Eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi from Buenos Aires, Argentina

Episode 8 from Buenos Aires now online on http://incidents.kadist.org/


In the eighth '
Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.








'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and a day conceived by an artist for a curator.

Conceived by Latitudes in 2012 as day-long artist-led tours around Mexico City (with five dispatches presented as part of an exhibition at Casa del Lago), 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via Twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts as part of Kadist's Instagram take over initiative #ArtistNotInTheStudioCuratorNotAtTheOffice).

In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects, publishing contributions from invited curators and artists working around the world.





Earlier conversations have taken place in Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan.





The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.



The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.



The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.



The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home sharing their mutual love for quinces.

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Seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania

http://incidents.kadist.org/hobart.html

The seventh 'Incidents (of Travel)' dispatch comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. Lucy "shared her knowledge of volcanoes, lava, and magma leading (Camila) on a quest to relate local geochemical and geophysical conundrums to the expansive solar system." 

They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home sharing their mutual love for quinces.

Each of the 19 photographs is augmented by one or more extra assets – a brief commentary, soundscape or a caption – accessed by clicking the words which overlay the images
.



Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).

The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


http://incidents.kadist.org/chicago

A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


http://incidents.kadist.org/jinja

The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


http://incidents.kadist.org/suzhou

The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China
http://incidents.kadist.org/lisbon

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
http://incidents.kadist.org/terengganu

The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters." 
http://incidents.kadist.org/terengganu

The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.


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Sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia

http://incidents.kadist.org/yerevan

The sixth 'Incidents (of Travel)' episode narrates a walking itinerary in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city center

The itinerary was conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan — three art students from the National Center of Aesthetics, one of the oldest alternative art educational hubs in the city. 

The inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work.

Each of the 15 photographs is augmented by one or more extra assets – a brief commentary or a caption –, accessed by clicking the words which overlay the images.



Marianna Hovhannisyan (Yerevan/San Diego) is a research-based curator, a Ph.D student in Art History, Theory, and Criticism at Visual Arts Department, Univerisity of California San Diego. 

Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).


The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


http://incidents.kadist.org/chicago

A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


http://incidents.kadist.org/jinja

The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


http://incidents.kadist.org/suzhou

The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China
http://incidents.kadist.org/lisbon

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
http://incidents.kadist.org/terengganu

The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."  


RELATED CONTENT:






    Latitudes' "out of office" 2016–2017 season

     Downtime for physical and mental "reparations" begins. 
    Photos: Latitudes (except where noted otherwise).

    It's the end of the 2016–17 season, at last. Following a Latitudes' tradition we mark the summer downtime with an "out of office" post (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16 ones) with a series of "behind the scenes" and "making of" moments from the year gone by. Here are some glimpses of the past season, from September 2016 to July 2017.

    We'll be back in September 2017, when we'll be leading a residency programme at Banff Centre in the Canadian Rockies!

     
    15 September
    2016: The 2016–17 season started with glitter and sparkle as Antoni Hervàs' "The Mystery of Caviria" exhibition opened in La Capella. The eight chapters of his complex scenario revolved around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The spectacular scenography took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Taking this fragment, Hervàs explored the transformist and genre-bending possibilities of drawing, a medium that enabled him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene. Photos of the exhibition here.

    Toni's exhibition was the focus of the September and November Cover Story series on our home page, archived here.



    Photos above: Latitudes and Toni Hervàs.

    18 September 2016: More sparkle awaited on the former site of the Copacabana club and nearby frontón court. The former is currently a parking lot used by the Department of Culture of the Catalan Government. The lone castanets master Juan de la Cruz el Rosillo interpreted a moving repertoire of popular Spanish coplas. For the second part of the event, the audience walked a few meters up Las Ramblas towards the frontón, where Gerard López, Senior Spanish Champion in male rhythmic gymnastics, interpreted newly-commissioned choreography with specially-produced music by Norman Bambi, while wearing a Hervàs-designed garment (exhibited as part of his exhibition).


    20 September 2016: Just as we are catching our breath from the memorable exhibition opening and the first event related to Toni's exhibition, street banners popped up around the city announcing the second Barcelona Gallery Weekend.


    26–28 September 2016: Installation of "Composiciones" projects, five site-specific commissions for the second iteration of the Barcelona Gallery Weekend. Three days of intense preparations! Curated by Latitudes for the second time (see 2015 edition), the project further explored Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous.

     Above and below: Lola Lasurt at the Biblioteca Pública Arús. 
    (Above) Lúa and Mariana admiring the serendipitous finding of "El Espejo equivocado" painting at the Club Billar Barcelona. An almost spooky, yet incredibly fitting find. 

    (Above) With Rafel Bianchi and Gina Giménez unpacking Gina's works and spreading them around the former textile factory Can Trinxet, L’Hospitalet de Llobregat. 

    Silkscreened outfits for the runners finally ready to be worn throughout the weekend. Photos: Robert Llimós.

    Runners pass by Galeria dels Àngels. Photo: Gabriela Moragas.
     Testing the resistance of a pair of Levi's jeans in preparation for Wilfredo Prieto "Pantalones Rotos" at the Mounted Unit of the Barcelona City Police.


    29 September–2 October 2016: Opening and guided visits around the five "Composiciones" interventions by Lúa Coderch (at the Club Billar Barcelona); Regina Giménez (at the former textile factory Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (at the Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (at the Mounted Unit of the Barcelona City Police) in unique sites across the neighbourhoods of the city. Their projects offered moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

    Storify archive of social networks posts. Photographs here.

    Guided tour by Lúa Coderch in her intervention at the Club Billar Barcelona.

    Guided tour by Gina Giménez to ARCOwalks group in Can Trinxet. 

     Speaking for the radio at the Mounted Unit of the Barcelona City Police.

     
     TV presenter Josep Paris modeled Robert Llimós' 1972 updated runners design during the weekly cultural TV programme Àrtic. Photo: Àrtic.

     Double spread on "Composiciones" in the cultural supplement "Tendències" by national newspaper El Mundo. Photo: Vanessa Graell.

