Latitudes Out of Office 2025-26 season
Sun, Jul 26 2026
As the 2025–26 art world season draws to a close, we’re pausing to look back before shifting our attention away from whatever lies beyond the screen. This annual round-up has become a familiar ritual: a moment to gather thoughts, retrace steps, and acknowledge the many conversations, encounters, and detours that have shaped our past year.
The months behind us unfolded between public moments but many more quiet stretches of thinking, typing away, and research. What follows is a snapshot of what occupied and energised us this season: visiting exhibitions, drafting texts, preparing talks and trips, surviving long installation days, conducting studio visits, and some unexpected encounters. Although it may appear that the administrative aspects of our work are minimal (taking up most of our time?), we wish that were true; it’s important to note that contractual and invoicing procedures are becoming increasingly tedious. We concurred when reading @annshafer7's post, where she says that “for every hour spent looking at incredible art or speaking on a panel, there are five hours of spreadsheets, logistics, shipping quotes, and drafting emails.”
Earlier seasonal wrap-ups: scroll back to the early days of 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20, 2020–21, 2021–22, 2022–23, 2023–24, 2024–25 season. All photos are by Latitudes unless otherwise noted in each photo caption.
This season, we mentored an Irish curator, conducted studio visits in Stockholm, Barcelona, Montbrió del Camp (Tarragona), and reviewed over 700 dossiers for open calls. We also contributed writings to Frieze and Artforum and published catalogue essays for John Kørner and Pérez y Requena (text submitted, catalogue design underway). Additionally, we visited museums, art galleries, biennials, and art spaces across Madrid, Stockholm, Venice, Santander, Bilbao, Espinavessa, Tenerife, and throughout Barcelona and its surrounding cities.
If you’re curious about side notes and occasional glimpses behind the scenes, you’ll find us on our Instagrams here and here. We’ll be back in September. Until then, we wish you a summer of idleness, shade, and restorative moments.
– Latitudes
1 September 2025: Artforum publishes a review of Laia Estruch’s exhibition at the Museo Reina Sofía by Joaquín Jesús Sánchez in the museum’s newly redesigned September issue – appearing on the very last day of the show.
Unfortunately, the review concludes that “the overall result is confusing”, without really expanding on what, precisely, was confusing about “help[ing] visitors understand Estruch’s work, [with] posters accompany the sculptures, telling how each performance was developed”, alongside the video excerpts that welcomed visitors (plus three additional clips conceived and shared through the museum’s social channels with the desire to share the work beyond the galleries). The suggestion that the exhibition “can easily end up looking like just a collection of props” also seems, to us, to overlook the sculptures’ agency as works in their own right. One of the central premises of the exhibition was to demonstrate that Estruch’s practice, contrary to popular belief – even for those who know her work – is not confined to live performance but has been sustained and accompanied by a substantial body of sculptural work: voluminous, colourful forms that carry presence, memory, and activation beyond the moment of performance itself.
The same issue of Artforum includes a review by Max Andrews of Joana Escoval’s exhibition “Tones of the Spine”, seen at Galería Vera Cortês, Lisbon, during ARCOmadrid back in May. We were sad to hear that, after 23 years of activity, Vera Cortês will close the gallery in December.
Another review of Estruch's show, published on August 13th, was “No Silence Will Ever Protect You” by Lu Millet for the New York-based magazine Impulse Magazine.
9 September 2025: Max Andrews’s review of Ludovica Carbotta’s exhibition “Builders of worlds very similar to ours” at Fundació Miró’s Espai 13 is published online on frieze.com (in print in the November/December 2025 issue). Ludovica’s show opened last July and was the third of the cycle of exhibitions “How From Here” curated by Carolina Jiménez.
11-15 September 2025: Trip to Stockholm as part of IASPIS Visiting Expert Programme in collaboration with September Sessions – A Contemporary Art Festival.
A busy schedule of visits took us to Accelerator, Bonniers Konsthall, IASPIS, Konsthall C, Tensta Konsthall, Marabouparken, Moderna Museet, Antics, and Mint, as well as the opening of “Aljub” by Claudia Pagès at INDEX. We also had scheduled several studio visits around town with Ingela Ihrman, OEI (Jonas Magnusson & Cecilia Grönberg), Johanna Gustafsson Fürst, Lisa Tan, and Astrid Braide Ericsson. One of the highlights was attending the latest performance, “Malign Junction (Goodbye, Berlin)” by Alex Baczynski-Jenkins at the beautiful venue MDT Moderna Dansteatern.
13 September 2025: On September 13, Danish artist John Kørner (Århus, 1967) opened his solo exhibition “Venice Lido Light” at Victoria Miro in Venice, on view until 25 October 2025. The exhibition was accompanied by a new essay by Max Andrews on Kørner's recent paintings and sculptures (created during his residency at the gallery’s Venice studio).
It begins: “A sunset-headed man and a woman with long brown hair are sitting on the sand with their backs to each other. A tall Campari sunburn apparition walks towards them, waving — 'hej! ciao!” — while a single turquoise Adidas Spezial and two plump strawberries float by. One, a novelty cultivar, is emerald, while the other is more universally accepted. The sunny thought bubbles of the apparition and the classic berry conspire to make the weather.
