Aggregate (2018)
de Alexandra Piricci
en le marco de Art Basel Cities Buenos Aires
Performative environment
Duration: 4 hours
Exploring both the history and the function of gestures in visual art and popular culture, Alexandra Pirici choreographs complex “performative environments” that activate a space with dozens of dancers or actors. For ‘Hopscotch (Rayuela)’ the artist offers a new iteration of Aggregate, originally produced for the Neuer Berliner Kunstverein in 2017. Over a span of four hours on seven days, 60 performers drift through the space as a swarm, threading around the viewers. Pirici‘s performers enact motions and sounds that represent our cultural heritage – from ocean waves to Depeche Mode’s Enjoy the Silence – the type of shared references that might be fit for a time capsule intended to give future extraterrestrials a sense of life on planet Earth. By identifying and ennobling, momentarily, these fragments of a collective conscious, Pirici urges us to confront our commonalities and envision society itself as a subjective, living body of mutual memories.
Coordinator: Luciana Acuña
Assistant: Alejandro Alonso
Performers: Quillen Mut, Francisco Benvenuti, Abril Lis Varela, Emiliano Formia, Juan Noodt, Ana Inés García, Maria Eugenia Stanovnik, Nicolas Gimenez, Luciano Ciarrocca, Daniel Antonio Corres, Pablo Lugones, Michel Capeletti, Monica Arturi, Ana Borre, Virginia Leanza, Brenda Boote Bidal, Gastón Santos, Lis Tejón, Hernan Martinez, Marina Quesada, Valeria Polorena, Liza Taylor, Lucas Nahuel Cánepa, Victoria Brudny, Victoria Castelvetri, Carmen Pereiro Numer, Eugenia San Pedro, Belara Michán, Cecilia Maza, Ana Armas, Paulo Nehuen Zogbe, Milva Leonardi, Jorge Martinez, Delfina Thiel, Verónica Dragui, Ana Gurbanov, Daniela Alejandra Campora, Mailen Braverman, Julia de la Torre, Nahuel Casini Soto, Eugenia Graña, Juan Guiraud, Nicolás Salvatierra, Victoria Morante, Ignacio Francisco Cerbino, Giselle Pezoa, Franco Stella, Josefina Enrico, Laila Gelerstein, Mijal Katzowicz, Miguel Valdivieso, Laura Carreras, Belén Illé, Triana Leborans, Lucía Nacht, Macarena Orueta, Leo Robaglio, Celeste Sipos, Laura Peña Nuñez, Alejandro Parente
Full list of references used for this ongoing performative action:
Tigers, gorillas, antelopes
Ocean-floor eels colony
Bird song (the extinct Huia - Heteralocha acutirostris)
Prometheus tree (Bristlecone Pine - Pinus longaeva)
Cave of the Crystals in Naica, Chihuahua, Mexico
Sound of waves
Climbing plants
Skype login sound
Internet infrastructure sounds (data center)
CRISPR - DNA editing technique
‘Occupy’ movement hand signals
Cumbia dance on ‘El Baile de la Cocotera’ by Karina Crucet
Leonardo da Vinci: ‘Mona Lisa’
Wifredo Lam: ‘Lisa Mona’
Michelangelo: ‘David’
Wooden Bodhisattva from Shanghai
Egyptian Seated Scribes
Bicefalous Ain Ghazal figures from Jordan
Antonio Canova: ‘Psyche Revived by Love’s Kiss’
Constantin Brancusi: ‘The Table of Silence’
Maria Tanase: song excerpt – ‘Pana cand nu te iubeam [Until I fell in love with you]’
Rihanna: song excerpt– ‘Kiss it better‘
Forough Farrokhzad: poem excerpt – “I feel sorry for the garden”
Simone Yoyotte: poem excerpt – ‘Pyjama-Speed’
Depeche Mode: song excerpt – ‘Enjoy the Silence’
Chola bronze statue of Nataraja
Charlotte Rudolph: ‘Hands of Mary Wigman’
Kenji Kawai: song excerpt – ‘Making of a Cyborg’
Fyodor Lopukhov: ballet still – ‘Bolt’
Pablo Neruda: ‘Keeping Quiet’
Camille Claudel: ‘Sakountala’
Unknown artist, Gian Lorenzo Bernini: ‘Sleeping Hermaphroditus’
Bollywood film excerpt – ‘Yeh Jawaani Hai Deewani’ and Ghagra song excerpt
Laurie Anderson: Goodbye/ Hello
Gil Scott-Heron: ‘Whitey on the Moon’
Corner Aggregate
Intercession names calling