    26 October 2016: Launch of Rasmus Nilausen book "Soups & Symptoms" at Múltiplos, which includes an essay by Max Andrews. For the event, Rasmus and Max served up a carrot soup (potage crécy) and requested questions from friends, family and collaborators which would be accepted as long as they fitted onto Jacob's Cream cracker.

    The catalogue was produced thanks to the funding from Premi Art Nou 2015, Art Barcelona, Associació de Galeries d’Art Contemporani in collaboration with the Institut de Cultura de Barcelona, García Galeria (Madrid) and Estrany de la Mota (Barcelona). It can be purchased in La Central.

    Max and Rasmus prepare the carrots for a large pot of Potage Crécy, questions are written on a Jacob's Cream crackers (that will later accompany the soup) and book launch at Múltiplos.


    3 November 2016: Runway show at La Capella with some costumes from the 1980s and 90s designed by actor and impresario Victor Guerrero. Part of the activities programmed on the occasion of the exhibition.

    Photos: Latitudes.

    8 November 2016: Mariana Cánepa Luna's review on Ana Jotta's exhibition published on art-agenda, focused on "her ongoing series 'Notas de rodapé' [Footnotes] [which] provide a key to understanding the semantic complexity of her work. It comprises a selection of the eclectic bits and pieces which Jotta has gathered for decades and that coexist in her studio alongside works that she has fabricated." Continue reading


    23-24 November 2016: Latitudes participated in a two-day summit "You are such a curator!" organised by the Curatorial Programme of De Appel, Amsterdam. With contributions by Mira Asriningtyas, Lucrezia Calabro Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Ariane Loze, Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme, Huib Haye van der Werf, and others. We took the opportunity to extend our stay on the occasion of the Amsterdam Art Weekend 2016, which included the opening of Jordan Wolfson's at the Stedelijk and the Open Studios at the Rijksakademie.


    Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in Summer 2017. Full report here.

      Photos: Carina Erdmann/De Appel.

    November-December 2016: Two of Latitudes' projects ("Composiciones" commissions for the Barcelona Gallery Weekend and "El misterio de Caviria" by Antoni Hervàs) are shortlisted for the best exhibition of the year by the TV culture programme Tria33. The audience casts their votes online until January. Antoni Hervàs won with 40% of the audience votes. "Composiciones" ends in the third position with 17% of the votes.



    January 2017: Issue of frieze magazines includes Max Andrews' "Salon Selectives" text in the Opinion section, discussing "How open are open calls?":

    "While competition organizers typically trumpet the volume and cosmopolitanism of applications received an ebullient endorsement, others may rue the sheer amount of collectively wasted effort made by the also-rans. (In Spain, Bilbao-based studio Taller de Casquería estimated that the hours involved in the 1,715 submissions received for the Guggenheim Helsinki open call for designs represented over €18 million worth of speculative work.) In Gary Hustwit’s 2011 documentary film, Urbanized, Rem Koolhaas stated that such competitions were a ‘complete drain of intelligence’, inviting mass creative thinking with the guarantee that the vast majority of it will be discarded. This addiction in the field of architecture appears to be gaining traction in contemporary art as a means not only of generating exhibitions but of programming institutions."

    The text was the January Cover Story on our website.


    25 January 2017: Presentation of Antoni Hervàs' La Capella publication at the Antic Teatre in the background of one of his scenographic drawings dedicated to Gilda Love (this was the second time this had been displayed in this space, following the recording in May last year of Gilda performing, a video later included in the exhibition). The evening was followed by the "Desplume" monthly cabaret show.




    16 February 2017: A moving evening seeing Toni Hervàs receive the Premi Ciutat de Barcelona for visual arts exhibition of the year at the Sala de Consell de Cent in the Barcelona City Hall. The jury recognised "the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality."

    Toni receiving the award from Barcelona mayor Ada Colau and during his speech. Photos: Latitudes.

    1 March 2017: Launch of the fourth 'Incidents (of Travel)' episode, in which Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha in Lisbon. Their offline day took place in early December and went through key locations in the artist's life – from Ar.Co, the School of Visual Arts in Almada where she enrolled at age thirty-seven, to the Largo da Academia de Belas Artes in Chiado, where she conceived a public project that never materialised.
    Above: captures from the project website.

    2 March 2017: Opening of Joana Hurtado Matheu's "Nostalgic Dissidence" exhibition mentored by Latitudes as part of the Barcelona Producció 2016 season. Repairs and conservation work in the Baroque cupola had delayed the opening by three months, so we were all pleased the day finally arrived. 

      Working on the exhibition layout.

    Francesco Arena's "Mare della tranquillità" (2013) is activated by a performer. "An old wooden table, taken from the family dining room, has been cut into four pieces to form the corners of a much bigger new table. Enlarged with inserts of metal, its size evokes the table on which, on May 7, 1945, the signing of the German surrender ended World War II in Europe. The work is the support for a participative action which consists of walking back and forth on the five-metre table a total of 155 km, the length of the Berlin Wall. Every day during the two months of the exhibition someone will get up on the table and, wearing shoes that have never touched the ground and holding a tally counter, walk from one end to the other 596 times." (exhibition wall label by the curator)

    Photos: Pep Herrero/La Capella and Marc Llibre Roig.

    January 2017: The artist Alexandra Navratil pots an image of the work she will present in the forthcoming exhibition "4.543 billion" due to open June 29 at the CAPC musée in Bordeaux.


    22–24 March 2017: Third trip to Bordeaux. Packed with meetings. Three months to go to the opening of "4.543 billion" exhibition. In two weeks deadline to submit the texts for the gallery guide. 

     Running through each work through our sketch up exhibition rendering with the curatorial, collections, registrar, press and installation teams.

    23 March 2017: Meanwhile in Barcelona, Toni Hervàs wins yet another award – for the best exhibition of the year, and given by the Catalan Association of Art Critics. 

    Hervàs during the award ceremony. Photo: ACCA.

