Latitudes’ 20th anniversary and updated Portfolio
Wed, Apr 2 2025
Download portfolio here: https://www.lttds.org/projects/#pdf
To mark Latitudes’ 20th anniversary this April 2025, we have refreshed the design of our Portfolio. The 10th edition is available in desktop, mobile, and print formats.
Looking back, our first anniversary in April 2006 was a whirlwind. We were deep in the editorial process of “LAND, ART: A Cultural Ecology Handbook” (published in December 2006), an anthology co-edited by the Royal Society of Arts and Arts Council England. Amid that hectic process, we forgot to commemorate.
“LAND, ART: A Cultural Ecology Handbook” was launched on December 12, 2006, as part of the RSA-organised conference “No Way Back” at the London School of Economics and Political Science in London.
Above: (Foreground) Artists Gustav Metzger and Tue Greenfort and (background) Tomás Saraceno with Jeff McMillan and Cornelia Parker.
Five years later, in 2010, we marked the occasion with our 22nd newsletter – our first featuring a birthday candle. At the time, we were gearing up for a road trip from Barcelona to London to take part in another milestone: Tate Modern's 10th Anniversary. To mark the occasion, artist Maurizio Cattelan and curators Cecilia Alemani and Massimiliano Gioni organised the second edition of NO SOUL FOR SALE - A Festival of Independents, which occupied Tate's Turbine Hall for a long weekend in mid-May 2010. Our journey was itself an artwork—Martí Anson, in his role as artist-cum-chauffeur, drove us to London and back as part of his project “Mataró Chauffeur Service”, ensuring we arrived in style (or rather truly tired) for the celebration.
Martí Anson's “Mataró Chauffeur Service” car on the bridge in Tate Modern's Turbine Hall. Photos: Tom Medwell / Courtesy NSFS.
For our 10th anniversary in 2015, we undertook our first major website revamp and also produced a limited edition of four beautifully designed tote bags (now sold out). The complete set was soon featured in the exhibition “A short history of the art book bag (and the things that go in them)” (24 August–24 October 2015) at the Asia Art Archive in Hong Kong, curated by Ingrid Chu, Curator of Public Programmes.
In 2018, one of the totes—Lawrence Weiner's THE CREST OF A WAVE—was acquired by Tate Archive and presented at The McManus Museum and Galleries in Dundee, Scotland (2 November 2018–17 February 2019).
10th anniversary totes designs by Lawrence Weiner, Haegue Yang, Ignasi Aballí and Mariana Castillo Deball. Silkscreened in Barcelona.
April 2020 marked 15 years of our curatorial practice. Amid a strict lockdown, celebrating was far from our minds. Instead, we went into “cave mode” and used the time to rebuild our website—a surprisingly productive endeavour. Many coffees and moons later, when the redesign was finally complete and we looked up from our screens, we still had weeks of lockdown ahead of us.
The 2020 redesign is still mostly up today, with a few updates, such as the font.
We can't believe two decades have flown by since we decided to give it a go as freelancers. This April 2025 finds us recovering from two major exhibitions that opened this past February– two much-anticipated solo exhibitions in Madrid. The first is the survey of Mexican-born, Bilbao-based artist Jorge Satorre at the Museo Centro de Arte Dos de Mayo in Móstoles. The second is also a survey, featuring the work of Barcelona-based artist Laia Estruch, at the Museo Nacional Centro de Arte Reina Sofía. Both exhibitions are accompanied by the artists’ first monographs, covering works created from 2011 to the present. Estruch’s monograph will be available later in Spring, while Satorre’s, co-published by Museo CA2M and Caniche Editorial, is already available for purchase online (€30, including shipping within Spain) here and from Museo CA2M front desk.
Pages of “Rio [River]” (2025) copublished by Museo CA2M and Caniche Editorial. Photos: Latitudes.
Mock-up of the Spanish edition of “Laia Estruch. Hello Everyone” published by the Museo Reina Sofía. Available from Spring 2025.
