Cover Story, April 2025: Wrecking the Floor Tiles
Tue, Apr 1 2025
April 2025 cover story on www.lttds.org. Photo: Roberto Ruiz.
NEW
NEW MONTH
NEW MONTHLY COVER
NEW MONTHLY COVER STORY
The April 2025 monthly Cover Story “Wrecking the Floor Tiles” is now on our homepage: www.lttds.org (after April, this story will be archived here).
NEW MONTHLY COVER STORY
The April 2025 monthly Cover Story “Wrecking the Floor Tiles” is now on our homepage: www.lttds.org (after April, this story will be archived here).
“The only memory Jorge Satorre retains of his visit to the ruins of the infamous conquistador Hernán Cortés’s house in Veracruz is not of history’s grand narratives, but of something much more anecdotal: the footprints of a cat and a bird imprinted in the clay tiles that once lay within. Who, he wondered, had chosen to install these seemingly flawed tiles?” → 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, 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
- 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, 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
Cover Story, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M
Mon, Feb 3 2025
February 2025 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The February 2025 monthly Cover Story “Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M” is now up on our homepage: www.lttds.org (after February this story will be archived here).
“Jorge Satorre’s “Triplay” (2025) serves as the entrance to his exhibition “Ria”, currently on view at the Museo Centro de Arte Dos de Mayo (CA2M), curated by Latitudes. Two large wooden doors, embedded with metal casts of bananas and potatoes, form this threshold. Everyday objects are laden with both mundane associations and personal significance.” → 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, 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
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles
Mon, Jan 27 2025
Jorge Satorre, Detail of “Ricardo”, 2020. Courtesy of the artist and CarrerasMugica, Bilbao. Photo: Ander Sagastiberri.
The exhibition “Ria”, the first solo museum show in Spain dedicated to Mexican-born, Bilbao-based artist Jorge Satorre (1979), will be on view at the Museo Centro de Arte Dos de Mayo (CA2M) in Móstoles, Madrid, between February 1 and August 31, 2025. The exhibition features a new work alongside a survey of Satorre’s sculptures, drawings, and installations created since 2013.
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.
Satorre’s artistic practice delves into unmapped and “minor” histories, whether attending to the intangible heritage of traditions and the oral transmission of stories or engaging in more formal explorations of traditional craft production methods, their environments, stories and labourers. His recent projects frequently involve acts of transformation and subversion, stemming from elemental actions such as moulding, stamping, forging, casting or breaking – processes applied to materials that he regards as intrinsic components of a process towards progressively moving away from a place where ideas originate. Just as hands and tools intertwine in Satorre’s work, so do the intimate with the industrial, the functional with misuse, anecdotes with archetypes, and remembered events with the imaginary.
“Río”, the artist's first monograph will be published alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland), alongside a conversation between the artist and Latitudes, the exhibition curators. This bilingual Spanish-English edition will cover Satorre’s exhibitions and works from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
“Ria” occupies the museum’s second floor and runs concurrently with the graphic intervention by María Medem. Starting on March 1, 2025, it will also include exhibitions by Rodríguez-Méndez and David Bestué. Additionally, it will coincide with the events scheduled in the city surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
“Ria” is organized by the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid), and is curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979) lives in Bilbao. His work has been exhibited in solo shows: “Black Jacket, Gray Sweatshirt”, CRAC Alsace, Altkirch, France (2021) and CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería Labor, Mexico City (2017); “Curvar a Miguel es arruinar las baldosas”, Blueproject, Barcelona (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); “Modelling Standard” (con Erick Beltrán), FormContent, London (2010); “The indirect gaze”, Le Grand Café, St, Nazaire, France (2010).
