Cover Story, June 2025: Hello Everyone Re-Mix
Mon, Jun 2 2025
NEW MONTH
NEW MONTHLY COVER
NEW MONTHLY COVER STORY
The June 2025 monthly Cover Story “Hello Everyone Re-Mix” is now on our homepage: www.lttds.org (after June, this story will be archived here).
NEW MONTHLY COVER STORY
The June 2025 monthly Cover Story “Hello Everyone Re-Mix” is now on our homepage: www.lttds.org (after June, this story will be archived here).
“As part of the survey exhibition “Laia Estruch: Hello Everyone”, currently on view at Museo Reina Sofía, two new performance dates have been announced: June 4 at 18:30h and June 7, 2025, at 12:30h. In these presentations, Laia Estruch will debut fresh iterations of her ongoing work “Mix” (2021–present).” → 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.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- 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
- Cover Story, March 2025: “Hello Everyone from the Museo Reina Sofía”, 3 Mar 2025
- Cover Story, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M, 3 Feb 2025
- Cover Story, January 2025: Folded Forms, 1 January 2025
- Cover Story, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
New release: “Laia Estruch: Hello Everyone” published by the Museo Reina Sofía, Madrid
Wed, May 14 2025
Render of the Spanish edition of the catalogue “Laia Estruch. Hello Everyone” (Museo Reina Sofía, 2025), designed by Ariadna Serrahima.
Latitudes is delighted to announce the release of “Laia Estruch: Hello Everyone”, published on the occasion of Estruch’s first survey exhibition at the Museo Reina Sofía.
This first monograph offers a comprehensive inventory of Laia Estruch’s work, offering a chronological overview accompanied by descriptions, photographs, and textual scores. Introduced by Museo Reina Sofía director Manuel Segade, the volume includes an in-depth essay by Latitudes—the curators of the exhibition—exploring Estruch’s vocal, bodily, and sculptural practice; a text by artist Sharon Hayes on performance pedagogy; and an extensive conversation between the artist and curator Marc Navarro, reflecting on her creative evolution.
The 200-page book, designed by her long-term collaborator Ariadna Serrahima (If publications), is available in separate Spanish and English editions.
Specs: Softcover, 200 pages, 15 x 21 cm
Texts: Manuel Segade, Latitudes, Sharon Hayes, Marc Navarro
Design: Ariadna Serrahima
Publisher: Museo Reina Sofía, Madrid
Language: English / Spanish editions
Print run: 1000 (Español); 500 (English)
ISBN: 978-84-8026-668-0 (ES); 978-84-8026-669-7 (ENG)
Publication release: May 2025
Price: 30 Euros
Estruch’s exhibition is on view on the 4th floor of the Museo Reina Sofía’s Sabatini building. It shares the floor with exhibitions dedicated to Huguette Caland and, from May 28, with Naufus Ramírez-Figueroa.
→ Photos of the exhibition + publication
→ Exhibition reviews (click “archives” button)
→ RELATED CONTENT:
- Cover Story, March 2025: “Hello Everyone from the Museo Reina Sofía”, 3 March 2025
- SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid, Feb 5 2025
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir River in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
- Podcast, “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
Cover Story, March 2025: “Hello Everyone from the Museo Reina Sofía”
Mon, Mar 3 2025
March 2025 cover story on www.lttds.org. Photo: Jonás Bel.
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The March 2025 monthly Cover Story “Hello Everyone from the Museo Reina Sofía” is now up on our homepage: www.lttds.org (after March this story will be archived here).
“Curated by Latitudes, “Hello Everyone”—Laia Estruch’s largest exhibition to date—transforms the Museo Reina Sofía, in Madrid, into a resonant space for voice and sculptural presence. Across 27 works spanning more than a decade, Estruch shows how she has developed a performance language that is both physical and sonic, sculpting space with, and for, the force of vocalisation.” → 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.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M, 3 Feb 2025
- Cover Story, January 2025: Folded Forms, 1 January 2025
- Cover Story, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid
Wed, Feb 5 2025
Laia Estruch performing “Crol (Moll)” (2019) at the Pisicines Municipals de Montjuïc, part of her solo exhibition “Laia Estruch: Crol”, Espai13, Fundació Joan Miró, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega.
SAVE THE DATE
“Laia Estruch. HELLO EVERYONE”
26 February–1 September 2025
Museo Reina Sofía, Madrid
Opening: 25 February 2025, 8pm
Curated by Latitudes
Latitudes is thrilled to announce the opening of “HELLO EVERYONE”, a solo exhibition dedicated to the work of Catalan artist Laia Estruch (Barcelona, 1981).
Over the last fifteen years, Estruch has produced a consistently personal body of work that treats the human voice as a material reality—an expressive force and a medium expelled from the body. Her work has spanned ancestral poetry and post-punk music but has increasingly moved beyond the performance of spoken or sung words, and towards a sonic language that explores raw communicative effects, body consciousness and non-human agency. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. This process has evolved in tandem with creating often monumental sculptural settings for each of her vocal projects, resulting in steel slides, inflatable buoys or giant net traps, for example. These have become surrogate bodies in themselves, as well as temporary dramatic stages and interpretive scores for creating scenes and routines that the artist has termed vocal “rehearsals”.
“HELLO EVERYONE” takes the form of a fragmentary and vociferous archive spanning live events, sculpture, audio installation, moving images, graphic works and visual scores. This ambitious exhibition acts as a living-and-breathing storage that reconfigures a body of work, as well as works-as-bodies and spans the breadth of Estruch’s artistic research to date while engaging with her history as a performer. Forming a fluid relationship between active and inactive modes of presentation, and questioning the conventions of displaying and performing artworks, “HELLO EVERYONE” explores the sense and sincerity of verbal expression and the agency of the female voice.