Speaking of books, we’re pleased to announce that our publications are now more widely accessible. The Library and Documentation Centre of the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain) has been added to the list of institutions where a complete (or nearly complete) collection of Latitudes publications is available for public reference.
RELATED CONTENT:
- Latitudes’ 15th anniversary and rebuilt and redesigned website, 2 May 2020
- Reduce Art Flights website refreshed, 5 February 2020
- Latitudes' redesigned portfolio – projects since 2005 (20 February 2019)
- Lawrence Weiner tote bag and sugar sachets at the McManus Museum and Galleries in Dundee (26 November 2018)
- Lawrence Weiner's THE CREST OF A WAVE tote bag in the Tate Archive and exhibited at The McManus Museum and Galleries, Dundee, 26 October 2018
- Newsletter #22 – April 2010, 8 April 2010
- Latitudes' 4th anniversary, 2 April 2009
Mariana Cánepa Luna in the 2024 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya
Wed, Mar 19 2025At today’s press conference, Sònia Hernández Almodóvar, Ministre of Culture of the Government of Catalunya, presented the acquisitions made in 2024 by the Department of Culture to expand the National Collection of the Government of Catalonia.
The collection includes contemporary art, photography, cultural artefacts, comics, illustration, postwar art, and works from the second avant-garde. The announcement comes after an extensive review process that involved evaluating 434 applications over long spring days, followed by 8 in-depth online sessions—each lasting three to four hours—where the Acquisition Committee deliberated on the proposals.
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2024, 2025, acquisitions, advisor, collection, MACBA, Mariana Cánepa Luna, PAAC
The collection includes contemporary art, photography, cultural artefacts, comics, illustration, postwar art, and works from the second avant-garde. The announcement comes after an extensive review process that involved evaluating 434 applications over long spring days, followed by 8 in-depth online sessions—each lasting three to four hours—where the Acquisition Committee deliberated on the proposals.
First of several Teams meetings.
The 2024 Committee comprised Íngrid Llopart, Deputy Director General of Cultural Promotion; Manel Guerrero, a specialist in contemporary art at the Directorate General for Cultural Promotion and Libraries, and coordinator of the commission; Marta Gustà, Director of the Visual Arts Area at the Catalan Institute for Cultural Enterprises, coordinator of the commission; Joan Antoni Martínez, Head of the Dissemination and Artistic Cooperation Area; Sònia Blasco, Head of the Museums and Movable Heritage Protection Service; Antònia M. Perelló, Head of Collections at MACBA; Àlex Mitrani, Contemporary Art Curator at MNAC; Jesús Navarro, Director of Morera – Museum of Modern and Contemporary Art of Lleida and representative of the Network of Art Museums of Catalonia; Christian Alonso, director of La Panera, Lleida, and representative of the Network of Art Museums of Catalonia; Frederic Montornés, independent curator, nominated by CoNCA National Council for Culture and the Arts; Álvaro Hernández, specialist at the Directorate General for Cultural Promotion and Libraries; and Mariana Cánepa Luna of Latitudes, “a person who is an expert in contemporary art, independent, and without economic interests in the sector, proposed by the Plataforma Assambleària d’Artistes de Catalunya (PAAC)”.
The 2024 acquisitions budget significantly increased, from 599,399.51 euros in 2023 to over 1 million euros. The Committee selected 40+ artworks, which were then reviewed by a qualification board before advancing through legal departments for contract drafting, financing, and final transportation. This thorough process ensures the works are delivered to their designated depository institutions across the region—a procedure that unfolds over a year.