A painter of problems that take shape in reality finds himself painting in a city literally sinking under the weight of intractable troubles. Cocoon-like problems continue to manifest — a row is posing on a horizon, look — but never as a reaction to something gone wrong. On the beach, his mental clouds are precipitating doubt about how to picture a place that is already so saturated. No masks. No vedute. No Death in Venice. No Jeff in Venice.”
This is Andrews’ third text on John’s work, following ‘The Kørner Problem’ for his 2017 Roulette Russe Publishing monograph and his 2006 exhibition catalogue at Victoria Miro London.
Korner's work “Lido Lagoon” was our November 2025 Monthly Cover Story on Latitudes’ homepage.
18 September 2025: Beginning of the 11th edition of the Barcelona Gallery Weekend. A decade ago, we would have been opening the five site-specific projects commissioned for the first edition of the BGW. We conceived and curated the first and second editions of “Composiciones”, the first included projects by David Bestué (at the former Cosme Toda factory, L’Hospitalet); Dora García (at the Barcelona Freudian Field Library); Jordi Mitjà (at the Geological Museum of the Barcelona Seminary); Pere Llobera & Rasmus Nilausen (at the priest’s house, gardens of La Central bookstore, Raval); and Daniel Steegmann Mangrané (at the Umbracle [Shade house], Ciutadella park). Photos here.
Today, however, we walked over 13 km to see gallery shows around the city – ProjecteSD, Galeria Marc Domènec, Zielinsky, a pop-up of Palma Dotze, ADN Gallery, Seltz by Ritter Ferrer, Galeria Mayoral, ChiquitaRoom, Bombon Projects, Dilalica, Fuga and Prats Nogueras Blanchard. However, we began the day at the Museu Tàpies with a tour by curator Adam Szymczyk of the solo show dedicated to André du Colombier. The evening ended with dinner, great food and drinks, and even better company.
3 October 2025: A long-overdue studio visit with Rasmus Nilausen in Hospitalet, where he showed us his latest paintings, soon to be presented at the gallery Jahn und Jahn in Lisbon.
Max has written two essays on Rasmus's work (available PDFs from 2016 and 2019), and Latitudes has commissioned new projects on two occasions. The first was for the site-specific intervention series “Composiciones” during the inaugural Barcelona Gallery Weekend in 2015, where Rasmus collaborated with studio colleague Pere Llobera on “Vera Icon” (PDF). The second and most ambitious commission was for the group exhibition “Panorama. Notes for an Eye Fire” at Museu d'Art Contemporani de Barcelona in 2021, where Rasmus created an epic installation of 49 paintings on “animated” easels titled “Theatre of Doubts” (PDF).
13 October 2025: Closed-door online presentation to the staff of the Museo Universitario Arte Contemporáneo in Mexico City, featuring our curatorial trajectory centred on projects around contemporary art and ecology.
15–18 October 2025: Long train journey to Santander with a stopover in Madrid to attend the opening of the exhibition “Waves Lost at Sea” by Cooking Sections at the Centro Botín. Max will review the exhibition for Artforum.
We spent an afternoon in Madrid visiting the Robert Rauschenberg exhibition at Fundación Juan March, “Tres experiencias formales” (with works by Núria Fuster, Clara Montoya and Sandra Val) at CentroCentro; and ended by seeing a beautiful duo show with works by Elena Mendizábal/Joan Rom curated by Beatriz Alonso at La Casa Encendida (LCE) and attending the opening of “Inquietud. Libertad y Democracia” also at LCE. The morning after, before continuing our art pilgrimage to Santander, we visited Maruja Mallo and Naufus Ramírez Figueroa at Museo Reina Sofía, and a few galleries around Doctor Fourquet: Patricia Gadea at Maisterravalbuena; Esther Ferrer/Tom Johnson and Isidoro Valcárcel Medina at 1MiraMadrid and Lotty Rosenfeld in their new 2MiraArchiv space; Sonia Navarro at the new space of Murcia-based gallery T20 in Madrid; Juan López at Galería Juan Silió; and Alsino Skowronnek at the new location of Galería Moisés Pérez de Albéniz.
In Santander, we stayed opposite the former headquarters of the Banco de España – soon to become the Museo Reina Sofía-Archivo Lafuente (a project by UTE Voluar Arquitectura – CeroArquitectura) – and just a two-minute walk from the future Faro Santander, scheduled to open in summer 2026. Together, these two new facilities are set to significantly reshape the cultural life of the coastal city. One can only hope that the hard lessons of mass tourism from other cities have been taken on board, and that the inevitable influx is anticipated and managed wisely before it’s too late.
26 November 2025: Last chat with Caimin Walsh, the Irish curator we’ve been accompanying this year, offering feedback on two projects he’s currently developing in Limerick and in Kiruna, Sweden (as highlighted in our December Cover Story, titled “Mentorship and Movement”). Caimin is currently serving as Curator of Civic Engagement at Ormston House, a Cultural Resource Centre in Limerick. The mentorship is supported by a fantastic grant Caimin received from the Arts Council of Ireland/An Chomhairle Ealaíon to develop his curatorial practice. It’s heartening to know that such support structures exist, especially as curatorial work can often be a solitary pursuit. We can’t overstate our envy that such schemes exist — or how much we wish something similar were available where we live, particularly for mid-career professionals.