Laia Estruch performing “GANIVET” (2020) at the Fundació Joan Brossa, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Daniel Cao.
A publication accompanying the exhibition will offer the first comprehensive monograph dedicated to the artist’s work. Designed by her longtime collaborator Ariadna Serrahima (Oficina del Disseny) and published by the Museo Reina Sofía, it will include a new text by artist Sharon Hayes (Estruch’s former professor at The Cooper Union) reflecting on performance pedagogy; the essay “Voice-Body-Sculpture” by Latitudes, the exhibition curators, which offers the first in-depth overview of Estruch’s practice; and a conversation between the artist and Marc Navarro, who curated Estruch’s 2019 exhibition at Espai 13, Fundació Miró. The monograph will be available in Spring 2025 in Spanish and English editions.
“HELLO EVERYONE” will take place on the fourth floor of the museum’s Sabatini building, and run concurrently with exhibitions dedicated to Huguette Caland (19 February-25 August 2025) and Naufus Ramírez-Figueroa (28 May-20 October 2025), amongst others. It will also coincide with several events programmed in Madrid around the 44th edition of ARCOmadrid art fair (5–9 March 2025).
ABOUT LAIA ESTRUCH
Laia Estruch (Barcelona, 1981) has had solo exhibitions at the Museu Nacional d'Art de Catalunya, Barcelona (2023); Spiritvessel, Espinavessa (2022); Fundació Joan Brossa, Barcelona (2020); Capella de Sant Roc, Valls (2019); and at Espai 13, Fundació Joan Miró, Barcelona (2019).
Recent group exhibitions include “After Paradise”, Kortrijk Triennial, Belgium (2024); “Topalekuak”, Tabakalera, Donostia (2024); Patio by ZONAMACO, ABC Art Baja, San José del Cabo, Mexico (2024); “I drank words submerged in dreams”, 23 Bienal de Arte Paiz, Guatemala (2023); “After the Mediterranean”, Hauser & Wirth, Menorca (2023); “Panorama 21. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona (2021) and “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020).
Estruch has performed in numerous public events within the framework of exhibitions, biennials and festivals, including “Segar i cantar”, Lo Pati, Amposta (2024); “The Listening Affect”, Galeria da Biodiversidade, Porto (2023); “Passat / Present”, Centre d’Interpretació d’Art Rupestre de la Roca dels Moros del Cogul, Lleida (2022); 10th Deleste Festival, Bombas Gens, Valencia (2022); “The Journeying Stream”, TBA21, Sotos de la Albolafia, Córdoba (2022), Bianyal 2021, Vall de Bianya (2021) or “Plataforma. Festival de Artes Performativas”, Parque de Bonaval, Santiago de Compostela (2021), amongst other.
In 2022 Estruch won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) with the work “Zócalo”, and was awarded the 2021 Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
Works in public space include “Moat-2 / Playground Scene” (2017–18) at Fabra i Coats Fàbrica de Creació, Barcelona; and the recently completed Concomitentes public commission “Aguas Vivas”, at Llanos de Penagos, Cantabria (2024).
Estruch has a BA in Fine Arts from the Universitat de Barcelona (2010) and studied Performance Art and Sound Art at The Cooper Union, New York (2010). She regularly lectures at the Facultat de Belles Arts, Universitat de Barcelona.
Her work is represented by Galería Ehrhardt Flórez, Madrid.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including the inaugural Panorama triennial “Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d’Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COL·LAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was the Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció at the Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes has curated the exhibition “Jorge Satorre. Ria” currently on view at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid) until August 31, 2025.
https://www.lttds.org
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir River in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
- Podcast, “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
2022 in 11 monthly Cover Stories
Tue, Dec 27 2022Since Spring 2015 we have been publishing a monthly cover story on our homepage (www.lttds.org) featuring past, present or forthcoming projects, as well as sharing our research, texts, artworks, exhibitions, films, objects or travel related to our curatorial practice.
→ RELATED CONTENT:
2022, apunts per a un incendi dels ulls, cover story, gabriel Ventura, Incidents of Travel, Jorge Satorre, Laia Estruch, MACBA, online, PUBLICS, Rasmus Nilausen, Rosa Tharrats, things things say, website, writing
Here are those published in 2022, which you can read again in this archive:
Cover Story, January 2022: “Rasmus’ Doubts”, 2 January 2022.
Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 February 2022.
Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022.
Cover Story, April 2022: Mix and Match. Laia Estruch at PUBLICS, 1 April 2022.
Cover Story, May 2022: Things Things Say in print, 2 May 2022.
Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022.
Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 Jul 2022.
Cover Story, September 2022: The means of print production: Erick Beltrán and lumbung press, 1 September 2022.
Cover Story, October 2022: Stray Ornithologies–Laia Estruch, 3 October 2022.
Cover Story, November 2022: Incidents (of Travel), Jorge Satorre’s Barcelona, 1 November 2022.
Cover Story, December 2022: “Melt Goes On Forever. David Hammons and DART Festival”, 1 December 2022.
→ RELATED CONTENT:
- 2019 in 10 monthly Cover Stories, 23 Dec 2019
- 2020 in 11 monthly Cover Stories, 28 Dec 2020
- 2021 in 11 monthly Cover Stories, 31 Dec 2021
Cover Story, October 2022: Stray Ornithologies—Laia Estruch
Mon, Oct 3 2022
October 2022 cover story.
