpilicueta’s practice has evolved in the recent years into exploring the theatrical possibilities of sculpture and installation. However, the objects that she produces should not be taken for granted, as they always bear the potential of being activated in various ways. They could be translated as scores, set designs, props, mnemonic devices or records — disguised as sculptures. They often take different functions according to their context of apparition and travel merrily from a work to another. The fabrication of these objects often involves “poor”, craft-based or handmade techniques that are often associated with the domestic work of women and with subaltern knowledge, such as sewing, embroidering or dying. The materials are either recycled or natural (latex, leather, wool, silk, wax) and add another layer of stories to the objects, that of the circulation of resources and knowledge often acquired through the violent exploitation of humans and nature.

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Selected Works

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Potatoes, Riots, and Other Imaginaries

2021

Jacquard tapestry

352 x 1200 cm (138 1932 x 472 716 inches)

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Untitled

2021

Mixed media

7 elements

mercedes_azpilicueta_the_liutenant_nun_is_passing_and_more

The Lieutenant-Nun Is Passing: An Autobiography of Katalina, Antonio, Alonso and More

2021

Jacquard tapestry (Merino wool, cotton, lurex)
Wood structure not included

160 x 400 cm (63 x 157 1532 inches)

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The Delinquent Breeches

2021

Textile sculpture (Wool felt, merino wool, cotton, wood)

112 x 50 x 155 cm (44 332 x 19 1116 x 61 132 inches)

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On the Dignity of Codpieces [1]

2021

Textile sculpture (Wool felt, merino wool, cotton, acrylic yarn)

45 x 35 x 10 cm (17 2332 x 13 2532 x 3 1516 inches)

mercedes_azpilicueta_noguerasblanchard_ladys-dreams-2019

Lady’s Dreams or Stop right there gentlemen!

2019

Jacquard Textile (wool and cotton)

157 x 600 cm (61 1316 x 236 732 inches)

mercedes_azpilicueta_noguerasblanchard_the-captive-2019

The Captive: Here’s a Heart for Every Fate

2019

Jacquard Textile (wool and cotton)

157 x 300 cm (61 1316 x 118 18 inches)

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The faux-cul

2019

Costume-sculpture (cotton, cord, jersey, elastic, side squeeze buckle, sock, wood beams)

106 x 212 x 150 cm (41 2332 x 83 1532 x 59 116 inches)

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Bestiaire of tonguelets, Act I, scene 1, 2, 3 and 4

2019

Natural linen, two-tone natural silk, thread

296 x 140 cm (116 1732 x 55 18 inches)

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Soft Armour III (Micheline)

2018

Wool cloth dyed with natural dyes, handmade natural latex, thread

190 x 100 x 80 cm (74 1316 x 39 38 x 31 12 inches)

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La Femme-Maison

2019

Single channel video, sound

0h 02' 33''

mercedes_azpilicueta_noguerasblanchard_hommage-nativita-giovanni-battista-pontormo

Hommage al reverso de Natività di San Giovanni Battista, Pontormo, 1526 (I)

2019

Wool felt, red oxide and caput mortuum natural dyes, hand-made dyed eco-latex, metal chains

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Artemisia Gentileschi. Giuditta che decapita Oloferne, 1620 -1621 circa, Firenze Gallerie degli Uffizi

2018

Giclée print on cotton paper

36.5 x 49 x 3 cm (14 38 x 19 932 x 1 316 inches)

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Starfish & Amoeba

2020

Cotton, oak gall nuts, citric acid, ferrous sulphate, cord, thread

337 x 153 cm (132 1116 x 60 14 inches)

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Bacterial-dress

2020

Costume-sculpture [double brushed cotton, madder-root dyeing, onion skins, oak gall nuts, ferrous sulphate, cord, natural felt]

240 x 80 cm (94 12 x 31 12 inches)

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Yegua-yeta-yuta

2018

Natural two-tone silk, stitched linen + Audio

380 x 150 cm (149 58 x 59 116 inches)

mercedes_azpilicueta_noguerasblanchard_volver-a-casa-expandiendo-la-voz-2018

Volver a casa expandiendo la voz (Back home expanding the voice)

2018

Canvas and gauze made of cotton, linen, fiber, silk, calico, jersey, ribbon and thread