    April 2017: A bit of a website refresh – these things are so darn tedious yet they feel so good when they are done and dusted!


    26 April 2017: Fifth 'Incidents (of Travel)' episode online narrating the encounter between curator Simon Soon and artist Chi Too. Their offline day took place in April 2016, when they visited the Malaysian state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."

    'Incidents (of Travel)' is a chartered day-long itinerary as an alternative to the standard studio-visit, inviting an extended conversation between a curator and an artist. Previous destinations have included Chicago, US; Jinja, Uganda; Suzhou, China; and Lisbon, Portugal. Produced by Kadist; photographs and video by Awang Ketut; site built by The Present Group.



    Above: captures from the project website.

    3 May 2017: Conversation with Korean-born, Berlin-based artist Haegue Yang at the Fundació Tàpies, Barcelona. The evening discussion analysed Yang's practice from the perspective of historical development and cyclic fluctuations, asked, as phrased by sociologist and economist Giovanni Arrighi – what is accumulative, what is cyclical, what is new? 

    Photos: Fundació Han Nefkens.

    May 2017: After three intense weeks of jury process, eighteen selected projects of Barcelona Producció 2017 grant scheme are announced. We begin the year-long mentoring process of three projects out of the seventeen selected projects this year as part of the Barcelona Producció 2017 production grants. David Mutiloa's SYNTHESIS (18 July–25 September 2017) is first to occupy La Capella's 15th-century exhibition space. The other two projects mentored by Latitudes are a publication by Anna Moreno and an exhibition "Artengo2000" at the small exhibition space by Camille Orny and Magda Vaz.

     Jury searching for a solid wifi spot to watch video documentation sent by an applicant.

    12 June 2017, in Basel: Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings of Christopher Knowles. The publication is made to accompany his solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. The exquisite short-run publication is designed and printed by Barcelona-based independent publishers and Riso printers Do The Print. Read on.

     Photos: Latitudes

    Photo via @gal_NB


    12 June, in Barcelona: Following the announcement of the awardees of the 2017–18 season of Barcelona Producció production grants, we visit David Mutiloa's temporary studio in Hangar. Mutiloa is the first artist to open the season and his exhibition "SYNTHESIS" will take place in the central nave of La Capella from July 18. 

    "Using sculpture, video projections and human presence, David Mutiloa’s exhibition Synthesis proposes that this condition has led to the appearance of pharmacologically managed depression, “an illness of responsibility”. It has also induced a terrible form of boredom – the spectre of both the boundless outsourcing of undesirable labour to the developing world and automation leading to a world without work. – Text from the gallery guide, written by Latitudes (pdf here). 

    Here is a short video documenting the exhibition.

     Photos: Latitudes

     
    19 June–2 July: We're off to Bordeaux for the installation and opening of "4.543 billion. The matter of matter" exhibition in ten days. After two years of preparation, it's a truly exciting moment to see it all coming together.  

    —> Press release here
    —> Ongoing archive of social media posts here.

    Lucy Skaer's 26 coal and resin sculptures after Brancusi's 26 different editions of "Bird in Space".

    Deciding the layout of Félix Arnaudin's incredible suite of photographs kindly lent by the Musée d'Aquitaine Bordeaux.

    Photovoltaic panels charging the batteries that power Nicholas Mangan's double video projection "Ancient Lights" (2015). 

     Anne Garde's photos documenting Richard Serra's "Threats of Hell" (1990) production from Dillinger Hütter (Germany) to its exhibition at the CAPC nave, to its current location at a private collector home on the banks of the Garonne, where it changed its name to a happier "Hopes of Paradise".
     Part of the CAPC installation team having a coffee break enjoying Stéphane's awesome chocolate cake.
     Rayyane Tabet's mobile pieces arriving from Hamburg at the CAPC.
    Registrar thick checklist file.
     François measuring Lara Almarcegui's works before placing them on the wall.

     Construction of the warehouse and jetty. Statements of works by engineer and architect Claude Deschamps.
     Christophe moving the 600kg rock by Hubert Duprat to the entrance.
     Pascal lighting the exhibition.

    Christina Hemauer and Roman Keller stretching their new work "Untitled (Blue)" (2017), for a work focused on indigo and colonial trade. 

    Christina Hemauer and Terence Gower listening to Pep Vidal explaining his sculpture work "19-metre tree cut in 7 equal volumes" (2015). 

     One of the many guided visits for press, staff, friends of the museum during the opening days. Photo: Latitudes/RK.

    11–14 July 2017: Installation of "SYNTHESIS" in La Capella. David Mutiloa's solo exhibition is the first of the 2017–18 season of Barcelona Producció. Opening on July 18, on view until September 25.

    "In the modern office workplace, spatial design and brand communication have evolved in step with novel notions of management, business efficiency and a labour market that progressively favours flexibility and adaptability. The typical Western office worker – their physiology as well as their psychology – has also been overhauled. Twentieth-century time-and-motion studies first standardised and rationalised the salaried worker’s time and space. And today the twenty-first-century worker is increasingly a co-working independent contractor who navigates an entirely dissolved working-week structure, continuous competitive ‘disruption’ and the so-called ‘gig economy’." – Text by Latitudes from the exhibition sheet.

    Scheme to help assemble the platform.

     Artist at work.



    24–26 July 2017: Trip to Copenhagen to visit the impressive solo exhibition by John Kørner, "Altid Mange Problemer" at Kunsthal Charlottenborg, curated by Marie Nipper—the largest exhibition of his works to date. Max Andrews of Latitudes has been invited to contribute an essay for his forthcoming monograph published by Roulette Russe which is due to come out in November 2017. Max has previously written on John's work for his 2006 exhibition "Problems" at Victoria Miro Gallery in London. Our first visit to Copenhagen to see John's work was precisely the subject of our first blog post in September 2006!

    Everything in Copenhagen seemed to have turned yellow – we knew John's love for the colour (first image below), but also Mark Leckey's exhibition at the x-room of the Statens Museum fur Kunst, seemed to have been inspired by "the Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 


    Mark Leckey's exhibition ‘He Thrusts his fists against the posts but still insists he sees the ghosts’ recreated the ramps underneath the M53 motorway bridge in Ellesmere Port. 