The October 2022 monthly Cover Story “Stray Ornithologies—Laia Estruch” is now up on our homepage: www.lttds.org
“Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, on 8 October Laia Estruch and Irina Mutt will lead a workshop in Helsinki as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and acoustic modalities.” Continue reading
After October 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.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Workshop with PUBLICS Youth for TODAY IS OUR TOMORROW 2022, 3 Oct 2022
- Podcast “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
- Laia Estruch performs “Mix” (2021-ongoing) at PUBLICS, Helsinki, March 2022
- Podcast, Episode 27: Paul O’Neill (Part 1), Ahali Conversations hosted by Can Altay, 7 September 2022
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Cover Story, September 2022: The means of print production: Erick Beltrán and lumbung press, 1 September 2022
- Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022
- Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
- Cover Story, May 2022: Things Things Say in print, 2 May 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
Workshop with PUBLICS Youth for TODAY IS OUR TOMORROW 2022
Mon, Oct 3 2022
(Above and below) Members of PUBLICS Youth with Irina Mutt during their workshop in Lammassaari, 3 August 2022. Photos by Micol Curatolo.
Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow in Helsinki, artist Laia Estruch and curator Irina Mutt will lead a workshop on October 8th, 2022, as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and acoustic modalities.
This workshop culminates a series of encounters, part of Latitudes’ ongoing Parahosting at PUBLICS, that have taken place over the summer of 2022 in collaboration with PUBLICS Youth, an education initiative for Helsinki-based 18-21-year-olds.
Following a principle of a tour to bodies rather than to space, the sessions have encompassed new embodiments of Estruch’s “Ocells Perduts” (Stray Birds) (2021), a work originally produced for MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”, curated by Latitudes and Hiuwai Chu, and supported by PUBLICS.
→ RELATED CONTENT:
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022
- Podcast, “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
- Podcast, Episode 27: Paul O’Neill (Part 1), Ahali Conversations hosted by Can Altay, 7 September 2022
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
“‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age
Tue, Sep 27 2022
Latitudes’ Max Andrews, a curator, writer and lifelong birder, recently conducted the podcast “Minor” Ornithologies for TBA21 on st_age (Season 4, Episode 4). The podcast’s guests are Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – what Anna-Sophie Springer and Etienne Turpin have coined “minor ornithologies”.
The interviews are complemented by two audio clips, one of a Pied Butcherbird recorded in N Queensland, and another of a Superb Lyrebird mimicking birdsong and two flute phrases recorded in New South Wales, both courtesy of Hollis Taylor.
This edition accompanies Laia Estruch’s performance “Ocells Perduts V67” (2022) also produced by TBA21 on st_age, and takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries.
(Above and below) Laia Estruch, “Ocells Perduts” (2021) was performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Estruch’s research was supported by the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.
“Ens han canviat el cel a ple vol” (Nos han cambiado el cielo a pleno vuelo / They changed the sky in mid flight) part of Laia Estruch’s “Ocells Perduts” (2021) installed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”, October 2021–February 2022. Photos: Roberto Ruiz.
Latitudes has been collaborating with Laia Estruch since early 2020 in preparation for a year-long programme to be hosted at the Helsinki-based curatorial and commissioning agency PUBLICS, based around the notion of a partial, distributed, and fragmentary retrospective of her artistic practice. The pandemic changed those plans and soon after the invitation to curate MACBA’s first Panorama triennial (“Panorama 21: Apunts per a un incendi dels ulls”) came along, for which Laia presented the commission “Ocells Perduts” (2021). The project was produced with the support of PUBLICS, and for the research phase, Laia received the support of the beca Premis Barcelona 2020 of the Ajuntament de Barcelona.
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir river in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
Latitudes’ "out of office" 2021–22 season
Mon, Aug 1 2022
Frozen facemask, Helsinki, March 2022.
As the summer break creeps up on us with a weary smile in the already sweltering heat-and-humidity of Barcelona, it’s once again time for our annual looking-back post wrapping up the last twelve months of Latitudes’ activities, a period of time which includes the most extensive exhibition we’ve made to date in Spain: MACBA’s “Panorama 21. Notes for an Eye Fire”.
In thinking of how to pen this little introduction to a compilation that’s an ending of sorts, our thoughts turned back to a request we received in February from Shimmer, the exhibition space in Rotterdam, The Netherlands. The artist Jo-ey Tang was creating a new version of a project which would comprise an endless loop of the favourite endings of films suggested by friends of Shimmer. Our contributions: Mariana chose Giuseppe Tornatore’s Cinema Paradiso (1988) and Max, the Coen Brothers’ The Big Lebowski (1998).
In the ending of Cinema Paradiso, Salvatore watches a final bittersweet gift from Alfredo: a reel with all the romantic scenes that had been censored from the cinema. Looking back brings happy nostalgia and a chance to make peace with the past.
And to paraphrase the Coens’ Stranger... well, that about does her, wraps her all up. Things seem to have worked out pretty good. Parts, anyway. Aw, look at me, I’m ramblin’ again. Well, I hope you folks enjoyed yourselves. Catch ya later on down the trail...
This end-of-the-season post is the fourteenth in the “out of the office” series published every end of July to mark the beginning of our holidays (or the desire of having one). Check earlier posts from 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20 and 2020–21 seasons. All photos are by Latitudes unless stated otherwise in the photo caption.
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The September 2021 issue of frieze magazine includes a review of David Bestué's exhibition at Centre d'art La Panera, published online last May.
via @marcnavarro facebook.
Above photo by Hiuwai Chu. Below are co-curator Hiuwai Chu and Rasmus Nilausen under Felix Gonzalez-Torres’s “Untitled (Perfect Lovers)” (1987–1990).
13 September 2021: Boules of oak (Quercus canariensis), cedar (Cedrus sp.) and pine (Pinus pinea) arrive at TMDC in La Verneda, the material for a new iteration of Nyamnyam and Pedro Pineda’s project ‘A quatre potes’ (2014–ongoing) that will be presented in MACBA's exhibition “Panorama 21. Notes for an Eye Fire”.