29 November 2025: Studio visits in Tarragona (Trobada d’Artistes i Comissaris Camp de Tarragona i Terres de l’Ebre, shortened to TACTE) alongside dear colleagues Carolina Jiménez and Margot Cuevas. We were picked up at Camp de Tarragona train station by co-host and convenor, artist and cultural agent Quim Packard, and driven to Montbrió del Camp, where La Parvada is located. This was La Parvada's first official event after a long renovation, and they welcomed us with blankets to keep us warm during the artists' presentations by Ariadna Parreu, Aureli Ruiz, Arnau Casanoves, Jorge Conde and Nuria Rion, followed by a delicious and cosy lunch by the log fire, which definitely activated the Christmas vibes. In the afternoon, we visited the next-door building, the studio of local architect Josep Piqué (1913–2012).
1–5 December 2025: Train trip to Vitoria, Basque Country, followed by a looped drive around, including a visit to the stunning Santuario de Arantzazu and the Ermita de San Miguel de Arretxinaga, and ending in Bilbao to attend Museo Guggenheim’s opening of the group exhibition “Artes de la Tierra” curated by Manuel Cirauqui.
Max later reviewed the show for Frieze.
“Last week, Pepe Serra, Director of the Museu Nacional d’Art de Catalunya (MNAC), kicked off a public programme previewing the museum’s transformation and reorganisation over the next four years and introduced a presentation by the cultural strategist András Szántó. Expanding from its Palau Nacional home to incorporate two renovated halls of the nearby Victòria Eugènia Pavilion, MNAC will effectively double its exhibition space.” Continue reading here (February 2026)
22 February 2026: Lunch with Laia Estruch to celebrate the first anniversary of our joint adventure, HELLO EVERYONE, her solo show at the Museo Reina Sofía. At the beginning of the month, she presented “AÜC” at the Festival Llum and was soon travelling back to Madrid to install “Carrau”, a solo exhibition at her gallery, Ehrhardt Florez, opening during ARCOmadrid week.
26 February 2026: Welcome meeting of this year’s Committee of the Acquisitions Commission of the Col·lecció Nacional d'Art Contemporani of the Generalitat de Catalunya. This is the third and final year Mariana will be serving as Advisor. The open call runs until March 19th, and Committee Members typically hold 10-12 in-person sessions between mid-April and late Summer to evaluate the proposals and future deposits across the regional museums.
4–6 March 2026: Trip to Madrid to visit the art fair ARCOmadrid, a lot of talking and a lot more walking. We began visiting the new museum collection display 1975–now at the Museo Reina Sofia, as well as solo shows dedicated to Juan Uslé, Oliver Laxé, and Alberto Greco. Then we saw Mónica Mays’s solo exhibition at Matadero and Generación 2026 at La Casa Encendida. On Thursday, we visited a few galleries during their morning breakfast – Diego Delas at Carlier Gebauer, Erick Beltrán at PratsNoguerasBlanchard, Ana Laura Aláez at the new space of The Ryder, the new bookstore and art project by Alejandro Cesarco named Lawrence to honour Lawrence Weiner, and finally, the opening of Laia Estruch at Ehrhardt Flórez before going to the art fair. On Friday morning, we visited a great trilogy of shows at Museo CA2M (Ester Partegàs, Dororthy Ianonne, and Lucía C. Pino), Roman Khimei and Yarema Malashchuk at TBA21. Ended the trip visiting galleries around Doctor Fourquet (Carlos Irijalba at Juan Silió, Antonio Caro and Claudio Perna at 1MiraMadrid and Ana Santos at The Goma).
12–13 March 2026: Participation in PEEP, a new Hangar initiative that combines study visits, feedback sessions, and a public programme featuring talks, screenings, readings, and performances. The programme was conceived as “a space for encounter, dialogue and experimentation between Hangar's resident artists, invited professionals from the local, national and international spheres, and the general public” with the aim of “exploring and delving deeper into the artists' creative processes, sharing methodologies and generating new professional connections.”
25 March 2026: Lunch in Gràcia with Stockholm-based curators Herkules Jansson, Silvia Thomackenstein, and Vestige Projects (Carina Sabrina Hundsdahl and Michaela Yarmol-Matusiak), who are visiting artists and art spaces in the region, as part of the new Situated Residencies programme organised by the Associació Catalana de Crítics d'Art (ACCA). Their visit is organised alongside the Xarxa de centres territorials d’Arts Visuals de Catalunya, in collaboration with Index – The Swedish Contemporary Art Foundation, Kulturrådet and M|A|C Mataró Art Contemporani, and supported by the ICEC Departament de Cultura de la Generalitat de Catalunya and the Institut Ramon Llull.