    Example of the "Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 

    27 July 2017: Visit Ricardo Bofill's Walden7 and his nearby studio Taller de Arquitectura with Anna Moreno. Moreno was awarded a grant of Barcelona Producció 2017 to produce the publication "The Drowned Giant", a project focusing on a performance–happening staged by Bofill in 1970 to promote his unrealised architectural project La Ciudad en el Espacio in Moratalaz (Madrid). The publication will be launched in late November 2017 and is mentored by Latitudes. As part of Moreno's ongoing research on Bofill's practice, she has been living in Walden7 for the past month in order to carry research for a forthcoming commission for the Spring 2018 exhibition "Beehave" at the Fundació Miró. 


     (Above) Taller de arquitectura studio. (Below) Walden7 in Sant Just Desvern (Barcelona).



    At the time of writing, we are frantically preparing for what will be an intense September. On September 10 we'll travel to Banff, where Latitudes will be Lead Faculty of the month-long residency programme "Geologic Time" at the Banff Centre for Arts and Creativity which will bring together 10 curators/artists/writers from around the world to discuss geological formations and timescales, while speculating about a more expansive and longer-term view of art, exhibitions, and their institutions. We will be “thinking with” geology (beyond the depiction of the landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art. 

     Julius Schoppe (1795–1868), “Illustration of giant stone near the Rauenschen Mountains near Fürstenwalde”, c. 1827. Public domain – Wikimedia Commons.

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    Exposición y actividades programadas durante la exposición "La disidencia nostálgica" comisariada por Joana Hurtado Matheu en La Capella

    (Arriba y abajo) Vista de la instalación con obra de Richard McGuire. 
    Todas las fotografías: Pep Herrero/La Capella–BCN Producció 2016.


    "La disidencia nostálgica"
    3 marzo–30 abril 2017
    Comisariada por Joana Hurtado Matheu

    Con la participación de Francesco Arena, The Atlas Group / Walid Raad, Lúa Coderch, Roger Guaus, Marine Hugonnier, Odó Hurtado, Ange Leccia, Richard McGuire, Deimantas Narkevičius, Aimar Pérez Galí, Suzanne Perrottet, Julien Prévieux, Anri Sala, Adrian Schindler y Danh Vō.

    En una sociedad obsesionada por la memoria –por el archivo, el monumento y el testimonio–, la nostalgia se ha convertido en un fenómeno público, un síntoma, incluso, de la cultura contemporánea.

    No obstante, existen muchos tipos de nostalgia. La más omnipresente en la actualidad es una nostalgia regresiva y comercial, adoptada por las políticas conservadoras para establecer símbolos en honor a un pasado que se pretende heroico e inmutable, o convertida por la industria cultural en un objeto de consumo sin consciencia histórica. Pero existe otra nostalgia, una que va en sentido opuesto, que es disruptiva porque no conmemora ni banaliza el pasado, una nostalgia que aprovecha la perspectiva para reflexionar sobre la historia y, a través de este desfase físico y temporal, reconoce la interdependencia entre lo individual y lo colectivo, y puede recuperar así el vínculo entre la memoria y la utopía.

    Hoy, contra la nostalgia absolutista o mercantilizada, contra el revival nacional y el souvenir neutral, se abre paso una nostalgia disidente, que explora las ambivalencias de experimentar distintos tiempos y espacios al mismo tiempo. Esta nostalgia que encontramos en la literatura y el cine modernos, de William Faulkner a Samuel Beckett, de Jean-Luc Godard a Chris Marker, también es motivo de creación en el arte contemporáneo. 


      Vista de la exposición "La disidencia nostálgica".

    "La disidencia nostálgica" propone un recorrido por la obra de artistas que trabajan con el pasado como un espacio de resistencia y posibilidad creativa. Por un lado, reivindican una distancia crítica para visibilizar el peso del poder político en la interpretación de la historia, y por el otro, reconocen el poder afectivo como un saber personal y colectivo, que puede ser vivido, transmitido o soñado. 

    Esta aproximación a la disidencia nostálgica se sitúa en un contexto más amplio, complejo y conflictivo: el de la lectura de la historia y la representación de la memoria. Es un tema de actualidad fuera de la exposición, ya que últimamente, en un intento por detectar faltas y reconstruir anhelos, hemos visto cómo el pasado vuelve –ya sea el 1714 o la Constitución española– a la hora de pensar futuros alternativos. ¿Pero en nombre de quién, cómo y para qué miramos atrás? 

    – Joana Hurtado Matheu


    Proyecto ganador de la convocatoria BCN Producció'16 en la categoría de comisariado. Tutorizado por Latitudes.

    Joana Hurtado Matheu es escritora, comisaria e investigadora independiente, especializada en las relaciones entre prácticas artísticas, fotografía y cine. Coordina el programa de artes visuales de Can Felipa del Ayuntamiento de Barcelona y ha comisariado proyectos expositivos y cinematográficos como Heretgies (LOOP, 2016-2017), Catedrals a la capella (capella de Sant Roc, Valls, 2011-2013), Pop Up. Veure és afegir (CaixaForum, 2011), Efecte cinema (Can Felipa, 2009) o Cinergies (CCCB, 2008-2009). Profesora invitada en varias universidades y actual vicepresidenta de la Associació Catalana de Crítics d’Art, ha colaborado en el suplemento “Cultura/s” de La Vanguardia durante más de diez años, así como en varias revistas de arte y cine, catálogos y libros colectivos.

    Con el apoyo de: Goethe Institut, Galeria Nogueras Blanchard, Filmoteca de Cataluña, CA2M y Fundación ARCO, Zumzeig, Boyberry, Hangar, Cafè Schilling.


    Con la colaboración de: Centro de Arte Dos de Mayo, Galerie Chantal Crousel, Galeria Fortes D’Aloia & Gabriel, Galeria NoguerasBlanchard, Galerie Martel.


