• Facebook Clean
  • Instagram Clean

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