26 March 2026: Mariana receives 567 applications for this year’s open call Col·lecció Nacional d'Art Contemporani of the Generalitat de Catalunya. This is the third and final year she serves as Advisor on the Acquisitions Committee.
In 2025, the committee approved the acquisition of 46 works by 40 artists – 20 men, 18 women, and 2 collectives. More than half of the acquisitions were made through galleries (23), with the remainder acquired directly from the artists or their rightful owners (17). The acquisitions have been deposited in 12 museums across Catalunya, enabling the purchase of works by mid-career artists such as Pep Agut, Tom Carr, Pep Duran, Begoña Montalbán, and Oriol Vilapuig. With a budget increase, it has been possible to acquire works by established artists such as Antoni Muntadas, Sílvia Gubern, Nazario, Dorothée Selz, Marga Ximénez, Magda Bolumar, and Joan Fontcuberta, among others. Artists from younger generations who work with new materials include Paula Artés, Eva Fàbregas, and Agnès Essonti.
27 March 2026: Jorge Satorre and Gabriel Pericàs (artist and book designer+artist, respectively) present the publication “Río” at ANTI Liburudenda in Bilbao. The monograph was published on the occasion of his 2025 exhibition “Río, Ría” curated by Latitudes at the Museo CA2M in Móstoles (Madrid). ARTIUM Curator, Catalina Lozano, joined the conversation. We were unable to attend the event, but we have this pic by Caniche, co-publishers alongside Museo CA2M.
23 April 2026: Besides the unwanted protagonist of the day – torrential streams of pollen – it was a beautiful Sant Jordi. Morning meeting with Pérez y Requena and the TEA team about the exhibition production, which is going full steam, and confirmation that the exhibition title is set as “Un loro, tres bares y dientes de oro” [A Parrot, Three Bars, and Gold Teeth], quite emoji-friendly 🦜,🍷🍸🍹,🥇🦷. The project is now published on Latitudes’ website.
7 May 2026: We received an email confirming that our applications to renew our Active Membership with the Gallery Climate Coalition have been successful. This is the fourth year we have submitted our annual carbon calculation, an updated Sustainability Statement, and either examples of the specific actions we have taken or a Review and Reflect statement. Active Members were announced on 21 May. This year, GCC introduced a slight change to the date stamp: going forward, all Active Member badges will be date-stamped for the current and previous year, which makes more sense!
20–24 May 2026: Trip to visit the Biennale Arte 2026 in Venice. Since the pandemic, we have skipped the opening days because the visiting experience was simply too overwhelming (no more 3-hour queues in the rain to watch a video installation!). We enjoy visiting during quieter times, when we can actually see the art. Of course, we miss seeing friends and colleagues from around the world. Still, we like to prioritise the art experience, especially as durational works have been gaining prominence in recent editions (hence longer queues too), and we rarely have the chance to see so much art in one go.
21 May 2026: Gallery Climate Coalition announces the 2025–26 Active Members on their socials. We're very pleased to renew our Active status for the fourth consecutive year, demonstrating our commitment to implementing environmentally responsible best practices in line with GCC guidance.
Active Membership is neither a certification of sustainability nor a claim of perfection. It celebrates the people and organisations that continue to assess, report and reduce their impact while working with their communities to build a more equitable, just and sustainable art world.
26 May 2026: The Col·lecció Nacional de la Generalitat de Catalunya has received the Collecting Award at the Nit del Galerisme Premis GAC 2026, organised by the Galeries d'Art de Catalunya — recognising a “transparent and strategic” acquisitions policy committed to strengthening access to culture across the whole territory of Catalonia. Xavier Fina, Director General of Cultural Rights, Creation and Libraries, explains the programme’s criteria and approach here (in Catalan), alongside images of the 2025 acquisitions. Mariana Cánepa Luna of Latitudes has been part of the Commission for the Heritage and Acquisition of Contemporary Art (alongside another 12-14 members) for the last three editions – the 2026 edition is still underway. See the 2024 and 2025 acquisitions.
29 May 2026: “Unfortunately, we regret to inform you...” After seven months of anticipation, Art Explora – Cité internationale des arts finally informed us that our application for a three-month fall research residency in Paris had not been selected. We are told 5,387 projects were submitted and 12 laureates selected. Our project made the shortlist, which slots it into the already packed archive of neither successes nor failures. It’s a small ego boost and a reminder that someone somewhere thought the project deserved a closer look – a tiny achievement worth acknowledging. As every seasoned applicant knows, rejection is temporary; application portals are forever!
1 June 2026: Artforum's Summer issue includes a review by Max Andrews on Mónica May’s show at Matadero Madrid, titled “Pulgar”.
9 June 2026: Newsletter out with the announcement of the exhibition “A Parrot, Three Bars, and Gold Teeth” opening at TEA Tenerife Espacio de las Artes, Santa Cruz de Tenerife, on July 3rd. Graphic design by Nicolás Barreto.
