(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca. Photos: David Bonet. Courtesy of the artist.

Danish-born, Barcelona-based artist Rasmus Nilausen is presenting, until November 22, 2024, a version of his installation “The Theatre of Doubts” (2021) in the group show “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca. 

(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca. Photos: David Bonet. Courtesy of the artist.

(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Panorama. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Courtesy of the artist. Photos: Roberto Ruiz. 

Rasmus Nilausen’s installation of paintings is a homage to philosopher Giulio Camillo’s sublime and ridiculous attempt to explain the entire universe and allow all its relations and meanings to be beheld at once. Camillo built his “Theatre of Memory” in Venice in around 1530. Inverting the perspective of classical theatre, a single spectator could stand on a central “stage” to look out at an auditorium of seven rows of seven pictures. An occult matrix of divine, celestial, and terrestrial knowledge, this mystical rhetorical device enabled the entirety of existence and its workings to be called to mind and read off. Evidently flawed and over-ambitious, Nilausen’s liberal revival of the memory theatre format draws on 49 works from his own painterly and allegorical universe. Visitors are invited to wander among images that seem to be going for a walk, adopt multiple viewpoints, see unfamiliar connections, and summon new memories. The first row takes on the seven planetary deities of Camillo’s Renaissance design: Diana (the Moon), Mercury, Venus, the Sun (represented by a banquet), Mars, Jupiter, and Saturn.

Produced by MACBA Museu d'Art Contemporani de Barcelona with the support of the Danish Arts Foundation.

More about the work, here (pdf).

Nilausen is also exhibiting “Fixed Ideas,” a solo show at EtHall Gallery in L'Hospitalet de Llobregat, Barcelona, presenting new and recent works. The show will be on view until November 7, 2024. 

RELATED CONTENT:

• Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
• Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
• Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
• Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021.
• Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden, 16 September 2019
• Max Andrews’s essay for ‘Rasmus Nilausen. Soups & Symptoms’, Galeria Estrany-de la Mota, Barcelona, July 2016
• Curators: ‘Compositions’, Barcelona Gallery Weekend, various locations, Barcelona, 1–4 October 2015. Photos of the intervention "Vera Icon" by Rasmus Nilausen and Pere Llobera at the former house of a priest, Gardens of La Central Bookstore. Part of "Composiciones" a series of artists’ commissions for the Barcelona Gallery Weekend, 1–4 October 2015. Curated by Latitudes.
• Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes, 24 Abril 2013, Barcelona, 29 April 2013

Max Andrews from Latitudes (a frieze Contributing Writer) and Angel Lambo (Associate Editor of frieze) shared six highlights of Manifesta 15 for frieze.com 

The 2024 edition of the roving biennial spans 12 cities in and around the Barcelona Metropolitan area, making it one of the most ambitious in scale and reach. However, while its extensive geographical footprint is impressive, questions remain about whether the quality of the exhibitions lives up to its ambitious scope. A hotly debated topic during the opening days was whether the venues’ varying sizes complemented or engulfed the works on display, as is the example of the Tres Xemeneies (Three Chimneys), the colossal former thermal power station by the Besòs river. With over 90 participants and a wide array of interventions, events, and talks, an additional challenge lies in ensuring a cohesive experience across all locations.

Read more

RELATED CONTENT:

• Other writing on Latitudes’ website.
• Reviews, opinions, profiles and interviews published in frieze magazine. 
• 20th and concluding dispatch of “Incidents (of Travel)” from Barcelona, Spain, 26 Oct 2022
• Compositions 2015, five city-wide commissions conceived for the first Barcelona Gallery Weekend, various locations, Barcelona, 1–4 October 2015 
• Compositions 2016, five city-wide commissions conceived for the first Barcelona Gallery Weekend, various locations, Barcelona, 29 September–2 October 2016

The July–August 2024 monthly Cover Story “” is now up on our homepage: www.lttds.org (after August 2024 this story will be archived here).

“Summer is here and the Cover Story for July and August features Rosa Tharrats’ “AVOC IVIDRAM” (2024), a work that veiled the exterior of Bombon Projects during the opening of her exhibition “Refugia” earlier this year. This show is the focus of Max Andrews’s first contribution to Artforum magazine, appearing in the summer issue.” → Continue reading 

Cover Stories are published monthly on Latitudes’ homepage featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to our curatorial projects and activities.

Max Andrews’s first contribution to Artforum reviews “Refugia”, the first solo exhibition of Rosa Tharrats at Bombon Projects in Barcelona, which opened on March 20, 2024. Andrews’ review coincides with the first issue under the new editorial eye of Tina Rivers Ryan, the magazine’s recently appointed editor-in-chief. 

“One could have imagined the exhibition inside as much a sanctum for a spiritual retreat for unwinding the mind/body dualism as an outré couture collection without humans, where inscrutable organic divinities dressed for auspiciousness.” 

Continue reading here.

→ RELATED CONTENT:

• Other writing on Latitudes’ website.
• Reviews, opinions, profiles and interviews published in frieze magazine.
• Panorama traces, a year on, 21 Oct 2022
• Panorama in Madrid and Córdoba, 14 June 2022
• Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022 
• “Panorama 21: Apunts per a un incendi dels ulls”, MACBA, October 2021–February 2022

December 2022 cover story on www.lttds.org

The December 2022 monthly Cover Story “The Melt Goes On Forever. David Hammons and DART Festival” is now up on our homepage: www.lttds.org

“Latitudes has been collaborating with Dart, the documentary film festival that focuses exclusively on contemporary art, since its inception in 2017. Its sixth edition has just taken place in Barcelona at Sala Phenomena, Cinemes Girona, and MACBA (24-30 November).” Continue reading 

After December 2022 this story will be archived here.

Cover Stories are published on a monthly basis on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.

The November 2022 monthly Cover Story “Jorge Satorre’s Barcelona” is now up on our homepage: www.lttds.org

“Below the Tibidabo Amusement Park, just where the BV-1418 and BP-1417 roads meet, there are some stairs that go up into the forest. Climbing them, a few meters up on the right, we will find a large stone hidden among the trees.” Continue reading 

After November 2022 this story will be archived here.

Cover Stories are published on a monthly basis on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.