    Agradecimientos: Elisabet Albareda, Latitudes, Juan Diego Valera, Èlia Llach, Eva Sòria, Alex Nogueras, Oriol Fontdevila, Aleix Plademunt, Eulàlia Rovira, Gemma Alberich, Manuel Segade. Y a mi familia –la que conozco, la que imagino y la que sueño–.



     ACTIVIDADES PROGRAMADAS:

    Francesco Arena, Mare della tranquillità, 2013. Metal, madera, 500 x 178 x 75 cm y acción. Foto: Martin Argyroglo / Cortesia Galleria Raffaella Cortese, Milano, y NoguerasBlanchard, Barcelona/Madrid.

    Superficie con linea, de Francesco Arena.
    Cada día en horario de apertura de la sala.
    Inscripciones individuales o por grupos de dos o tres personas en el punto de información de la sala y en: [email protected]
      
    Una vieja mesa de madera sacada del comedor familiar, ha sido cortada en cuatro partes para hacer las esquinas de una nueva mesa mucho más grande. Ampliada con piezas de metal, sus medidas evocan la mesa donde, el 7 de mayo de 1945, se firmó la rendición alemana que pondría fin a la Segunda Guerra Mundial. La obra se acompaña de una acción –en esta ocasión, abierta a la participación– que consiste en caminar sobre la mesa un total de 155 km, la longitud del muro de Berlín. Con unos zapatos que no han pisado nunca el suelo y un contador en la mano, cada día, durante los dos meses que dura la exposición, alguien recorrerá la mesa de punta a punta 596 veces. Las decisiones que se toman alrededor de una mesa afectan el futuro a pequeña y gran escalera.

    Aimar Pérez Galí, The Touching Community / Greenberg_1992, 2017. Acción. Cortesia del artista. 


    Aimar Pérez Galí, The Touching Community / Correspondencia, 2017. Impresiones y tinta sobre papel y linóleo. Cortesia del artista. 

     The Touching Community / Greenberg_1992, de Aimar Pérez Galí 
    Texto: Jon Greenberg. 
    Acción: Óscar Dasí y Aimar Pérez Galí. 
    Sonido: Tirso Orive
    Sábado 25 de marzo, 12h en Boyberry (c/ Calàbria, 96)
    Duración: 60 minutos 
    Mayores de 18 años.
    Plazas limitadas. Inscripción gratuita hasta competar aforo.
    Reservas: [email protected] 
    En colaboración con Boyberry. 

    Aimar Pérez Galí investiga sobre el impacto que tuvo la epidemia del sida en el contexto de la danza española y latinoamericana. The Touching Community es un trabajo íntimo y afectivo que a través de un diálogo con los fantasmas da visibilidad a una época y una comunidad. La acción que acompaña la instalación en sala, se apropia del Contact Improvisation, práctica de danza en la cual el movimiento se improvisa a partir del contacto físico entre dos cuerpos y que contrasta con las políticas de inmunidad que aparecieron con el VIH. Un trabajo sobre la memoria, silenciada o transmitida, y sobre el tacto y el contacto como herramienta de supervivencia. 



    Instalación de Lúa Coderch, "Nit en blanc abans", 2017. Vídeo digital, 4:3, monocanal, color, sonido, 11' 17". Cortesia de la artista y Galeria Àngels, Barcelona. 


    Un viatge d’anada i tornada [Un viaje de ida y vuelta], de Lúa Coderch
    Sábado 1 de abril, 10h en Moll de les Drassanes

    Duración: 1h
    Plazas limitadas. Inscripciones en: [email protected]
    *Esta actividad puede resultar afectada por causas meteorológicas. 


    La artista barcelonesa ha reciclado los muebles de casa para hacer una tarima, plegable y portátil, como una maleta, que acoge el vídeo de un relato escrito durante una noche en blanco. Los recuerdos son la base de nuestros sueños, cuando dormimos o cuando esperamos despiertos uno mañana que no llega. Sobre las distracciones y las distancias ganadas durante este “tiempo perdido” trata también la actividad que nos propone: un viaje de ida y retorno. Nieta de abuelos nacionales durante la Guerra Civil Española, su obra más nostálgicamente contestataria, donde aprende a cantar las canciones del bando republicano, sonará cada noche a la calle Hospital.

     Adrian Schindler, "3400 g - 1,100 °C", 2017. Instalación y vídeo. Cortesía del artista.

    Der Rüstungsfluss / El riu armadura, de Adrian Schindler
    Sábado 29 de abril, 18h en La Capella (c/ Hospital 56)
    Plazas limitadas. Inscripciones en:
    [email protected]
    En colaboración con el Goethe Institut.

    A través de la proyección de documentos históricos y fotografías personales, Adrian Schindler narra la historia y el papel estratégico de un puente sobre el Rin, construido cerca del pueblo de donde proviene su familia materna. Un puente que une la historia europea y la familiar en base de sombras y fragmentos, que nos traen desde las fronteras del imperio romano hasta los años de ocupación de los aliados, pasando por las guerras religiosas francesas y el Tercer Reich.

    Vista de la exposición – performance de Francesco Arena. Foto: Pep Herrero/La Capella–BCN Producció 2016.

    Ciclo de cine:

    En la Filmoteca de Catalunya
    Jean-Marie Straub y Danièle Huillet, "En rachâchant". 7 min, 1982.
    Eric Baudelaire, "The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images". 66 min, 2011.
    4 de abril, 21h.

    Deimantas Narkevičius, "The Role of a Lifetime". 16 min, 2003.
    Patricio Guzmán, "Nostalgia de la luz". 90 min, 2010.
    5 de abril, 21h.

    Sandra Ruesga, "Haciendo Memoria. Entre el dictador y yo". 10 min, 2005.
    Michel Haneke, Caché. 118 min, 2006.
    6 de abril, 21h.

    En el Zumzeig Cinema
    30 de marzo y 13, 20 y 27 de abril.

    Consultar cartelera.

