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Mercedes AZPILICUETA, Lady's Dream or Stop Right There Gentlemen!, 2019, Jacquard Textile (Wool and cotton), 157×600cm

Mercedes AZPILICUETA‘s practice uses performance, history, and storytelling to give account of lives of women, either forgotten or marginalized. By doing so, the artist explores how our bodies are understood in relation to our environments. Affects are rendered tangible through the artist’s personal experiences and her relations with popular culture. Hybrid forms are produced, which overcome the simplistic dualism of the domestic and the public self. Distortions translate the permanent transformations of our identities that never really come from within nor from without, but exist in a non-frontier zone, which is above all a zone of resistance and emancipation. In her installation CuerposPájaros (2018), AZPILICUETA questions the concept of a non-normative collective body through a collection of images shot in the streets of Buenos Aires. Previous works include vocal poetic experiments investigating that which we take from the outside to constitute our plural identities.

For the Biennale, Mercedes AZPILICUETA presents on one side of a tapestry entitled Lady's Dream or Stop Right There Gentlemen! It pays tribute to 19^th-century Argentinean proto feminist Eduarda Mansilla’s book on Lucia Miranda: the myth of the first cautiva, a European woman captured by indigenous people on her arrival in Argentina in the 16th century. Her second contribution for the Biennale is a collaborative performance with HUH Kyung Mi, a dancer and choreographer based in Busan. They will create a piece based on KIM Soom's story Green Is for Sorrow.