As the exhibition wall text pointed out, the project is “founded on the principle that in order to share a meal or have a discussion you first have to build a table to sit at. Leading up to and during the exhibition, a group of people with diverse roles within the MACBA are participating in a series of co-design and collaborative making workshops that began with the purchase of several tree trunks from a sustainable forestry initiative in the nearby Montnegre massif.”
During the next week, the trees would be “transformed into planks and laths at the shared machine shop TMDC, this locally sourced wood is being adapted in the gallery by the museum workers into a range of tables, benches, and other structures. This furniture acts as a mediator between natural and human resources, creating different social settings throughout the course of the exhibition and becoming the scenography and motive for a series of discussions around practices of collectivity and cultures of sustainability within and beyond the institutional walls.”
Photo: TMDC
22 September 2021: Conversation with Jorge Satorre as part of the series “Dialogues with artists from the Contemporary Art Collection” and within the framework of “El tiempo en las cosas”, an exhibition curated by Tatiana Cuevas at the Museo Amparo in Puebla, Mexico.
Due to work and time differences, the talk was recorded a few days earlier. The conversation revolved around the production process of "The Erratic. Measuring Compensation", a work included in Satorre's exhibition and commissioned by Latitudes as one of the ten projects produced throughout 2009 in the public space of the Port of Rotterdam, The Netherlands.
‘The Erratic’ is also featured as the September 2021 Cover Story on our homepage.
27 September–19 October 2021: Three weeks installing the first edition of MACBA’s Panorama triennial, “a new series of transdisciplinary projects that reflects the museum’s desire to deepen its collaboration and dialogue with local artists and cultural agents”. The inaugural project of Panorama is the group exhibition “Notes for an Eye Fire” which occupies MACBA's top floor. During this first install week, efforts centred on shipping, registering, and installing Rasmus Nilausen’s “Theatre of Doubts” (2021) at one end of the museum and Stella Rahola Matutes’ “Fig Juice” (2020) at the other end, while walls were being painted, final sound checks were done and artworks were finally arriving at the museum.
Stella Rahola Matutes and Alex Castro (Conservator, MACBA) photo-documenting Stella's work before installation.
Xavi (install crew of Coolturart) installed one of Stella's glass figures.
Stella Rahola Matutes and Xavi (install crew of Coolturart) carefully installed Stella’s “Fig Juice”.
Lluis Roqué (Conservator at MACBA) documented Rasmus Nilausen’s paintings.
Rasmus Nilausen’s paintings (walls) and Stella Rahola Matutes glass pieces and chains (tables) are analysed and registered by the conservation team before installation.
While Rasmus's wooden supports are being assembled, the improvised office at the museum landing is busy checking the “final-final-final” version of the wall labels, intro text and the leaflet.
First of Rasmus Nilausen’s large paintings (1 of 49) is finally up, supervised by Eva Font (left, space coordinator of the exhibition, MACBA), Alex Castro and Lluís Roqué (centre, Conservators, MACBA), ARAM staff (the carpenters that produced the wood supports) and the install crew of Coolturart.
Nilausen's “Wax Cabinet” (2021, 300 x 205 x 6cm, oil on linen) being moved and hung (below).
Ongoing metamorphosis in the largest exhibition space on the second floor.
Last sound checks with Pablo Miranda and Laia Estruch.
R. Marcos Mota of El Palomar doing a mock-up of the archival material to be presented in vitrines.
Meanwhile, nyamnyam and Pedro Pineda’s tree is sent to Lleida to be fireproofed.
To end the first week, Antoni Hervàs’s “La Meiers” (above) arrives at the museum from La Escocesa, as well as Claudia Pagès’s silkscreened and fireproofed cardboard from Capellades (two below), alongside the structure manufactured by Tallers Soteras to hold the LED panels shipped from Shenzhen that forms her new commissioned video installation “Gerundi Circular” (2021) – soundtrack here.
Week 2 begins with the exciting placement of Antoni Hervàs’s “La Meiers” becoming the entrance to the exhibition.
Meanwhile, Arash Fayez’s wall is almost fully painted in the nearby gallery...
...and Claudia Pagès starts installing the LEDs around the circular metal structure.
Claudia amidst the cable maze.
Coolturart team fixing the circular screen to the ceiling.
First sound and image test of El Palomar’s “Schreber is a Woman” with R. Marcos Mota. The amazing soundtrack that accompanies the video can be listened to here, on Spotify or you can also purchase the 12'' vinyl edition.
Drawing of the structures that hold Laia Estruch’s “Ocells Perduts” net structure drawn by the museum architecture department, placed below by RMG Redes.
Vinyl placed in Plaça dels Àngels promoting MACBA’s programme this trimester includes two sketches by Laia Estruch of her “Ocells perduts” piece.
Habemus Ruta de Autor newspaper!
Parallel to all the activities going on, Hervàs continues customising “La Meiers” to fit what will become the entrance to the exhibition.
Eulàlia Rovira’s replica of Richard Meier’s signature column arrives at the museum. Since we have all the hands and machinery ready, it soon goes up.
Eulàlia shares instructions on how to assemble the yellow supports.
Laia Estruch’s large red net slowly goes up and takes shape.
Photo: Hiuwai Chu
Making a selection of Eulàlia Rovira’s new photo collages.
Hervàs in progress.
Technical difficulties. Please bear with us.
Laia is finally able to go up the net and do her first and only rehearsal. High expectations from artists colleagues, curators and staff observing below.
Final calculations before hanging Arash Fayez’s 310 papers documenting his migrant “limbo” status in the US and Europe.