As a curator, he has organised the group exhibition “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (CarrerasMugica, Bilbao, 2022-23) and the solo exhibition “Redonda, Redonda” by Alberto Peral (Tecla Sala, Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in “Modelling Standard” (various spaces, 2010-2011).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
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 “Panorama 21. 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. COLAPSE” (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 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, 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 is preparing the survey exhibition “Laia Estruch: HELLO EVERYONE” at the Museo Nacional Centro de Arte Reina Sofía (26 February–1 September 2025).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
SAVE THE DATE: 1 February 2025 opening of Jorge Satorre’s exhibition “Ria” at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
Wed, Jan 8 2025
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
SAVE THE DATE
Opening: 1 February 2025, 12pm
Jorge Satorre
“Ria”
Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
1 February–25 May 2025
Latitudes is pleased to announce “Ria,” the first institutional solo exhibition in Spain by Mexican-born, Bilbao-based artist Jorge Satorre. The exhibition will open on Saturday, 1 February 2025, at noon at the Museo Centro de Arte Dos de Mayo in Móstoles, Madrid. It will feature a newly commissioned work and a survey of sculptures, drawings, and installations produced since 2013, and will be on view until 25 May 2025.
“Río” [River], the artist’s first monograph, will be released alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland) alongside a conversation between the artist and Latitudes, the exhibition’s curators. This bilingual Spanish-English edition covers Satorre’s works and exhibitions from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
The exhibition will be held on the museum's second floor, and run concurrently with exhibitions dedicated to María Medem and from March 1, 2025, to Rodríguez-Méndez (curated by Ángel Calvo Ulloa), and David Bestué. It will also coincide with several events programmed in Madrid surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
The exhibition is organised and produced by the Museo Centro de Arte Dos de Mayo and curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979). Lives in Bilbao. His work has been exhibited in solo shows: “Veste noire, sweat-shirt gris”, CRAC Alsace, Altkirch, France (2021); “Chamarra negra, sudadera gris”, galería CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería LABOR, Mexico City (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); and “The indirect gaze”, Le Grand Café, Saint-Nazaire, France (2010), amongst other.
As a curator, he has organised the group show “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (galería CarrerasMugica, Bilbao, 2022), the solo show of Alberto Peral “Redonda, Redonda” (Tecla Sala, l’Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in the multipart project “Modelling Standard” (Galería Joan Prats, Barcelona, 2011; Casa Vecina, Ciudad de México, 2011; FormContent, London, 2010).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Cover Story, January 2025: Folded Forms
Wed, Jan 1 2025
January 2025 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The January 2025 monthly Cover Story “Folded Forms” is now on our homepage: www.lttds.org (after January this story will be archived here).
“Reviewed by Max Andrews of Latitudes in the December 2024 issue of Artforum magazine, Karlos Martínez Bordoy’s recent exhibition “Folded Forms” at FormatoComodo in Madrid offered a concise and ingenious exploration of the century-old Murphy bed concept. ” → 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, 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
- 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
Max Andrews reviews Ibon Aranberri’s exhibition “Entresaka” at ARTIUM Museoa for frieze
Thu, May 23 2024
(Above and below) View of Ibon Aranberri’s exhibition “Entrasaka” at ARTIUM Museoa. All photos: Latitudes.
Max Andrews reviews Ibon Aranberri’s survey exhibition “Entresaka”, the ARTIUM Museoa – Museo de Arte Contemporáneo del País Vasco in Vitoria-Gasteiz (Basque Country) for frieze magazine:
“The exhibition’s evocative title, ‘Entresaka’ (‘thinning’ in the Basque language), accounts for the show’s apparent evasiveness, evoking the forestry management practice of selectively felling individual trees in order to promote overall woodland health and diversity. The artist’s most representative and extensive projects are duly cut down as if to their stumps in order that more marginal works may be afforded more light.”
Continue reading “Ibon Aranberri’s Abiding Instincts” here.
The exhibition has been coproduced with the Museo Nacional Centro de Arte Reina Sofía in Madrid, where it was presented between November 2023 and March 2024 under the title “Vista parcial” (Partial View). It is co-curated by Manuel Borja-Villel and Beatriz Herráez.
(Above and below) Views of Ibon Aranberri’s exhibition “Vista partial (Partial View)” at the Museo Nacional Centro de Arte Reina Sofía in Madrid. Photos: Latitudes.
→ RELATED CONTENT:
- “Cognitive Maps” interview between Ibon Aranberri and Peio Aguirre commissioned for UOVO #14 “Ecology, Luxury & Degradation” can be read here (pdf). Part of a 500-page issue guest-edited by Latitudes in 2007.