11 June 2026: ARCOmadrid 2027 opened the application period for participation in its General Programme, the core section of the fair. The announcement states that the fair will feature several curated programmes, including the special section ARCO2046, which will return as a space for exploring possible futures and reflecting on new ways of understanding the world and art. In the 2027 edition, ARCO2046 will have two spaces within the fair, curated by two long-term duos, João Mourão and Luis Silva (co-directors of Kunsthalle Lissabon in Lisbon) and Max Andrews and Mariana Cánepa Luna (Latitudes, based in Barcelona). More on this soon!
14 June 2026: Visiting Spiritvessel in the beautiful village of Espinavessa, Girona, which recently opened the show “TARTAN TARTANA” by New York-based artist Leah Dixon, “an exhibition that condenses the interwoven process of the original history behind the invention of the wheel. In it, Dixon connects different points across space and time: traces of her omnipresent fictional character — a prehistoric girl who conceives the device that will eventually become global transportation— and the basic geometric gesture that enabled the beginning of this movement — the grid — coexist with an apparently technologically advanced reality, represented by skyscrapers, which simultaneously reflect the infinite potential of human ambition and its fragility.” (excerpt from the announcement email).
Max will be reviewing this show for Frieze magazine (review online in August, printed in their October issue). More photos here.
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6–8 July 2026: From Santa Cruz de Tenerife, Max travels to Santander to be part of the jury for the 2026 Becas Botín de Arte in Santander, a gargantuan two-day task of choosing six proposals from over 1,000 submissions originally received from 87 countries.
The 2026-27 awardees are: Valentina Alvarado Matos (Maracaibo, Venezuela, 1986); Efrén Álvarez Rodríguez (Barcelona, 1980); Shadi Habib Allah (Palestina, 1977); Miquel Mont Gárate (Barcelona, 1963); Natalia Montoya Lecaros (Iquique, Chile, 1994); Chaveli Sifre Riestra (Würzburg, Alemania, 1987). Congrats everyone!
Meanwhile in Barcelona, Mariana publishes the Summer cover story featuring Pérez y Requena’s “Topacio (or 36 Linear Metres of Pink Neon)” (2026), updates Latitudes' website with installation photos of the show, the “archive” button to gather a selection of reviews, and links to the cute trailer of the show, edited by Sara Begoña Pérez Márquez, responsible for social networks at TEA, incorporating Nicolás Barreto’s graphic design.
Yet, most crucially, over the coming weeks, Mariana wraps up the final conversations as Advisor to the 2026 Acquisitions Committee of the Col·lecció Nacional d'Art Contemporani of the Generalitat de Catalunya. This is the third and final year as part of the Commission.
A few days later, by chance, we came across a beautifully observed reflection by Bruno Gutiérrez, who suggests that the exhibition helps visitors reconnect with the city's history, symbols, and emotional landscape.
And a few days later, another nice reflection by Ágata Gómez.
These two posts are the sweet evidence of something we have been talking about for years: the astonishingly outdated communications strategies of many museums and art centres. Too often, press officers are funcionarios (state employees) who have little idea of the art world's intricacies. The workflow is familiar: take the curator's press release or their notes for the press conference, sprinkle in a couple of quotes from the curatorial essay (if you're lucky), export as a PDF, or hit "send" and upload it on Facebook, mission accomplished. Few follow-up calls. Few conversations with local or international journalists to find an angle that suits their media (let alone speaking another language! 🤌🏻). Little sense of cultivating relationships.
Even more baffling is how rarely communications teams involve curators or artists early enough to think strategically about an exhibition's public life, but months beforehand, when there's still time to shape a narrative and identify the audiences who might genuinely care.
Instead, what often happens is a last-minute scramble. Suddenly, we independent curators are expected to provide a ready-made network of editors, writers and publications to contact. Bloggers were once dismissed (despite some producing exceptional criticism and photo documentation); now the obsession is with influencers. Meanwhile, many of those departments still imagine that cultural impact happens primarily in print (newspapers, specifically), despite the shrinking space available for arts coverage. Thoughtful online writing and IG posts often provide more sustained engagement.
The irony is that many institutions have communications departments yet still end up hiring specialist contemporary art PR agencies — Sutton, Pickles, Fitz & Co, Mahala, Acerca, Comunicación, among others — to devise and execute their cultural strategy that their own teams should have been developing all along. In other words, institutions end up paying twice: once for a press office, and again for professionals who actually know how to build conversations around contemporary art.
(Rant over!)
13 July 2026: We are presenting the closing conference “Promises, paradoxes, and questions” at the day-long symposium “An eco-friendly approach to exhibition spaces” at the beautiful thirteenth-century Sala de Graus de la Facultat de Lletres i Turisme de la Universitat de Girona. The event is organised by the Association of Museum Professionals of Catalonia (AMC), the Catalan Institute for Research in Cultural Heritage (ICRPC-CERCA), the UNESCO Chair in Cultural Policies and Cooperation, and the Natural and Cultural Heritage Campus of the University of Girona (UdG).
15 July 2026: Artforum published Max Andrews’s review of Asier Mendizabal's show “Comparateme” at ProjecteSD in Barcelona. Sadly, the show closed the day before ... the review will be printed in the September issue.