Meanwhile, in the Teatre Molino in Paral·lel, Antoni Hervàs’ begins “La Meller”, the second part of his contribution to Panorama 21: a 27-metre mural in which Hervàs and his collaborator Pau Magrané unfold a chronicle of the neighbourhood's beloved theatres and venues, both past and present, resulting in "a frieze-carousel" where authors, actors and actresses such as Violeta la Burra, Escamillo, Johnson, Pierrot, Ángel Pavlovsky, float timelessly intertwined by boas.
(Above and below) Pau Magrané and Antoni Hervàs working on the graffiti. Photo: Eva Carasol.
Tecnodimensión testing Laia Estruch’s wind sock before mounting it on the wall.
Adrian Schindler goes through the ephemera that will be displayed as part of his installation.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Placing the newspaper spread by Ruta de Autor to check heights.
Entrance / Exit of the exhibition in progress.
Marria Pratts’s “Sento una música dintre del cap (I Hear Music Inside My Head (Transformation of a Blurry Thought)), 2021.
Antoni Hervàs’ “La Meiers” is almost there.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Iñaki of nyamnyam and Pedro Pineda placing the fireproofed wood boules (detail below)
Max Andrews, Hiuwai Chu and Aleix Plademunt checking the measurements between the 18 images.
Important message from Antoni Hervàs: “Do not paint in white!! (please) You were right, thank you. NO!” :-)
As the day ends we leave the museum and take a gander at the lighting colours on Rosa Tharrats’s installation as the days get shorter.
Entrance vinyl is in place and final cleaning.
In the 16th dispatch, curator Marie-Nour Héchaimé navigates Beirut with artist-filmmaker Panos Aprahamian a year after the August 2020 explosion, when hundreds of tons of ammonium nitrate stored for six years without safekeeping in the port of the Lebanese capital were set on fire and exploded. The blast killed more than 200 deaths, 6,500 wounded, 300,000 displaced, and great destruction in the city. “I say that I am living with ghosts—of people, places, memories, stories”, she reflects. “He answers that Beirut is disintegrating in front of our very eyes.”
Part of the series produced by KADIST and edited by Latitudes since 2016, exploring the chartered itinerary as a format of an artistic encounter between curators and artists.
21 October 2021: Press conference and evening opening of the exhibition “Panorama 21: Notes for an Eye Fire” at MACBA. We realise this is the first time all the artists and curators are able to meet IRL.
Final clean-up before the press conference.
Photo: Pedro Pineda.
Participants of “Panorama 21. Apunts per a un incendi dels ulls” (nyannyam and Ana Domínguez are missing) posing for the press. Photo: Hiuwai Chu
(Above and three below) Press conference in MACBA's atrium, 21 October 2021. Photos: Miquel Coll.
(Left to right) Max Andrews (Latitudes), Hiuwai Chu (Head of Exhibitions, MACBA), Elvira Dyangani Ose (Director, MACBA) and Mariana Cánepa Luna (Latitudes) during the press conference, 21 October 2021. Photos: Miquel Coll.
Participating artist Eulàlia Rovira responded to Carolina Rosich's questions for TV3 news. Photo: Hiuwai Chu.
(Above and nine below) Opening of the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA. Photos: Miquel Coll.
Photo by Hiuwai Chu.
19 November 2021: First change of Nyamnyam and Pedro Pineda’s “A quatre potes” (2014–ongoing), a scenography presented as part of MACBA’s exhibition “Notes for an Eye Fire”.
20 November 2021: First of four open rehearsals of “Ocells perduts” [Stray Birds] (2021) by Laia Estruch presented as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
Above and below photos: Miquel Coll.
25 November 2021: Jury of the 5th edition of DART Festival, alongside the film critic Quim Casas and the journalist Ianko López, and festival team members Enrichetta Cardinale and Silvana Fiorese, to choose the best national and international documentary in the competitive section.
2 December 2021: Parlem de...cabaret, a guided visit led by participating artist Antoni Hervàs as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”. The audio was edited and later made available on Latitudes’ Soundcloud.
Audio of Toni’s 1h guided tour on Soundcloud.
Second part of Antoni Hervàs’ itinerary we stopped at the bar Atlanta FC in Rambla del Raval, where Hervàs explained the origins of his proposal for his two-part project for MACBA's exhibition: the 1980s board game “El Chino” (as part of El Raval neighbourhood was formerly known). Hervàs also shared a selection of preparatory drawings that we would later see on the wall he and Pau Magrané graffitied in Paral·lel.
The itinerary ended in front of Teatre Arnau in Paral·lel, where Toni Hervàs and his collaborator Pau Magrané painted the wall that protects the theatre during its restoration. Hervàs’ mural honours the cabaret history of Paral·lel’s nightlife, its cabaret, bars, and actresses.
9 December 2021: Parlem de...Anecdotes to be Forgotten, a performative walkthrough by Arash Fayez as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
14 December 2021: Ràdio Web MACBA publishes a podcast with El Palomar (in Spanish) where they discuss “Schreber is a Woman” (2020) their most recent film produced for the 11th Berlin Biennial and presented for the first time in Spain as part of MACBA’s “Apunts per a un incendi dels ulls”.
Phone view of → http://incidents.kadist.org/Riga
17–19 December 2021: After months of uncertain planning, Paul O'Neill, director of PUBLICS, is able to visit Barcelona to meet Laia Estruch and attend the second rehearsal of her work ‘Stray Birds’ (2021), a new commission produced for the exhibition “Notes for and Eye Fire” at MACBA, and supported by PUBLICS.
January 2022: Visiting MACBA’s exhibition with long-time artist friend Lara Almarcegui based in Rotterdam.