380 x 150 cm (149 58 x 59 116 inches)

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Soft Armour VII (Quasimodo)

2018

Recycled leather, "hombreras", wood sticks, copper

150 x 100 x 105 cm (59 116 x 39 38 x 41 1132 inches)

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Soft Armour IV (Baroque Ghost)

2018

Natural handmade latex, linen dyed with natural dyes, cotton cloth, thread

165 x 40 x 40 cm (64 3132 x 15 34 x 15 34 inches)

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Cuerpos Pájaros (Body-Bodies)

2018

Synchronized three-channel video projection

0h 15' 00''

Installation

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Bestiario de Lengüitas, 2020
MUSEION – Museo d’Arte Moderna e Contemporanea di Bolzano, Bolzano

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Bestiario de Lengüitas, 2020
MUSEION – Museo d’Arte Moderna e Contemporanea di Bolzano, Bolzano

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Cuerpos Pájaros, 2018
Museo de Arte Moderno de Buenos Aires

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11th Biennial d'Art Leandre Cristòfol, 2019
Centre d'Art la Panera, Lleida

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Bestiario de Lengüitas, 2019
CentroCentro, Madrid

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Bestiario de Lengüitas, 2019
CentroCentro, Madrid

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Post-Opera, 2019
TENT, Rotterdam

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Telling Untold Stories - Positions #5, 2019
Van Abbemuseum, Eindhoven

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Telling Untold Stories - Positions #5, 2019
Van Abbemuseum, Eindhoven

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Performance/Documentation/Presentation, 2020
LundsKonsthall, Lund

News

Exhibitions

Revelations on a shapeless sphere

Fonteta
Jun 17 - Aug 28, 2022

For the second consecutive year, we are delighted to present a collaborative project between galleries Bombon, Galeria Joan Prats and NoguerasBlanchard. The proposal for this summer once again brings together artists from the three galleries and from different generations in an exhibition format that will be based on the exquisite corpse principle, with a text by poet Eduardo Escoffet written for the occasion.

Focusing on this act of collective exchange, during the summer of 2022, the artists invited to participate, the first of them Pere Noguera (La Bisbal del Ampurdán, Girona; 1941) , will be in charge of selecting the first group of artists, and so on in succession, until closing a cycle of exhibition proposals made up of works spanning different generations and imaginaries.

Chapter 1: Opening Saturday 25 June
Pere Noguera, Luis Gordillo, Ludovica Carbotta (Room 1)
Pere Noguera, Anna Dot, The Late Estate Broomberg & Chanarin (Room 2)

Chapter 2: Opening Saturday 16 July
Ludovica Carbotta, Muntadas, Francesco Arena (Room 1)
The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen (Room 2)

Chapter 3: Opening Saturday 6 August
Francesco Arena, Victoria Civera, Perejaume (Room 1)
Ángela de la Cruz, Rasmus Nilausen, Lola Lasurt (Room 2)

Chapter 4: Opening Thursday 18 August
Perejaume, Pere Llobera, Ignacio Uriarte (Room 1)
Lola Lasurt, Mercedes Azpilicueta, Fernando Prats (Room 2)

c/ Empordà, 10, Fonteta, Girona
Jun: Friday to Sunday from 5 to 9pm
Jul and Aug: Monday to Sunday from 5 to 9pm

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Katalina, Antonio, Alonso

Madrid
Sep 09 - Nov 13, 2021

Taking the autobiography that Catalina de Erauso left in writing, in the words of Verónica Rossi, Azpilicueta carries out “an exercise in historiographical imagination that gives another twist to the succession of stories that construct the past”, weaving a work from memories, archives and imaginaries, rethinking history and breathing new life into dissident figures and trajectories of colonial history.

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Estar a la lluna

Fonteta
Aug 07 - Sep 26, 2021

We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard, taking place in Fonteta, a small village in the Empordà region from June to September.

The exhibition, conceived in two chapters, brings together artists from three different generations. The proposal begins with a concept from the Empordà Parar la fresca (to take in fresh air) described by Josep Pla in the book Las Horas (The Hours), 1953.

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The Old Dream of Symmetry

Madrid
Feb 14 - Mar 23, 2019

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On affection

Barcelona
Jun 08 - Jul 14, 2017

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Receive information on available works by Mercedes Azpilicueta
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