23 July 2024: One application period closes, and another begins: the submission window for the 2026 Visual Arts Mentoring Programme, organised by the National Institute of Visual Arts (INAV) under Uruguay’s Ministry of Education and Culture, has ended. This call invites Uruguayan artists with over seven years of experience, encouraging critical dialogue and professional growth through discussions on working methods, ongoing research, and artistic projects in progress. Mariana Cánepa Luna of Latitudes is one of six curators who have been invited to participate in the Curator-x-Artist module. From September to October 2026, she will mentor four selected artists from the applicants, conducting four one-hour individual virtual sessions.
After an intensive month across both personal and professional spheres, we're slowly winding down until September. This summer, we will work on Pérez y Requena’s publication to have it ready before the TEA Tenerife Espacio de las Artes show closes on 18 October. ¡Felices vacaciones!
- Latitudes’ writing – reviews, profiles, interviews, essays, features, and opinions.
- Latitudes’ “out of office” 2024–25 season, 25 July 2025
- Latitudes’ “out of office” 2023–24 season, 29 July 2024
- Latitudes’ "out of office" 2022–23 season, 25 July 2023
- Latitudes’ "out of office" 2021–22 season, 1 August 2022
- Latitudes’ "out of office" 2020–21 season, 2 August 2021
- Latitudes’ "out of office" 2019–20 season, 3 August 2020
- Latitudes’ "out of office" 2018–19 season, 1 August 2019
- Latitudes' "out of office" 2017–18 season, 2 August 2018
- Latitudes "out of office" 2016–17 season, 1 August 2017
- Latitudes' "out of office" 2015–16 season, 1 August 2016
- Latitudes' "out of office" 2014–15 season, 7 August 2015
- Latitudes' "out of office" 2013–14 season, 31 July 2014
- Latitudes' "out of office" 2012–13 season, 31 July 2013
- Latitudes' "out of office" 2011–12 season, 31 July 2012
- Latitudes' "out of office" 2010–11 season, 1 August 2011
- Latitudes' "out of office" 2009–10 season, 30 July 2010
- Latitudes' "out of office" 2008–9 season, 30 July 2009
El CAAC Sevilla abre nueva convocatoria de «A secas. Artistas andaluces de ahora»
Fri, Jul 24 2026
El Centro Andaluz de Arte Contemporáneo (CAAC) en Sevilla ha abierto la convocatoria para la 6.ª edición de A secas. Artistas andaluces de ahora, dirigida a artistas nacidos o residentes en Andalucía con el objetivo de dar visibilidad a la creación contemporánea de la comunidad y favorecer el encuentro entre artistas y profesionales del sector.
Una comisión formada por Marta Rincón (Responsable de Artes visuales, Arquitectura y Diseño de Acción Cultural Española, AC/E) y Juan Francisco Rueda (profesor de Historia del Arte, Universidad de Málaga, comisario y crítico de arte) y Latitudes seleccionará un máximo de diez participantes.
Los artistas elegidos presentarán públicamente su trabajo los días 19 y 20 de noviembre de 2026 en el CAAC ante un público integrado por comisarios, críticos, galeristas y representantes de instituciones artísticas.
La participación es gratuita. Las solicitudes deberán enviarse por correo electrónico antes del 24 de septiembre de 2026.
Toda la información aquí.
CONTENIDO RELACIONADO:
- Actividades de Latitudes
- Max Andrews of Latitudes jury for the Fundación Botín Art Grants 2026–27, 6 Jul 2026
- Mariana Cánepa Luna participa en las Mentorías en Artes Visuales 2026 del Instituto Nacional de Artes Visuales de Uruguay, 4 Jun 2026
- Mariana Cánepa Luna in the 2025 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya, 20 Apr 2026
- Latitudes en la primera edición de PEEP, un programa de Hangar, 24 feb 2026
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Mariana Cánepa Luna in the 2024 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya, 19 Mar 2025
- Mentores de la primera residencia curatorial en línea otorgada a un curador peruano, 5 sept 2022
- Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores, 3 June 2019
- Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018, 25 mayo 2017
- Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona, 2 febrero 2016
Cover Story, July–August 2026: Topacio’s Afterglow
Thu, Jul 9 2026
- Archive of Monthly Cover Stories
- Cover Story, June 2026: Mónica Mays: Pulgar, 2 June 2026
- Cover Story, May 2026: Deep Blue: Hemauer/Keller & Kapwani Kiwanga, 30 April 2026
- Cover Story, April 2026: When Down Becomes a Condition, 1 April 2026
- Cover Story, March 2026: I still fear no evil, 2 March 2026
- Cover Story, February 2026: Museum Myths, 2 February 2026
- Cover Story, January 2026: Waves Lost at Sea, 2 January 2026
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Cover Story, November 2025: Lido Lagoon, 3 Nov 2025
- Cover Story, October 2025: Stockholm, September, Sessions, Studios, Samuelson, 1 Oct 2025
- Cover Story, September 2025: Krasiński at 130 centimetres, 1 Sep 2025
- Cover Story, July-August 2025: Hello Everyone: A Catalogue of Voices, 1 Jul 2025
Max Andrews of Latitudes jury for the Fundación Botín Art Grants 2026–27
Mon, Jul 6 2026
Max Andrews of Latitudes is joining the jury for the Fundación Botín Art Grants 2026–27. Together with curator Ángel Calvo Ulloa and artists Eli Cortiñas and Anna Moreno –both grantees of the Botín Foundation Art Grant in 2018– he will take part in the selection process for the six projects that will each receive €23,000 in support of their development.