13 January 2022: Hablemos de... Passió i cartografia per a un incendi dels ulls, a sung visit by poet Gabriel Ventura and flamenco cantaor Pere Martínez, reading and singing poems written for the occasion by Gabriel. Pell de gallina!
Gabriel started the itinerary under Antoni Hervàs’s work “La Meiers”, a work commissioned for MACBA’s exhibition, that became the entrance and the exit to the neighbourhood.
17 January 2022: Exactly a year after its closure, we receive a copy of the publication accompanying the exhibition “Things Things Say”, which took place at Fabra i Coats: Centre d'Art Contemporani de Barcelona between October 2020 and January 2021. We are elated to finally have it in our hands!
A discussion around “A quatre potes”, the project presented in the exhibition by nyamnyam and Pedro Pineda, around forest management, design as an investigative tool, and the limits of the museum with the participation of Lídia Guitart (forest engineer), Curro Claret (industrial designer), Ingrid Guardiola (writer, cultural researcher and Director of Bòlit, Centre d'Art Contemporani), the artists, exhibition curators, and workshop participants. This activity was part of Education from Below, a project with the support of Creative Europe's programme of the European Union Creative Europe.
The setting for the event was rearranged the evening before with workshop participants (MACBA staff that have volunteered in a number of workshops cutting the wood planks, arranging them in the exhibition space, and changing the set-up on a monthly basis) following the principle and the spirit of the project that “in order to have a discussion we need a table”.
(Above and below) The before and after, seating is ready for tomorrow's open discussion. Photos: Ariadna Rodriguez (nyamnyam).
Above and two photos below: Miquel Coll.
Designer Curro Claret brought in an earthenware cup used in India to drink tea before boarding on a train. Once used the cup is thrown out the window and hence, naturally recycled into the landscape, an “evident example of what circular economy is and should be”. Plastic cups took over but pollution along the tracks was so bad the government encouraged tea makers to go back to earthenware.
Ingrid Guardiola began mentioning Octavi Comeron’s “La Fábrica Transparente” and how institutions’ obsession with transparency, in turn, generates opacity from within those institutions or, as Peter Sloterdijk warned, is an example of cynical transparency. Then moved on to reflect on how institutions could learn from forest’s entropy and efficiency and how exceeding energies could be used within institutions.
Lidia Guitart, a forest engineer from the Associació Propietaris Forestals del Montnegre i el Corredor (from where nyamnyam’s wood was originally purchased) discussed perceptions of forest management in Catalunya in relation to Finland (the leader in paper pulp supplier) and shared some interesting data: 60–70% of Catalunya is forest, yet 80% of that is in private hands.
The 2h session was punctuated by printed cards with words/concepts triggering several subjects related to each of the guests' practices which were then chosen at random to encourage interlinking rather than monothematic presentations.
2 February 2022: Ràdio Web MACBA publishes a podcast with Claudia Pagès (in Spanish) where she discusses “Gerundi Circular” (2021) a new video-installation commissioned for MACBA’s “Apunts per a un incendi dels ulls”. The work is presented in her solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” in Madrid’s gallery The Ryder in June 2022.
Photos above and below by Ana Domínguez.
The book includes a preface by art centre director Joana Hurtado Matheu, new texts by Latitudes, a text-based intervention by participating artist Eulàlia Rovira, and texts on each exhibited work also written by Latitudes.
Photos: Latitudes
22–25 February 2022: Trip to Madrid for ARCOmadrid. Max previewed “What to see during this year's ARCOmadrid” for frieze. Worth adding to the list is the joyous retrospective of Bruno Munari at Fundación Juan March, the catalogue currently on our desk.
27 February 2022: After a four-month run, the exhibition ‘Notes for an Eye Fire’ comes to an end at MACBA. Here is a selection of the most relevant reviews, clips from television and radio programmes that have covered the show, and of course photo documentation.
As a poetic colophon of the exhibition, the publication “Passió i cartografia per a un incendi dels ulls” was released. It includes a new poem in three movements by exhibition participant Gabriel Ventura, and photos of the works in the museum galleries documented by Roberto Ruiz, Eva Carasol, Miquel Coll and Latitudes.
Photos: Gemma Planell.
2 March 2021: Ràdio Web MACBA publishes a podcast with Panorama artist Marc Vives (85'22'' in Spanish) where he discusses his practice and for MACBA’s “Apunts per a un incendi dels ulls”.
10 March 2022: Lecture about our curatorial practice and on the recently concluded MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls” to fourth-year students at the Fine Arts Department of the Universitat de Barcelona. The student Rita Duarte Lli tagged us during our presentation, so we asked if she would mind sharing the mental map she drew during the session, see below.
Mental mapping of the session courtesy of Rita Duarte Lli (@ritinacaipirina ) following the @cursogenius.es technique.
We donated three more publications (“Passió i cartografia per a un incendi dels ulls” published by MACBA in 2022, Lola Lasurt’s “Joc d'infants” published by La Capella in 2020 and Anna Moreno’s “The Drowned Giant” also published by La Capella in 2017) to PUBLICS Library, joining the first 5kg we donated back in 2019. These will soon be joined by the publication of the exhibition “Things Things Say” published by Fabra i Coats: Centre d'Art Contemporani de Barcelona. You can search here.
[Note that not all the results are under “Latitudes”, others are under “Max Andrews” or “Mariana Cánepa Luna” as writers]. PUBLICS library is the third location where the whole set of Latitudes’-edited publications sleep, alongside the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
A selection of Latitudes and Laia Estruch publications available for consultation at PUBLICS.