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View of Joan Morey, "COS SOCIAL (Lliçó d'anatomia)", 2017. MACBA Collection. Government of Catalonia long-term loan. National Collection of Contemporary Art. © Joan Morey. Photo: Gasull Fotografia
In 2024, several works acquired in recent years for the National Collection were presented in the three-part “MACBA Collection: Prelude. Poetic Intention” (2022–2025) at the Museu d'Art Contemporani de Barcelona. Such as Mireia Sallarès’ photographs that are part of her larger project “Las muertes chiquitas” (2006-16); Joan Morey’s multipart project “COS SOCIAL. Lliço d'Anatomia” (SOCIAL BODY. Anatomy Lesson) (2017); Regina Giménez’s large paintings “Geo-gràfics” (2021); Sinéad Spelman’s drawings “Venes” (2020); Pedro Torres’ video installation “House of the Sun” (2020); Daniel G. Andújar “Battle Cry” (2019-2020”; Eulàlia Valldosera’s “Construcció i deconstrucció (I-VIII) (El melic del món #1; El ventre de la Terra #29)” (1991-2001); Lara Fluxà’s glass installation “Delu” (2019)”; Lucía C. Pino’s sculptures “10 Amazon Quarterly vol 03. (content)” (2022); or Lúa Coderch’s “Estil Internacional (Mur d'Ònix)” (2013-14), to mention a few.
Eugènia Balcells, “FROM THE CENTER” (1982). Courtesy Fundació Eugènia Balcells.
Looking ahead, one of the most significant recent acquisitions of 2024, Eugènia Balcells’ 12-channel video installation “From the Center” (1982), will be presented this summer in the Museu Nacional d'Art de Catalunya’s Sala Oval, where it has been placed on deposit. The installation premiered at the 1983 Donostiako Nazioarteko Bideo Aldia, II Festival de Vídeo de San Sebastián. It was subsequently exhibited at Barcelona’s renowned Sala Metrònom (1985), Anderson Gallery in Richmond, Virginia (1986), and New York’s El Museo del Barrio (1987).
“From the Center” is a technically complex and conceptually profound video installation described by Balcells as an “electronic Stonehenge”. Featuring twelve monolithic screens arranged in a walkable circle, it presents fragmented yet unified views of the world, filmed over two years from a fixed Manhattan rooftop. Accompanied by a twelve-channel soundscape by Peter Van Riper (1942-1998), the installation blends technology and spirituality, echoing Romantic ideals of universal connection and inviting comparisons to the mystical vision of Romanesque paintings in the MNAC’s collection.
→ RELATED CONTENT:
- Panorama traces, a year on, 21 Oct 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- “Panorama 21: Apunts per a un incendi dels ulls”, MACBA, October 2021–February 2022
Cover Story, October 2024: Nancy Holt “Ventilation System”
Tue, Oct 1 2024
October 2024 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The October 2024 monthly Cover Story “Nancy Holt “Ventilation System” is now up on Latitudes’ homepage (after October 2024 it will be archived here). Cover Stories are published monthly featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to Latitudes’ curatorial projects and activities.
Mariana Cánepa Luna of Latitudes was commissioned to write an essay on a work by American artist Nancy Holt (1938–2014) for the Holt/Smithson Foundation’s Scholarly Text Program.
Mariana Cánepa Luna of Latitudes was commissioned to write an essay on a work by American artist Nancy Holt (1938–2014) for the Holt/Smithson Foundation’s Scholarly Text Program.
→ Read it here.
Abstract:
Mariana focused on Holt’s “Ventilation System” (1985–1992), a site-responsive installation that celebrates air-conditioning infrastructures and draws attention to their ubiquitous, though often overlooked, presence in modern life. While such building components are typically concealed, Holt’s work ostentatiously showcases industrial ducts and fans, blending functionality with wry playfulness. This installation, part of her “System Works”, critiques humanity's dependency on technological infrastructures and subtly raises ecological concerns around energy use. It reflects Holt’s interest in connecting human experience to larger natural systems, akin to her most famous work, “Sun Tunnels” (1973–1976).
Graphics courtesy Holt/Smithson Foundation.