RELATED CONTENT:
- Latitudes’ Activities (Writing, Lectures, Learning, Awards, Affiliations, Juries, Residencies, Visitor Programmes)
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- 2025 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya, 20 Apr 2026
- Mariana Cánepa Luna in the 2024 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya, 19 Mar 2025
- Mentores de la primera residencia curatorial en línea otorgada a un curador peruano, 5 sept 2022
- Latitudes / Perfil / Actividades / Pedagogía
- Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores, 3 June 2019
- Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018, 25 mayo 2017
- Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona, 2 febrero 2016
Latitudes en el 4º Simposio de Museología, titulado “Miradas ecológicas en los espacios expositivos”
Mon, Jun 22 2026
Sala de Graus, Facultat de Lletres
Universitat de Girona (UdG), Girona
Latitudes ha sido invitada a impartir la conferencia de clausura del 4º Simposio de Museología, titulado “Miradas ecológicas en los espacios expositivos”.
El programa reúne a profesionales de museos, investigadores y profesionales del sector, incluyendo a Anna Alcubierre (comisaria del evento, alcubierrestudio y EINA), Manuel Cirauqui (EINA), Blanca de la Torre (IVAM, València), David Barro (Es Baluard, Palma) y Andrea Miguel (MACBA, Barcelona), entre otros, para debatir sobre sostenibilidad, la transición climática y los criterios ecológicos en el diseño de exposiciones y en las instituciones culturales.
Evento organizado por la Asociación de Profesionales de la Museología de Catalunya (AMC), el Institut Català de Recerca en Patrimoni Cultural (ICRPC-CERCA), la Càtedra UNESCO de Polítiques Culturals i Cooperació y el Campus de Patrimoni Natural i Cultural de la Universitat de Girona (UdG).
- Other Latitudes activities
- Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli, 27 Oct 2023
- Text on Crystal Bennes for the Freelands Foundation Artists programme, 31 May 2023
- Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
- Video of Latitudes' lecture “Curating in the Web of Life” at Garage Museum of Contemporary Art, Moscow, 4 December 2019
- Conferencia ‘4.543 miles de millones y la naturaleza social abstracta’, Jornadas Eremuak, Azkuna Zentroa, Bilbao, 17–19 octubre 2019, 14 octubre 2019
- Helene Romakin interviews Latitudes for artfridge.de, 8 Oct 2019
- Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 11 de julio 2019, 19h
- Parallel Rooms, Art Basel Cities: Buenos Aires talks, hosted in collaboration with arteBA, Buenos Aires, 13 April 2019.
- Convenor, 'The Return of the Earth. Ecologising art history in the Anthropocene’, CAPC musée d’art contemporain de Bordeaux, 15 November 2017.
Co-comisarios: “Un loro, tres bares y dientes de oro” de Pérez y Requena, TEA Tenerife Espacio de las Artes, Santa Cruz de Tenerife, 3 julio–18 octubre 2026
Tue, Jun 9 2026
Latitudes se complace en anunciar la inauguración de la exposición individual “Un loro, tres bares y dientes de oro” del dúo tinerfeño Pérez y Requena (Israel Pérez y María Requena, n. 1975 y 1978) concebida para la Sala C del museo TEA Tenerife Espacio de las Artes en Santa Cruz de Tenerife.
La exposición—y la publicación asociada que se presentará en otoño, diseñada por los artistas en colaboración con Nicolás Barreto—surgen de imágenes, objetos y rumores vinculados a “Conquistador”, un proyecto de investigación de largo recorrido. La indagación se centra en la zona urbana liminal donde el centro histórico de Santa Cruz da paso al Mercado de Nuestra Señora de África y al puerto marítimo: un área históricamente asociada a la festividad y la marginalidad, que posteriormente fue reconfigurada por procesos de regeneración, entre los que se inscribe la construcción del propio TEA en el borde del barranco de Santos.
→ CONTENIDO RELACIONADO
- New release: Publication “Laia Estruch: Hello Everyone” edited by the Museo Reina Sofía, Madrid, 14 May 2025
- SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid, Feb 5 2025
- Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles, 27 Jan 2025
- Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Centre of Barcelona, 17 October 2020–17 January 2021, 9 Oct 2020
- Participants of the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative, Chicago and Detroit, 18–23 September 2019, 9 September 2019
- Partner organisation in ‘Today Is Our Tomorrow’ — participation with Mercedes Azpilicueta, PUBLICS – club Kaiku, Helsinki, 12–14 September 2019, 2 September 2019
Mariana Cánepa Luna participa en las Mentorías en Artes Visuales 2026 del Instituto Nacional de Artes Visuales de Uruguay
Thu, Jun 4 2026
Mariana Cánepa Luna, de Latitudes, ha sido invitada a participar en la edición 2026 del programa Mentorías en Artes Visuales, organizado por el Instituto Nacional de Artes Visuales (INAV) de la Dirección Nacional de Cultura del Ministerio de Educación y Cultura de Uruguay.