On March 15, we had the chance to do an adaptation of our itinerant “Near-Future Artworlds Curatorial Disruption Foresight Group” workshop (earlier iterations took place in Bari, San Francisco, Birmingham, and Barcelona), this time under the “Professional Skills for Artists” class led by Prof. Suzanne Mooney. We met around fifteen MFA students in the new Sörnäinen campus building of the Academy of Fine Arts of the Uniarts Helsinki. Throughout our 2-hour encounter, issues such as the lack of free-of-charge exhibition spaces for younger artists or affordable studio spaces emerged when reflecting on the weaknesses of Helsinki’s art ecology and how could these needs be “hacked”, improved, and ideally eliminated.
Photos at PUBLICS by Noora Lehtovuori.
30 March 2022: frieze.com publishes Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” at Cordova in Barcelona. The frieze summer issue will include a printed version.
31 March 2022: Press trip to Córdoba on the occasion of “Abundant Futures”, the inaugural exhibition Thyssen-Bornemisza Art Contemporary (TBA21) organises in C3A Centro de Creación Contemporánea de Andalucía, Córdoba, as part of their three-year-long collaboration agreement.
(Above) Ceramic pieces by Asunción Molinos Gordo. (Below) Installation by Ernesto Neto.
(Above) Installation by Daniel Steegman Mangrané.
(Below) "Apagón" (2017) by Allora & Calzadilla, included a performance activated in the opening evening performed a capella by a local choir.
(Above) Installation view with works by Ai Weiwei (left) and Regina de Miguel (right).
1 April 2022: New cover story on Latitudes’ home page on Laia's performance “Mix” and PUBLICS & Latitudes match.
Shimmer’s Instagram, 9 April 2022.
23 April 2022: “Things Things Say” cover is peaking out amongst the selection of publications sold at the Serveis Editorials de l'Ajuntament de Barcelona book stall in Passeig de Gràcia on the occasion of Sant Jordi 2022.
photo via @bcn_llibres Twitter.
2 May 2022: “Things Things Say” book features in the May Cover Story. The exhibition began with a list of thirty-three questions that confronted visitors, which find their answers in the (mini) catalogue. Ranging from literary quotations and curatorial touchstones to theoretical anecdotes and red herrings, the “answers” wander around the exhibited works, and tack back-and-forth between exceptionally normal things and the extraordinary global narratives of labour, obsolescence, and the industrialisation of nature, that they trigger.
Between June and September, Irina will lead a series of three workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of a “tour” of Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context to human bodies in Helsinki, the sessions will broach performative practice, translation and transcription, and the non-verbal capacity of the voice.
18 May 2022: Visiting “The Milk of Dreams”, the 2022 edition of La Biennale di Venezia curated by Cecilia Alemani. So great to see you again Venezia.
Rosa Tharrats’s first solo show at Galería Ehrhardt Flórez.
View of Aleix Plademunt solo show at Sala Canal Isabel II. Photo: Aleix Plademunt.
11 June 2022: Opening of “Cracking a nut” a solo show by Barcelona-based artist Lúa Coderch on three floors of Fabra i Coats: Centre d'Art Contemporani, Barcelona. [The exhibition had to close two days later due to climate control issues and will reopen on September 13].
Curated by the art centre director Joana Hurtado Matheu, the exhibition includes the work “La declaración del arcoíris” (The Rainbow Statement, 2022), originally commissioned by Latitudes as one of five “Compositions” interventions produced for the Barcelona Gallery Weekend 2016. In its first incarnation, Coderch guided sunlight and a spectrum of colours down into the underground gaming space of the Barcelona Billiards Club with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards.
(Above) “La declaración del arcoiris” (The Rainbow Statement, 2022) at Fabra i Coats: Centre d'Art Contemporani.
“La declaración del arcoiris” (2022). Photo courtesy Lúa Coderch. Image Adrià Sunyol Estadella and Alex Weecha.
(Above and two below) Lúa Coderch’s “The Rainbow Statement” (2016) at the Barcelona Billiards Club, part of “Composicions” series of interventions curated by Latitudes for the Barcelona Gallery Weekend 2016. Photos: Roberto Ruiz.
The voice-over features the voice of Mariana Cánepa Luna of Latitudes, which was recorded in March 2017 in a highly DYI mode by improvising a soundproof environment with blankets and carpets in the quietest space in the home on a Sunday morning: the WC.
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Some things to look forward to in the 2022–2023 season: In September we will begin a three-month online mentorship of the first curatorial residency given to a young Peruvian curator organised by TROPICAL PAPERS and submit an essay commissioned for the catalogue of the group exhibition “Futuros Abundantes” organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba.
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(Above) Lúa Coderch, (Still) “SHELTER (Entering the work)”, 2015-18. Work produced with the support of Ayuda Fundación BBVA a la Creación en Videoarte 2015. Courtesy Lúa Coderch. Image Adrià Sunyol Estadella.
20 June 2022: Writer and curator Irina Mutt leads the first of a series of workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of an “itinerancy” of Laia Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context [presented in “Panorama 21. Notes for an Eye Fire”] to the human bodies of PUBLICS YOUTH’s members in Helsinki, the sessions broached performative practice, translation and transcription, and the non-verbal capacity of the voice.
via @publics Instagram.
23 June 2022: 19th dispatch of Incidents (of Travel) from Seoul is live on incidents.kadist.org! Narration written by curator Sooyoung Leam and itinerary devised and led by artist Yeoreum Jeong from Seoul’s Yongsan district. Photography by Swan Park, produced by KADIST.
21 July 2022: Adrian Schindler and Eulàlia Rovira (“Panorama 21. Notes for an Eye Fire” alumni) guided visit and in conversation with Mexican curator and researcher Paulina Ascensio, as part of their exhibition “The Plague, The Profit” at the non-profit The Green Parrot.