    Vista de la exposición – fotografía de Marine Hugonnier "Towards Tomorrow (International Date Line, Alaska)", 2001 

    Vista de la exposición – obra de Roger Guaus. Foto: Pep Herrero/La Capella–BCN Producció 2016.

    Visitas comentadas:

    Visitas comentadas a cargo de la comisaria
    Joana Hurtado Matheu
    14 de marzo y 25 de abril, a las 18 h.

    Visitas por la disidencia nostálgica de la exposición y de La Capella a cargo de Núria Miret y Judith López.
    Cada sábado, a las 18 h.


      RELACIONADO:




    Fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal


    The fourth 'Incidents (of Travel)' episode comes from Lisbon, Portugal, where Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha. Their offline day took place in early December and went through key locations in the artist's life – from Ar.Co, the School of Visual Arts in Almada where she enrolled at age thirty seven, to the Largo da Academia de Belas Artes in Chiado, where she conceived a public project that never materialised. 

    Each of the 23 photographs in the sequence is augmented by one or more extra assets (a brief commentary, a caption or a soundscape), and is accessed by clicking the words which overlay the images. 


    Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist' instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice initiative). 

    The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.

    Since April 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes regular contributions from invited curators and artists working around the world. 

    The series inaugurated with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan. The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972. The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.
    Forthcoming contributions: Simon Soon (Kuala Lumpur / Sydney); Natalia Zuluaga (Pereira / Miami) and Marianna Hovhannisyan (Yerevan), all fellows who participated in the seminar ‘The Place From Where We Look’ at Kadist Paris in June 2015.  

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    Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016


    Antoni Hervàs receiving the award from Ada Colau, Mayor of Barcelona, at the Saló de Cent of the Ajuntament de Barcelona, 16 February. Photos: Latitudes.

    We are delighted to announce that Antoni Hervàs's exhibition "El Misterio de Caviria" (The Mystery of Caviria) has been awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 (City of Barcelona Award). The award has been organised on a yearly basis since 1949 by the Ajuntament de Barcelona (Barcelona City Council), "to award the creation, research and production of quality produced in Barcelona by creators or collectives working for institutions and organizations in Barcelona that promote or produce projects".  

    The jury recognised "the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality." The jury also acklowledged the "formalisation of the project into a scenographic and immersive installation and the range of public programmes it generated". Huge congratulations Toni, a very well-deserved recognition for your Herculian efforts!

    The prize comes hot-on-the-heels of Hervàs's exhibition winning the public vote for the best show of 2016 given by the Tria 33 programme of the Catalan TV3 channel. 

    "El Misterio de Caviria" (The Mystery of Caviria) took place at La Capella between September and November 2016. It was part of the BCN Producció'16 season and was one of the three projects mentored this year by Latitudes.  

    View of "El Misterio de Caviria" exhibition by Antoni Hervàs at La Capella.  
    This and following photos: Pep Herrero / La Capella–BCN Producció'16.

    Antoni Hervàs’ artistic project revolves around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The exhibition "El Misterio de Caviria" (The Mystery of Cabeiria), divided into eight chapters (exhibition guide (pdf) and description of each chapter (pdf)), took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Here live a kind of tribe of Amazons organized under the gynaecocracy of Queen Hypsipyle who are keeping a grisly secret. Taking this fragment, Hervàs explores the transformist and genre-bending possibilities of drawing, a medium that enables him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene. 

    Video of the exhibition (Spanish subtitles).

     
    Exhibition layout. Space design: Goig.
     
    Publication of the project edited by Ajuntament de Barcelona and The Flames. Photos: Latitudes.

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    Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend

     Above: de Appel director Niels van Tomme during his welcome speech.  
    This and following photos: Carina Erdmann/De Appel.

    Latitudes participated in de Appel Arts Centre two-day symposium "You are such a curator!" on 23 and 24 November 2016. Coinciding with the Amsterdam Art Weekend, the event presented lectures, discussions, performances and papers marking the conclusion of a three-year research project into the dynamics of de Appel’s curatorial programme and its position in the wider field of curatorial education.

    Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in 2017. Their point of departure was responding to the question "what does the wrongful killing of a dog in medieval France have to tell us about the micro and the macro, the hyper-specific and the universal?"  

    Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'. 
    Below: Q+A session.
     
    Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.  
    Below: Latitudes' presentation "Following the Holy Greyhound".
     
    Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation. 
    Below: Attentive (femenine!) audience. 

    Above: (Intensive) Q+A amongst speakers and audience. 
    Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.

    Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'. 
    Below: Niels van Tomme during one of the many Q+A's.

    Above: Prem Krishnamurthy during a Q+A.

    The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
      
    We also visited a few exhibitions and attended a few events  programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
     
    "Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.

    (above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
    Majestic "Labyrinth" (2016) piece above and below.
    (above) "New Improvisation with Bart de Kroon", one of the five performances Jeremiah Day presented at Ellen de Bruijne Projects.

    And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.


    Abstracted images by Claudia Martínez Garay

    (Above and below) Installation on the ground floor by Eva Spierenburg.

    Sculptural and archival material by British artist Alex Farrar around his suit.

    More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.

     Glass piece by German artist Christine Moldrickx (above and below). 

    The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.

    (Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.

    Jordan Wolfson's "Colored Sculpture" (2016).

    San Serriffe art book shop in the red light district.

    kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.

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    30% off Latitudes' tote bag limited editions

     

    In Spring 2015 Latitudes launched a limited edition of tote bags to mark its 10th anniversary. These four specially commissioned silkscreened tote bags feature designs by four artists with whom Latitudes has collaborated over the past decade: Lawrence Weiner (New York, 1942), Haegue Yang (Seoul, 1971), Ignasi Aballí (Barcelona, 1958) and Mariana Castillo Deball (Mexico City, 1975).

    We are now offering a 30% discount, a special sale price of 35 Euros per tote (+shipping) valid throughout December 2016 (usually €50 + shipping). 