In today's context, “Ventilation System” resonates with a heightened sustainability awareness. Recent artworks, like Nick Raffel’s “fan (Wesleyan)” (2022) and “wind dial (Pied-à-Terre)” (2021), further explore air circulation in buildings, emphasizing efficiency and environmental literacy. Ghislaine Leung’s “Violets 2” (2018) explores related themes, using repurposed ventilation pipes to reflect on institutional conditions and artistic labour.
[1 and 2] Nancy Holt, “Ventilation IV: Hampton Air”, 1992. Guild Hall Museum, East Hampton, New York. Guild Hall Museum, East Hampton, New York. Steel ducts, fans, turbine ventilators, shanty caps. Indoor section: 4.9 x 5.5 x 8.5 m. Outdoor section: 4.8 x 6.1 x 8.2 m. © Holt/Smithson Foundation / Licensed by Artists Rights Society, New York. [2] Ghislaine Leung, “Violets 2”, 2018. Galvanised Steel Ventilation System, Brackets, Screws, Bolts, Dirt, Welcome Sign. Ventilation System removed from Network Aalst Bar during 2017 refurbishment. Commissioned by Network Aalst, Belgium. Score: All pipes removed for refurbishment reinstalled within the space of one room and bracketed fixed to the floor, using as much of the material as possible while keeping it all interconnected. Spare pieces that do not fit in this configuration are to be bracketed together in smaller formations. A welcome sign to be installed. Courtesy of the artist and Maxwell Graham, New York. [3] Nick Raffel, “Pied-à-terre”, San Francisco, 2022. Photo: McIntyre Parker. Courtesy of the artist.
Throughout her career, Holt presented four iterations of “Ventilation System”: at Temple Gallery, Philadelphia; and Palladium, New York (both in 1985); at the Tampere Art Museum, Finland; and at the Guild Hall Museum in East Hampton, New York (both in 1992). Posthumously, the installation has been presented on three occasions: at Bildmuseet, Umeå, Sweden; Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (both in 2022); and most recently at MACBA Museu d’Art Contemporani de Barcelona, Spain (2023).
[Above and below] Nancy Holt, “Ventilation System” (1985-92). Installation view: Bildmuseet, Umeå, Sweden, 2022. Steel ducts, turbine ventilators, shanty caps, fans, air [materials are locally sourced with each presentation]. Overall dimensions variable [site responsive]. Photograph: Mikael Lundgren. Image Courtesy Holt/Smithson Foundation and Bildmuseet. © Holt/Smithson Foundation / Licensed by Artists Rights Society, New York
The Scholarly Text Program regularly commissions thinkers from various disciplines to write 1,200 words on single artworks by Nancy Holt and/or Robert Smithson. The authors explore how Holt and Smithson’s ideas resonate through artistic and cultural production in the present, exploring topics ranging from geology to ecology, poetry, architecture, science fiction, public art, sculpture, drawing, film, exhibition histories or philosophy. The Scholarly Text Program will publish two essays on each work, presenting differing opinions and approaches. Each new essay includes images selected by the author, a short bibliography, citation references, endnotes pointing to the author’s references and an ISBN.
Stay tuned for Max Andrews’ upcoming contribution on Smithson’s article “Aerial Art” (1969) next month.
Thank you to Lisa Le Feuvre, Executive Director of the Holt/Smithson Foundation, for the kind invitation to contribute to the foundation’s growing Scholarly Texts Program archive and to William T. Carson, Program Manager and Assistant Curator, for the research assistance. Extended gratitude to Chicago-based artist Nick Raffel for the insightful online studio visit and to Maxwell Graham Gallery, New York.
Nancy Holt’s “Ventilation System” (1985-92) is a site-specific installation that exposes the hidden infrastructure of air circulation in buildings. Holt celebrates and critiques human dependence on technology by using industrial-grade ducts and HVAC systems. The essay discusses the relationship between “Ventilation System” and environmental concerns. It highlights the tension between functionality and artistic playfulness, and how the work raises awareness of our reliance on energy-intensive systems. Finally, the essay connects Holt’s artistic intervention to current debates about sustainability in art, particularly regarding museum energy consumption.