23 July 2022: El Palomar (“Panorama 21. Notes for an Eye Fire” alumni) curates an evening with music productions by trans artists, as part of MACBA’s Lorem Ipsum programme, “connecting the musical and the festive with their potential for empowering possible queer scenes”. The evening includes remixes from the soundtrack of the film “Schreber is a Woman” (2020) presented in MACBA (Spanish première).
More soon, onwards!
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Panorama in Madrid and Córdoba
Tue, Jun 14 2022Seven artists are currently exhibiting in Madrid or Córdoba with works produced, presented or derived from their original presentation in the group exhibition “Panorama 21. Apunts per a un incendi dels ulls” that took place at MACBA Museu d’Art Contemporani de Barcelona, between October 2021 and February 2022, curated by Hiuwai Chu and Latitudes.
Rosa Tharrats opened her first solo exhibition at Galería Ehrhardt Flórez in Madrid. Titled “Theta Wave” (until July 3, 2022) it presents a new installation made with her signature materials, including recycled textiles and clothes, bioplastics, sponges, nets or stones, and is complemented with a suite of framed drawings and a sculpture made with discarded marble pieces intersected with fabrics. The text accompanying Rosa’s exhibition is written by another Panorama participant, Gabriel Ventura, whose performative action and poem “Passió i cartografia per a un incendi dels ulls” titled the small book published as the colophon of the exhibition.
The next show at Galería Ehrhardt Flórez will be a solo by Panorama participant Laia Estruch, coinciding with Apertura Madrid Gallery Weekend that inaugurates the 2022–23 season.
View of Rosa Tharrats’ exhibition “Theta Wave” at Galería Ehrhardt Flórez, Madrid. Photos: Latitudes.
On the middle top of the Madrid installation, we recognised an orange bioplastic piece she was working on during our visit to her Cadaqués studio a year ago (see below).
Originally premiered in July 2021 at The Green Parrot, Adrian Schindler’s series of posters “The roles (notes for a film)” (2021–ongoing) is part of his ongoing research tracing Morocco’s colonial past in Spanish society, which culminates in his film trilogy “Tetuan, Tetuán, Tetwan”, whose first part was premièred at MACBA, and has been produced with the support of the Department de Cultura of the Generalitat de Catalunya, Casa de Velázquez and the Centre national des arts plastiques in Paris, with the collaboration of 2deo.
View of Adrian Schindler’s “The roles (notes for a film)”, 2021–ongoing. Poster series. Dimensions variable. Photo: Fondazione Sandretto Re Rebaudengo.
(Above and three below) Installation view of Adrian Schindler’s “Tetuan, Tetuán, تطوان” in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz / MACBA.
Besides the installation “Constellation” (2021–ongoing) Arash Fayez presents “Anecdotes From the Elsewhere” a performance developed alongside “Anecdotes to be forgotten” which was presented in MACBA on December 9, 2021, alongside his works “Apolis” (2014-18/2021) and “Limbo” (2018-2021).
Arash Fayez during his performance “Anecdotes to be forgotten” on December 9, 2021, for the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Latitudes.
(Above and two below) View of Arash Fayez’s “Apolis” (2014-18/2021) and “Limbo” (2018-2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Roberto Ruiz / MACBA.
Laia Estruch presents “Mixtape” (2022) and the performance “Improvisation #1” in “Si las palabras hablaran”, Madrid. She recently performed “Ocells perduts V67” in Sotos de la Albolafia, Córdoba, as part of “The Journeying Stream” (3–5 June 2022), a three-day event jointly convened by TBA21 Thyssen-Bornemisza Art Contemporary and TBA21–Academy. The Córdoba performance derived from “Ocells perduts” (2021) commissioned for MACBA’s exhibition and produced with the support of PUBLICS, Helsinki.
(Above and three below) Laia Estruch performing “Ocells perduts V67” in Sotos de la Albolafia, Córdoba, 5 June 2022, as part of “The Journeying Stream” (3–5 June 2022), a three-day event jointly convened by TBA21 Thyssen-Bornemisza Art Contemporary and TBA21–Academy. Photos: Fernando Sendra | TBA21.
(Above and two below) View of Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz / MACBA.
Claudia Pagès just opened the solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER in Madrid, where the centrepiece is the video installation “Gerundio Circular” (2021), a 14-minute, 360º film presented on a circular LED screen which was commissioned for “Panorama 21. Apunts per a un incendi dels ulls” and co-produced with ELAMOR. On view until July 30, 2022.
(Above) View of Claudia Pagès’s “Gerundi Circular” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Miquel Coll / MACBA.
(Above and below) View of Claudia Pagès’s “Gerundi Circular” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz/MACBA.
(Above and seven below) Installation views of Claudia Pagès’s exhibition “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER, Madrid, 9 June–30 July 2022. Photos: Pablo Gomez-Ogando.
Aleix Plademunt’s “Matter”, his most comprehensive solo show to date, is on view until July 24, 2022, at Sala Canal Isabel II as part of PHotoEspaña 2022. As Elena Vozmediano noted in her review, a selection of 18 large prints were originally premiered in MACBA’s exhibition “Panorama 21. Apunts per a un incendi dels ulls”.
(Above and below) Installation view of Aleix Plademunt’s “Matter” (2013–2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Aleix Plademunt (above) and Roberto Ruiz (below).
(Above and five below) Installation view of Aleix Plademunt’s “Matter” in the exhibition “Matter” at Sala Canal Isabel II, Madrid, 2022. Photos: Aleix Plademunt.
Aleix Plademunt (Ed.) “Matter” co-published by Ca l’Isidret and Spector Books, May 2022, ISBN 978-84-121090-6-1. Photos: Aleix Plademunt.
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