En el marco de la modalidad Curador-x-Artista, Mariana acompañará, entre septiembre y octubre de 2026, a cuatro artistas seleccionados entre las personas postulantes al programa, con quienes mantendrá cuatro encuentros individuales en formato virtual.
RELATED CONTENT:
- Actividades de Latitudes
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Mentores de la primera residencia curatorial en línea otorgada a un curador peruano, 5 sept 2022
- Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores, 3 June 2019
- Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018, 25 mayo 2017
- Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona, 2 febrero 2016
Cover Story, June 2026: Mónica Mays: Pulgar
Tue, Jun 2 2026
- Archive of Monthly Cover Stories
- Cover Story, May 2026: Deep Blue: Hemauer/Keller & Kapwani Kiwanga, 30 April 2026
- Cover Story, April 2026: When Down Becomes a Condition, 1 April 2026
- Cover Story, March 2026: I still fear no evil, 2 March 2026
- Cover Story, February 2026: Museum Myths, 2 February 2026
- Cover Story, January 2026: Waves Lost at Sea, 2 January 2026
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Cover Story, November 2025: Lido Lagoon, 3 Nov 2025
- Cover Story, October 2025: Stockholm, September, Sessions, Studios, Samuelson, 1 Oct 2025
- Cover Story, September 2025: Krasiński at 130 centimetres, 1 Sep 2025
- Cover Story, July-August 2025: Hello Everyone: A Catalogue of Voices, 1 Jul 2025
- Cover Story, June 2025: Hello Everyone Re-Mix, 2 Jun 2025
2025-26 Active Membership renewal with Gallery Climate Coalition
Fri, May 22 2026
We're delighted to share that we, Max Andrews and Mariana Cánepa Luna, have renewed our Active Membership with the Gallery Climate Coalition (GCC) for 2025–26, marking our fourth consecutive year. Over this time, we’ve continued to integrate environmental sustainability practices into the way we work, following GCC’s guidelines while focusing on practical, achievable actions within our means as a small independent organisation.
Each of us submitted a yearly CO2e report. Together, our carbon emissions totalled 16.18 tCO2e in 2019 (our baseline year), with subsequent years at 3.66 tCO2e (2022), 1.91 tCO2e (2023), 1.63 tCO2e (2024), and 4.45 tCO2e (2025). Our carbon footprint reporting covers emissions from our activities: air and surface travel (long-distance and regional trains, coaches, taxis, cars, metro, buses, and ferries), accommodation (hotels and self-catered properties), energy consumption (electricity and gas), and, since 2024, digital usage (web hosting, cloud storage, email traffic, and video calls). We use the GCC Carbon Calculator to conduct annual audits and ensure consistent, accurate reporting.
RELATED CONTENTS:
- Renewing our Active Membership 2024 with Gallery Climate Coalition (GCC), 8 May 2025
- Latitudes renew their Active Membership with Gallery Climate Coalition (GCC), 9 April 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 Feb 2024
- Latitudes’ Environmental Policy Statement – Extended version here.
- Montse Badia sobre GCC Spain en la revista Bonart #198, 25 Oct 2023
- Active Membership Press Release, 10 May 2023.
- Latitudes qualify as an Active Member of the Gallery Climate Coalition (GCC), 10 May 2023
- Cover Story, March 2023: Art, Climate, and New Coalitions, 1 Mar 2023
- Gallery Climate Coalition (GCC) en el Estado español, 25 January 2023
- 18 marzo 2021, 18:30 h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
- Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
- Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
- Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
- Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
- Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
- Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
- Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
- Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
- Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
- Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
- Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
- Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008.
Cover Story, May 2026: Deep Blue: Hemauer/Keller & Kapwani Kiwanga
Thu, Apr 30 2026
The May 2026 monthly Cover Story, “Deep Blue: Hemauer/Keller & Kapwani Kiwanga”, is up on our homepage: www.lttds.org
- Archive of Monthly Cover Stories
- Cover Story, April 2026: When Down Becomes a Condition, 1 April 2026
- Cover Story, March 2026: I still fear no evil, 2 March 2026
- Cover Story, February 2026: Museum Myths, 2 February 2026
- Cover Story, January 2026: Waves Lost at Sea, 2 January 2026
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Cover Story, November 2025: Lido Lagoon, 3 Nov 2025
- Cover Story, October 2025: Stockholm, September, Sessions, Studios, Samuelson, 1 Oct 2025
- Cover Story, September 2025: Krasiński at 130 centimetres, 1 Sep 2025
- Cover Story, July-August 2025: Hello Everyone: A Catalogue of Voices, 1 Jul 2025
- Cover Story, June 2025: Hello Everyone Re-Mix, 2 Jun 2025
- Cover Story, May 2025: Ria, Ría: sweet, brackish, or salty Satorre, 2 May 2025
- Cover Story, April 2025: Wrecking the Floor Tiles, 1 April 2025