    Edition: 35 + 5 A.P. (Haegue Yang's tote is ed. 20 + 10 AP)
    Measurements: 38 high × 40 width × 14 base (in cm)
    Fabric: 475 gsm natural chlorine-free cotton canvas
    Strap: Adjustable Capacity: 15 litres
    Weight: 420 gr aprox.
     

    Each bag is made from natural durable cotton canvas with a reinforced base. They feature a press-stud closure, an internal pocket with a zip (never loose your keys again!), an adjustable shoulder strap, as well as smaller handles for carrying like a briefcase.

    Each bag have been hand silkscreened in Print Workers, Barcelona; this is an artisanal process and each printing results in slight variations.

    Place your order(s) from our website. Here some nice pics of our happy customers with their totes:





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    Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda

    Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: ©Roberto Ruiz 

    Ana Jotta’s “Abans que me n’oblidi (Before I forget)
    PROJECTESD, Barcelona
    September 30–November 26, 2016
     

    by Mariana Cánepa Luna

    "While it has been widely exhibited in her native Portugal, Ana Jotta’s work hasn’t been presented in depth to the Barcelona public since the early 1990s.(1) So this mini-survey of her production from 1980 to the present, framed as part of the Barcelona Gallery Weekend, is overdue. “Abans que me n’oblidi (Before I forget)” begins (or ends) at the intermediary patio space that one crosses before entering the main exhibition space at ProjecteSD. Part of a curved wall is covered with irregular patches of light gray and pale pink paint, as if emulating swatch tests for a redecoration. This playful gesture sets the tone for the exhibition inside, a somber and subtle palette of delicate intonations and provisional arrangements."  


    Continue reading...
     

    Originally published in art-agenda.com on November 8, 2016.

    Ana Jotta, "Cloud", 2013. Painted steel, 90 x 200 x 4 cm. Photo: ©Roberto Ruiz.

    Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: ©Roberto Ruiz.


    Ana Jotta, "Footnote #1", 2016. Mixed media. Variable dimensions. Photo: ©Roberto Ruiz.



    Ana Jotta, "Un Printemps 2008", 2008, Acrylic and felt pen on screen, 160 x 129 x 16 cm. Photo: ©Roberto Ruiz.


    Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: ©Roberto Ruiz.


    Ana Jotta, "Que Sais-Je?", 2011. Marker pen on tape roll, 2,5 x 14,3 diam. cm. Photo: ©Roberto Ruiz.



     Detail of several "Footnote" pieces. Photo: Latitudes.

     Detail of several "Footnote" pieces. Photo: Latitudes.

    Ana Jotta, "Sem título", 2016. Paint on wall. Variable dimensions. Photo: Latitudes.

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    Actividades programadas durante la exposición "El misterio de caviria" de Antoni Hervàs en La Capella


    Hasta el próximo domingo 13 de noviembre tenéis oportunidad de visitar la exposición individual "El Misterio de Caviria" de Antoni Hervàs en La Capella

    En paralelo a la exposicón, se han organizado una serie de actividades que han activado la exposición, la primera de las cuales tuvo lugar el 18 de septiembre en el antiguo local de fiestas Copacabana (actual aparcamiento del Department de Cultura de la Generalitat en La Rambla) cuando Juan de la Cruz el Rosillo, interpretó un emocionante repertorio de canciones acompañado por sus ya famosas castañuelas de cerámica.

    Fotos: Latitudes.

    A continuación el público se desplazó unos metros hasta el Frontón Colón donde Gerard López, el campeón de España masculino senior de gimnasia rítmica, reali una coreografía llevando un maillot diseñado para la ocasión por Hervàs – actualmente expuesto en La Capella. El Copacabana fue el primer local de espectáculos de travestismo en la ciudad condal tras la Guerra Civil. Uno de sus números más populares era cuando la travesti Margarita (ahora encarnada en el premiado gimnasta), disfrazada con un traje de volantes hechos con papel de periódico, invitaba a los espectadores a que le prendieran fuego provocando su danza frenética. López interpretó una sinuosa versión de la danza de los siete velos compuesta por Norman Bambi  para esta ocasión, en la que los movimientos gráciles y seductores del atleta, encubren la poderosa y agresiva disciplina que requiere la gimnasia rítmica permitiéndole reavivar las cenizas del extinto local.


    Fotos: Latitudes.


    El 27 de octubre, en una velada organizada en colaboración con el cineasta Eduardo Gión (director de "Lentejuelas de sangre" (2012) y del espectáculo mensual "El Desplume!" en el Antic Teatre), se proyectaron en La Capella cinco cortos inéditos en Super-8 realizados por el legendario Pierrot (el actor, dibujante, escritor y showman Antonio Gracia (1942-2011)) pionero del fantaterror y del cine experimental barcelonés.


    Cartel de @octavioterol.

     El programa incluyó:

    + Miss Drácula (22' 36'')
    ¿Se siente enjaulado? ¿Embriagado todavía por un amor desdichado? ¿Preferiría desaparecer? Muera tal y como ha deseado toda su puñetera vida. Miss Drácula le complacerá. Vaya a verla cuando quiera, ella le está esperando en su castillo.

    + Lecciones de sexualidad (17')
    Pasen y vean: sexo-terror, un delicioso paseo en el cual recrearse y dar rienda suelta a tabúes y perversiones inconfesables.

    + La muñeca (27' 30'')
    La sangre de los muertos es semilla de nuevos súbditos de Satán. Un viaje hacia el epicentro del Mal en el que no se conformaron con llamar a sus puertas, sino que arrojaron pedruscos para cerciorarse de que se enteraría.

    + Poseídos (10')
    Cuando una está harta de ver levitar a sus hijos y de dejarse la piel al limpiar esa viscosa y supurante espuma verde con la que lo dejan todo perdido, no queda más remedio que tomar asiento y pintarse las uñas mientras se espera la llegada del crucifijo.

    + El diario de Er (6' 50'')
    Eredio danza menguante entre las páginas de su diario, en que yace escrito con sangre el apasionado relato de un amor no correspondido.
     


    Víctor Guerrero.