Keywords:
Nancy Holt, ventilation systems, Site-specificity, HVAC systems, sustainability, ecological concerns, System Works, Land art, Conceptual art, Charlotte Posenenske, Post-pandemic world, climate change, Institutional critique, building efficiency, sustainability, air quality, Nick Raffel, Karen Archey, Third wave of Institutional Critique, HVLS fans, Ghislaine Leung, artistic labour, climate crisis, “Constitutional critique”, context-contingent art.
How to cite:
Cánepa Luna, Mariana, “Nancy Holt’s “Ventilation System” (1985–1992).” Holt/Smithson Foundation: Scholarly Texts Chapter 7 (October 2024). ISBN: 978-1-952603-35-8
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Other writing by Mariana Cánepa Luna
- Looking back – Visiting Robert Smithson's “Spiral Jetty” (1970) on 7 September 2004, 7 Sep 2014
- Publication “Robert Smithson: Art in Continual Movement” (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Cover Story–September 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
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
- Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024
- Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023
- Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
- Cover Story, October 2023: A tree felled, a tree cut in seven, 2 October 2023
Latitudes renews their Active Membership with Gallery Climate Coalition (GCC)
Tue, Apr 9 2024
Pantallazo con los miembros de Latitudes mencionados en el anuncio de GCC con los 125 Miembros Activos de 2023.
Max Andrews and Mariana Cánepa Luna of Latitudes are among the 125 Members who have successfully achieved Active Membership 2023 with Gallery Climate Coalition (GCC). This is the second year running that Latitudes is an Active Member. This new cohort represents a 50% increase in successful applications and a renewal of over 85% of last year’s Active members.
To renew our Active status we continued implementing environmental sustainability best practices in line with GCC’s guidelines focusing on near-term tangible actions, and had to:
- Complete a CO2e report or audit. Latitudes’ carbon footprint was 17.4tCo2e in 2019 (baseline year), 3.8tCo2e in 2022 and 1.5tCo2e in 2023. We reduced our footprint by 78% of the emissions within the first year of the calculations and over 60% in the second year. We calculate our carbon footprint by considering travel, hotel accommodation, and energy consumption emissions, and use the GCC Carbon Calculator and DEFRA conversion factors to ensure consistent and accurate reporting.
- Establish and maintain a Green Team. Latitudes is one of the Founding Committee members of GCC Spain, one of the seven International volunteer teams currently operating in Los Angeles, New York, London, Berlin, Italy, and Taiwan.
- Publish an Environmental Responsibility Statement – our extended and illustrated version here.
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Active Membership Announcement here.
RELATED CONTENTS:
- 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
- Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
- “‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
- 18 marzo 2021, 18:30h: 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.
Latitudes's Mariana Cánepa Luna concludes her role as Secretary of the Board of Hangar
Mon, Feb 24 2020
Hangar Centre de Producció i Recerca d'Arts Visuals, Barcelona
Between 2015 and 2019, Mariana Cánepa Luna of Latitudes served as Secretary and Board member of the Fundació Privada AAVC, the entity governing Hangar Centre de Producció i Recerca d'Arts Visuals in Barcelona.
The members of HANGAR’s Board represent a range of professionals from the fields of contemporary visual arts and research and serve for periods of 4 years. The board usually meets twice a year in ordinary sessions and in extraordinary circumstances whenever necessary. A smaller team of Board Members, the Executive Committee, meets monthly. The members of the Board do not receive any remuneration for the performance of their duties.
Besides the responsibility of overseeing the governance of the institution, during these past four years, the (initially 17 and in the last year 9) members have been responsible for renewing two terms of the Programme Committee and in 2017 resolving the open call for a director position, selecting Lluís Nacenta as the new director of the institution for the 2018–2022 period.
