Longitudes

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Report: Latitudes' participation in the festival TODAY IS OUR TOMORROW initiated by PUBLICS in Helsinki

 04 Oct 2019
Poster announcing the festival in a street in central Helsinki. Photo: Latitudes.

As partner organisation in the transdisciplinary festival ‘Today Is Our Tomorrow’ initiated by PUBLICS, Latitudes' participation consisted in inviting Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta, to perform at Club Kaiku on September 13, 2019.

Façade of Kaiku, Helsinki.

A day earlier, on September 12, 2019, Latitudes and Mercedes maintained an open conversation introducing her artistic practice and, in particular advancing details of both her ‘Yegua-Yeta-Yuta’ performance taking place a day after, as well as her forthcoming solo exhibition at CentroCentro, Madrid, opening October 3, 2019, and her solo presentation as part of Van Abbemuseum's ‘Positions #5’, a series of exhibitions presenting the work of artists working in the Netherlands.

September 12, 2019, 5:30–6:30h: (Above and below) Mercedes, Mariana and Max (Latitudes) in conversation at Club Kaiku. Photo: Jonni Korhonen/PUBLICS.
Photo: Jonni Korhonen/PUBLICS.
Photo: Aman Askarizad/PUBLICS.

Azpilicueta performed ‘Yegua-yeta-yuta’ (2015-ongoing), an evolving solo performance that is part scripted, part improvised. Composed from a litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina, it transforms the everyday language of misogyny and harassment into a kind of tragicomic exorcism. Many of the words derive from the street slang of Buenos Aires, especially Lunfardo, a colloquial and cryptic dialect that first arose among working-class Italian-immigrant and tango communities in Argentina and Uruguay during the late 1800s. For example, yegua literally means a mare – a female horse, a slur for a “difficult” woman. A yeta is a person who brings bad luck, while a yuta is someone corrupt or unscrupulous, and slang for the police. Accompanied by a percussive beat, Azpilicueta reclaims the power to offend, distorting and distending the epithets into something powerful and playful rather than weak and degrading. Azpilicueta performed to the beat of a new soundtrack produced for the occasion in collaboration with Chilean choreographer Rodrigo Sobarzo de Larraechea. 

See documentation on our photo gallery.

Photo: Aman Askarizad/PUBLICS.

Mercedes Azpilicueta during her performance ‘Yegua-Yeta-Yuta’ (2015-ongoing) for TODAY IS OUR TOMORROW festival, organised by PUBLICS, Helsinki. Photo: Latitudes.
Photo: Jonni Korhonen/PUBLICS.

Photo: Aman Askarizad/PUBLICS.


Photo: Kush Badhwar/PUBLICS.


Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.

Photo: Kush Badhwar/PUBLICS.

Photo: Latitudes.


Mercedes Azpilicueta is an Argentinian visual and performance artist based in Amsterdam. Her practice has spanned theatrical mises-en-scènes and video installations, textile sculptures and drawing, sound works and 3D animation. With a particular interest in notions of the vulnerable or collective body, and the primal or dissident voice, her works have drawn inspiration from sources as diverse as Baroque painting, text messaging, medieval tapestries, street slang, and literary fiction, as well as singular figures including the Italian art critic and feminist activist Carla Lonzi (1931–1982), the Argentine-French performance artist Lea Lublin (1929–1999), the French futurist Valentine de Saint-Point (1875–1953), and the Costa Rican-born Mexican ranchera singer Chavela Vargas (1919–2012). A major survey of Azpilicueta’s work to date, ‘Cuerpos Pájaros’ (Body-birds) was recently staged by the Buenos Aires Museum of Modern Art (November 2018–April 2019 — see Latitudes' Buenos Aires report). On October 3, 2019, she presents ‘Bestiario de Lengüitas’ (Bestiaire of Tonguelets), curated by Virginie Bobin, at CentroCentro, Madrid, an exhibition which will then tour to Museion, Bozen, and CAC Brétigny in 2020. Later in 2019, she will have a solo presentation as part of ‘Positions #5’ at Van Abbemuseum, Eindhoven.


