Andrés Aizicovich

Relation of dependence (2017)

Relation of dependence is an installation and a performative work that approaches the idea of creative act as a collaborative practice. The piece consists of a sculptural device that is activated due to the driving force of two participants; a fixed bicycle, connected by a system of pulleys to a potter's wheel. Thanks to the cyclist-driven movement, the wheel turns and allows the potter to model the clay. In the process both participants negotiate, discuss, interrupt, draw questions about communication as a bridge between individuals, the nature of artistic praxis and creation not as a spontaneous act, but as a transactional exercise between interlocutors. As the action is repeated in different days, the work leaves as a result a cluster of vessels; thus, the performance equates the perspiration of the cyclist and the accumulation of clay pots as residual remnants of the interaction and the frictions of a dialogue.
The piece also operates in the manner of a social experiment in which various interpersonal relationships (between work partners, parents and children, sentimental partners, friends) assume the roles of cyclist and potter to implement exchanges, hierarchies, transfers and flows that are manifested in relational bonds.

Ceramist: Cecilia Ojeda
Mise-en-scène: David Nahón
Realization: TaMaCo-CHELA, Pedalúdico.

250 x 150 x 60 cm.

The voice from within (2016)

The inner voice is a sculpture that invites to communicate with the ancestors by domestic media; a head shower officiates as microphone, the voice travels through a pipeline that crosses inherited vases of various materials to be amplified by a phonograph horn.
Genealogies, the oral transmission of knowledge, family ties, cultural heritage, objects that are passed from generation to generation and the view of the ancestors focuses on a device that intertwines matter and History.

Variables

Catpult (2012)

in collaboration with Pablo Bagedelli.

330 x140 x 220 cm.

Family Tree (2016)

Instalation: Chains, ropes, strings of different thicknesses, spheres of diverse materials. 330 x 440x 30 cm. Centro Cultural Recoleta, 2016.

A perimeter formed by chains, ropes and strings connects spheres of different materials (cement, leather, bread, wax, bronze, iron, marble, wood, steel, clay). Ordered from biggest to smallest, the traced outline resembles a prototypical house plan with three rooms or a family tree diagram fading out.

The cloud of witnesses (2015)

Instalation: Found objects, wood, bricks. 1000 x 800 x 450 cm.
Curators: Federico Baeza & Sebastián Vidal Mackinson.
Museum of Modern Art, Cuenca, Ecuador.

The guide for the perplexed (2014)

Instalation: Found objects, wood, bricks. 1000 x 800 x 450 cm.
Soberanía del uso - apropiaciones de lo cotidiano en la escena contemporánea", OSDE Foundation
PH: Ivo Aichenbaum

500 x 600 x 400 cm.

The soft forces (2015)

When the user steps on the pedal, it activates the bellows which blows air and makes the earth globe slowly spin.

Desk earth globe, bellows, bass drum pedal, hose, wood, carpet 200 x 70 x 130 cm.
Nora Fisch Gallery, 2015.

The Speaker´s corner (2014)

"O canto dos alto-falantes" can be understood as an artistic and social platform aimed at giving voice to all those who are interested in using the open microphone as a device for manifesting, informing, teaching, or simply listening to the other.
Religious preaching, a studio of oratory, biographical narrations, demarcation, a reading of texts of the historical vanguards, collaborations of artists, announcements of lost and found items, experimental speeches, and many other forms of utterances are what can be found on these four triangular wooden platforms, each connected to a loudspeaker. This proposition is founded on the horizontalization of discourses in cultural and public spaces. All of these sorts of involvement do not play the same role in discursive practice: they do not imply the truth or idealness of the discourse, but are rather a device in which people from different horizons can cross discourses, which are contrastive or blinding in regard to each other.
Andrés Aizicovich asks us: Who speaks? What to say? How to speak in public? What is the public? These modes of utterance are also manifestations of scattering in the intents of the speech and of the status quo of the artist, since O Canto dos Alto-Falantes will resonate from different positions that one can occupy or receive when the discourse is determined by the scattering of the subject and by one’s discontinuity in relation to oneself.

300 x 400 x 600 cm. / 45 min.

El Flasherito Art Newspaper (2013-17)

Edition of an art critic and experimental writing newspaper, printed monthly with a circulation of 1000 copies.
12 issues released between Oct 2013 and Sept 2017.
In collaboration with Leopoldo Estol and Liv Schulman.

Leopoldo Estol and Liv Schulman

The guide for the perplexed (2013)

Instalation.
Wooden boards, bricks, cement, slats, iron fittings, selection and composition of objects found on the street.

Inmigrante gallery.

The speaker´s corner (2013)

Sculpture and reading performance.
With Liv Schulman, Leopoldo Estol, Pablo Rosales, Patricio Gil Flood.
in Sebastián Bruno´s exhition "S/T".
Foster Catena Gallery.

200 x 140 x 200 cm. / 45 min.

Austerlitz (2016)

Variables

Kaddish and other poems (2012)

You shall narrate to your children (2012)

200 butterflies carrying the history of human culture

Etcetera (2012)

120 x 120 cm.

Psalm 90 (2012)

Persian rug and surface of ashes of the same dimensions, two paintings of 150 x 300 cm. each.
Installation in Universidad Ditella

It´s going to shine on the golden child (2012)

Last satement of sentenced to death Michael James Perry over Kasemir Malevich´s "Black Square".

150 x 150 cm.

Untitled (Kadish) (2012)

150 x 200 cm.

Human Resources (2013)

Variables

Anamnesis (2012)

100 x 100 cm.

Untitled (2012)

150 x 150 cm.

Twins (2012)

100 x 150 cm.

Sísifo (2011/12)

Variables

The Adventure of Mankind (2010)

220 x 120 cm.