Besides the responsibility of overseeing the governance of the institution, during these past four years, the (initially 17 and in the last year 9) members have been responsible for renewing two terms of the Programme Committee and in 2017 resolving the open call for a director position, selecting Lluís Nacenta as the new director of the institution for the 2018–2022 period.
In early 2019, the board decided to exceptionally extend its mandate another year and met every month to debate and define the election process for the new board starting February 2020. An initial pool of twenty-eight candidates (artists and art professionals) was put forward for consideration to the Plataforma Assambleària d'Artistes de Catalunya (PAAC). In the December 2019 assembly, PAAC members voted for nine candidates following the criteria of parity and a majority of artists.
The newly elected board for the 2020–2024 term is Pilar Bonet, Fito Conesa, Jordi Ferreiro, Dora García, Ingrid Guardiola, Hiuwai Chu, Mafe Moscoso, Laura Llevadot and Anna Pahissa.
Kudos to each of the board colleagues for their strong sense of fellowship throughout these past four years: president Martí Anson; vice-presidents Josep Manuel Berenguer, Álex Nogueras, Sonia Fernández Pan; members Pau Alsina, Mar Arza, Roger Bernat, Luz Broto, Jorge Luis Marzo, Martina Millà, Julia Montilla, Quim Packard, Joan Maria Soler, Alicia Vela, Marc Vives, Rubèn Verdú. Extended thanks to the legal advisors of the foundation, Jaume and Guillem Nadal, and of course to the two directors of the Foundation, Tere Badia (2009–17) and Lluís Nacenta (since January 2018).
Between June 2010 and December 2013, and together with Max Andrews, Latitudes was part of the Programme Committee alongside artists Dora García, Jordi Mitjà and Joan Vilapuig and the curator Àlex Mitrani. This group was responsible for selecting applicants via open calls for production grants and residencies abroad, as well as in the selection of foreign artists to come to Hangar, and ultimately, followed up the artist's work during their long or short-term residencies.
→ RELATED CONTENT
The newly elected board for the 2020–2024 term is Pilar Bonet, Fito Conesa, Jordi Ferreiro, Dora García, Ingrid Guardiola, Hiuwai Chu, Mafe Moscoso, Laura Llevadot and Anna Pahissa.
Kudos to each of the board colleagues for their strong sense of fellowship throughout these past four years: president Martí Anson; vice-presidents Josep Manuel Berenguer, Álex Nogueras, Sonia Fernández Pan; members Pau Alsina, Mar Arza, Roger Bernat, Luz Broto, Jorge Luis Marzo, Martina Millà, Julia Montilla, Quim Packard, Joan Maria Soler, Alicia Vela, Marc Vives, Rubèn Verdú. Extended thanks to the legal advisors of the foundation, Jaume and Guillem Nadal, and of course to the two directors of the Foundation, Tere Badia (2009–17) and Lluís Nacenta (since January 2018).
Between June 2010 and December 2013, and together with Max Andrews, Latitudes was part of the Programme Committee alongside artists Dora García, Jordi Mitjà and Joan Vilapuig and the curator Àlex Mitrani. This group was responsible for selecting applicants via open calls for production grants and residencies abroad, as well as in the selection of foreign artists to come to Hangar, and ultimately, followed up the artist's work during their long or short-term residencies.
- Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes 24 April 2013
- Performance 'The Museum of Incest' de Simon Fujiwara, 19 Septiembre, 19h en Hangar 15 Septiembre 2009
Cover Story—January 2020: Safeguarding Gestures
Thu, Jan 2 2020
Latitudes' homepage www.lttds.org
The January 2020 monthly Cover Story ‘Safeguarding Gestures’ homepage: www.lttds.org
‘‘‘Poems for Earthlings’, by Argentinian artist Adrián Villar Rojas, transforms the Oude Kerk, a monumental church in the heart of the Amsterdam’s Red-light District which dates back to 1306. Unveiled during the Amsterdam Art Weekend two months ago and continuing until April, Villar Rojas’s installation features in the recent art-agenda Roundup from the city by Latitudes' Mariana Cánepa Luna.”