(Above) Mercedes during her performance ‘Oh, Eduarda!’ on April 14, 2019, presented at the Museo de Arte Moderno in Buenos Aires. Photo: Latitudes.

→ RELATED CONTENTS
 2019, conversations, documentation, Helsinki, in photos, Latitudes-curated, Mercedes Azpilicueta, partner organisation, performance, PUBLICS, report
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Cover Story—October 2019: Mercedes Azpilicueta in Helsinki

 01 Oct 2019
Latitudes' homepage www.lttds.org

The October 2019 monthly Cover Story ‘Mercedes Azpilicueta in Helsinki’ is now up on Latitudes' homepage: www.lttds.org

“Buitre! burra! cabeza! cabezona! cabrona! cachivache! cachucha! cachufleta! cagada! cagadora! cagona! cajeta!…” Mercedes Azpilicueta’s performance ‘Yegua-yeta-yuta’ (2015–ongoing) is a part scripted, part improvised litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina. Performed on the inauspicious date of Friday 13th September, it was Latitudes’s contribution to the collectively-curated and inaugural Today is Our Tomorrow festival initiated by PUBLICS at Club Kaiku and neighbouring venues in Helsinki, Finland.”

→ Continue reading
→ After this month will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.

→ RELATED CONTENTS:
 2019, cover story, Helsinki, Mercedes Azpilicueta, performance, PUBLICS
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PUBLICS' Library in Helsinki incorporates Latitudes-edited publications

 27 Sep 2019

We are glad to announce that PUBLICS in Helsinki now has all Latitudes publications available for consultation in their library (with the exception of the monograph "Lara Almarcegui, Projects 1995–2010" which is out of print). Our first publication, "LAND, ART: A Cultural Ecology Handbook" (RSA/Arts Council England, 2006, also out of print), was already in their library. 

PUBLICS library is the third location where the whole set of Latitudes' publications reside, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.

We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).


PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.

Latitudes' publications available at PUBLICS Library (bibliography online):

Joan Morey: COLLAPSE
Various locations, Barcelona
September 2018–January 2019
Exhibition guide/programme guide, opuscule, poster

4.543 billion. The matter of matter
CAPC musée d'art contemporain, Bordeaux
June 2017–January 2018
Exhibition guide & symposium guide

Amikejo
Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
April 2012

United Alternative Energies
Christina Hemauer & Roman Keller
Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
January 2012

Campus
Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
July 2011
Also available online.

Portscapes
Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
February 2010

Martí Anson, Mataró Chauffeur Service
Catalogue of the project, 'No Soul For Sale', Tate Modern, London
January 2011

The Last Newspaper
Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
October–December 2010

Lawrence Weiner: THE CREST OF A WAVE
Booklet of the exhibition, Fundació Suñol, Barcelona
October 2008

Simon Fujiwara: The Incest Museum–A Guide
Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
May 2009

Ignasi Aballí: 没有，有 Nothing, or Something
Catalogue of the exhibition, Suitcase Art Projects, Beijing
July 2009

Ecology, Luxury & Degradation
UOVO #14
Summer 2007

Greenwashing. Ambiente: Pericoli, Promesse e Perplessità 
(Greenwashing. Environment: Perils, Promises and Perplexities)
Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
February 2008


→ RELATED CONTENT
 2019, Amikejo, editorial, FAQs, Greenwashing, Helsinki, Lara Almarcegui, latitudes, Library, Mariana Cánepa Luna, Martí Anson, Max Andrews, Portscapes, publications, PUBLICS, Rasmus Nilausen, UOVO
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Latitudes is a curatorial office based in Barcelona that works internationally across contemporary art practices. It was initiated in 2005 by Max Andrews and Mariana Cánepa Luna. +info

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

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