- Aranberri’s work “Luz de Lemóniz (Light over Lemóniz)”, 2000–2004, included in the Latitudes-curated group exhibition “Greenwashing. Environment: Perils, Promises and Perplexities” at the Fondazione Sandretto Re Rebaudengo, Turin, 2008.
- Aranberri’s “Zuloa (Ir.T. no513)”, 2004, included in the touring film programme “A Stake in the Mud, A Hole in the Reel: Land Art's Expanded Field, 1968–2008” curated by Latitudes and commissioned by the Museo Tamayo Arte Contemporáneo, Mexico City in 2008;
- Max Andrews’ review of Ibon Aranberri at the Fundació Tàpies, 2011
Mariana Cánepa Luna review on Francesc Ruiz's 'Correos' exhibition for art-agenda
Fri, Mar 4 2016
View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016. All images courtesy of garcía galería, Madrid. Photos by Roberto Ruiz.
garcía galería, Madrid
January 16–March 5, 2016
by Mariana Cánepa Luna
Francesc Ruiz’s second solo show at Madrid’s garcía galería delves into the visual communication of one of Spain’s most iconic institutions, the Sociedad Estatal Correos y Telégrafos—the national postal service, commonly known as Correos—whose graphic identity was created in 1977 by Spanish designer and artist José María Cruz Novillo (b. 1936). Ruiz’s interest is not limited to Cruz Novillo’s pervasive design, but more broadly includes Correos as an agent of distribution as well as the various commercial guises that come into play in this public service. Ruiz’s choice to focus this exhibition on the postal system, the pre-eminent pre-internet network, is not casual: through his characteristic strategy of “expanded comics” he has long been concerned with the potential of distribution and official versus alternative forms of circulation.
—> Continue reading...
Originally published on art-agenda.com on 25 February 2016.
View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016.
View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016.
Francesc Ruiz, Correos IV (Carton), 2015.
Francesc Ruiz, Correos IV (Carton), 2015.
Francesc Ruiz, Correos I (Bufanda), 2015.
Francesc Ruiz, THE MIDAS TOUCH, 2015.
Francesc Ruiz, MARCAR (6549/6567/6574/6547), 2015.
Francesc Ruiz, Correos III (Caja), 2015.
- Writing archive on Latitudes' website
- Latitudes hosts the MA Curating Contemporary Art students of the Royal College of Art in Barcelona, 7 October 2014
- art-agenda review of Andrea Büttner exhibition at NoguerasBlanchard, Barcelona, by Latitudes, 21 July 2014.
- 'THE LAST REGISTER' AVAILABLE NOW! #3 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum 20 October 2010
- ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’, Arnolfini, Bristol, United Kingdom, 18 July–20 September 2009.
Report from Madrid: Apertura 2014 gallery and museums programme in tweets, 11–13 September
Mon, Sep 15 2014More photos documenting the same shows we saw or others that didn't make it to the twitter for lack of time (or network):
"Antología del desajuste adverbial" by Abigail Lazkoz at Galería Bacelos.
Ángel Vergara at Marta Cervera.
"B. Wurtz.
Works 1972 - 2014" at Maisterravalbuena.
Dora García at Juana de Aizpuru.
Browsing one of the books that hanged from Thonet bentwood rocking chairs at Dominique Gonzalez-Foerster's installation "Spendide Hotel" at the Palacio de Cristal, the venue run by the MNCARS located at the Parque del Retiro.
Related posts:
Report from Glasgow: Lecture at The Common Guild and studio and gallery visits (4 December 2013)
Report from Paris: FIAC week, 21–28 October 2013 (5 November 2013)
Report from Athens: "AGORA", 4th Athens Biennale 2013 (4 November 2013)
Report from New York: Gramcsi Monument, visiting critics at ISCP, Carol Bove at The High Line and galleries route (23 September 2013)
Report from Dublin and Derry-Londonderry: research trip to Ireland, 8–14 March 2013 (16 March 2013)
Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 (22 July 2012)
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