→ Continue reading
→ After January 2020, 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 activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
- Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
- Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
- Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
- Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
- Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com
Tue, Dec 17 2019
→ Continue reading.
Originally published in art-agenda on December 13, 2019.
Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port.
(Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
(Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York.
(Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.
(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.
Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
Studio by Christopher Manon during the RijksakademieOPEN 2019.
Studio by Jude Crilli during the RijksakademieOPEN 2019.
Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019.
Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Lotte van Geijn during the RijksakademieOPEN 2019.
Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
(Above
and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a
los árboles, se les reconoce por sus frutos’ [Revolutions, like trees,
are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
LA-artist Matthew Monahan at Fons Welters, Amsterdam.
Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).
(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.
(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.
Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.
Tahmina Negmat at Althuis Hofland.
Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).
And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.
→ RELATED CONTENT:
- Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ at Espai d'art contemporani de Castelló for art-agenda 8 January 2019
- Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018 28 November 2018
- Mariana Cánepa Luna's London Roundup of Frieze week 2018 for art-agenda.com 15 octubre 2018
- Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition at the Fundació Tàpies, Barcelona, for art-agenda.com 21 Marzo 2018
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna review of Ana Jotta's exhibition at ProjecteSD, Barcelona, for art-agenda 11 November 2016.
- Mariana Cánepa Luna review of Francesc Ruiz exhibition at garcía galería, Madrid, for art-agenda 4 March 2016.
- Amsterdam Art Weekend 2014 on Wakelet 27–30 November 2014
- Latitudes review of Andrea Büttner exhibition at NoguerasBlanchard, Barcelona, for art-agenda, 21 July 2014.
Helene Romakin interviews Latitudes for artfridge.de
Tue, Oct 8 2019
As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands.
→ READ THE INTERVIEW: http://www.artfridge.de/2019/10/interview-latitudes.html
→ RELATED CONTENTS:
- Conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
- In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
- Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
- Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
- "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013
PUBLICS' Library in Helsinki incorporates Latitudes-edited back catalogue of publications
Fri, Sep 27 2019
5kg of Latitudes' publications are now in PUBLICS' library.
PUBLICS library is the third location where the whole back catalogue of Latitudes' publications resides, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).
Latitudes' publications available at PUBLICS Library (bibliography online):
We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).
PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.
Joan Morey: COLLAPSE
Various locations, Barcelona
September 2018–January 2019
Exhibition guide/programme guide, opuscule, poster
4.543 billion. The matter of matter
CAPC musée d'art contemporain, Bordeaux
June 2017–January 2018
Exhibition guide & symposium guide
Amikejo
Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
April 2012
United Alternative Energies
Christina Hemauer & Roman Keller
Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
January 2012
Campus
Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
July 2011
Also available online.
Portscapes
Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
February 2010
Martí Anson, Mataró Chauffeur Service
Catalogue of the project, 'No Soul For Sale', Tate Modern, London
January 2011
The Last Newspaper
Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
October–December 2010
Lawrence Weiner: THE CREST OF A WAVE
Booklet of the exhibition, Fundació Suñol, Barcelona
October 2008
Simon Fujiwara: The Incest Museum–A Guide
Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
May 2009
Ignasi Aballí: 没有，有 Nothing, or Something
Catalogue of the exhibition, Suitcase Art Projects, Beijing
July 2009
Ecology, Luxury & Degradation
UOVO #14
Summer 2007
Greenwashing. Ambiente: Pericoli, Promesse e Perplessità
(Greenwashing. Environment: Perils, Promises and Perplexities)
Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
February 2008
→ RELATED CONTENT
- Latitudes publications
- FAQ: Where can I find the publications edited by Latitudes? 22 Apr 2012
- Latitudes publications acquired by the Paul D. Fleck Library & Archives, The Banff Centre, 2 August 2015
11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
Tue, Jun 25 2019
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006