    Finalmente el 3 de noviembre, tuvo un lugar un recorrido antológico por la trajectoria de Víctor Guerrero, showman y diseñador de vestuario, a través del desfile de sus trajes más memorables realizados en los años 70 y hasta la actualidad. El recorrido transformó la instalación de "El misterio de caviria" en un psicodélico desfile feliniano de la mano de los modelos Gabriel, Bruno, Manuel, Yago, Juan David, Víctor y Manel (¡gracias a cada uno de ellos por su complicidad!).


     (Arriba y abajo) Entre bambalinas: Víctor Guerrero presenta a los modelos los trajes y complementos de su colección personal. Todas las fotos: Latitudes

     Bruno durante la prueba de vestuario y ensayo. 
      Manuel durante la prueba de vestuario y ensayo. 
     
      Yago durante su prueba de vestuario. 

      Gabriel durante su prueba de vestuario. 

      Manuel durante su prueba de vestuario. 

     Momentos antes de empezar la actuación.

    Empieza el espectáculo con la capa.

     Bruno y Manuel con trajes rojos y abanicos con plumas dan entrada al resto de modelos.

     Yago en frac blanco y Juan David con el traje "quick change" utilizado para realizar un truco de magia.
     Los ocho modelos al final del desfile.

    Avanzamos que en Enero se presentará la publicación que recoge documentación de la exposición así como una entrevista entre Antoni Hervàs y Latitudes, tutores del proyecto, sobre el proceso de trabajo, las escenografías y personajes que han compuesto "El misterio de Caviria":
     

    "El misterio de Caviria"
    Colofón 

    "El misterio de Caviria" es un proyecto expositivo de Antoni Hervàs enmarcado dentro de la 10ª edición de la convocatoria abierta BCN Producció'16 que se presenta durante la temporada 2016 en La Capella.

    Tutoría del proyecto: Latitudes 
    Diseño de espacio: Goig (Miquel Mariné y Pol Esteve)
    Cesión de espacio taller: Fàbrica de Creació Fabra i Coats
    Patrocinio de andamiaje: Cal Cego

    Capítulo 1: La Loba
    Casco: Luís Robles (“Lluis Quinrob“)
    Canción: “La Loba” de Marifé de Triana
    Intérprete: Pilar Carrión
    Localizaciones vídeo: etHALL / Bar O'Barquiño
    Música: NormanBambi
    Cinematografía: Eduardo Gión

    Capítulo 2: La sala de las columnas
    Ve: Violeta la Burra
    Música: Norman Bambi

    Capítulo 3: La Peste
    Intérprete: Gilda Love
    Localización: Antic Teatre
    Cinematografía: Eduardo Gión
    Vestuario: Victor Guerrero
    Cesión de espacio: El Desplume

    Capítulo 4: Ritual purificador del fuego
    Nadadores: WoMen Synchro
    Coreografía: Iris Brunsó
    Intérprete: José Jaén
    Música: Versión de “Tengo miedo”, Norman Bambi
    Cinematografía: Ainara Elgoibar. Tractora
    Performance realizada a la Fundación Joan Miró (2015) durante el acontecimiento performativo “Mercurio Splash” comisariado por David Bestué y Antoni Hervàs.
    Fotografía: Pere Pratdesaba/Fundació Joan Miró, Barcelona.

    Capítulo 5: La lucha
    Taller “De cintura en arriba” con el equipo de lucha de La Mina, parte del programa de actividades públicas gestionadas por Consol Llupià para Xarxa Zande.
    Localización: Artes Santa Mònica
    Documentación fotográfica: Jose Begega y Consol Llupià

    Capítulo 6: El trofeo de la lucha
    Confección del maillot: Elastic Rubí
    Pedrería: Yolanda Strass
    Música: Norman Bambi

    Acto I: el Copacabana
    Cesión de espacio: Departament de Cultura de la Generalitat de Catalunya
    Intérprete: Juan de Cruz el Rosillo

    Acto II: el Frontón Colón
    Gimnasta: Gerard López, Club gimnàstic Mediterrania
    Cesión practicable de gimnasia rítmica: Consell de l'Esport Escolar de Barcelona
    Música: Norman Bambi
    Cinematografía: Ainara Elgoibar. Tractora
    Sonidista: Mariana Cánepa Luna
    Material técnico: HANGAR – BAFF

    Capítulo 7: La ridiculització de la masculinidad
    Documentación: Casal Lambda, Barcelona

    Capítulo 8: La invocación de los dioses del underground
    Material documental cesión de Eduardo Gión:
    1. Un desplume diferente. Espectáculo del Barcelona de noche.
    2. Cortometrajes de Pierrot: “Miss Drácula” (1976), “Poseidos” (1973),“Vampiros” (1972), “La muñeca”(1972), “Miss drácula 2 y el imperio de la Leche” (1976).


    Juan de la Cruz "el Rosillo". Foto: @brillobox

    Antoni Hervàs agradece al jurado de BCNProducció'16, a todo el equipo de BCNProducció y al fabuloso equipo de montaje liderado por Alberto Calvete.

    A Ico Mateo.

    A toda la expedición argonauta: Luc, Ainara, Pol, Miquel, Eduardo, Max, Mariana, Lluis, Gerard López, Juan de Cruz, los guerreros de la mina, a los WoMen synchro (Antonio, Iris, Gio, Tammi, Luis, Clara, Claudia y Pau); José Jaén, Victor Guerrero, Pilar Carrión, Violeta la Burra y Gilda Love.

    A la capitana de la furgo-Argo: Beatriz Fuentes.

    Así como a los fantásticos
    amigos: Ariadna Parreu, Pau Magrané, Anna Moreno, Fito Conesa, Marc Navarro, David Bestué, Martina Millà, Montse Badia, Lucía C. Pino, Enric Farrés, Araceli Moreno, Claudia Labrador, Ángela Palacios, Evripidis Sabatis, Jordi GG, Corte Moderno, Carlos Valverde, Alicia Rosselló, Manolo Carrión, Marc Vives, Aimar Pérez Galí, Dutor-Mont de Pallol, Sergio Ibañez, Consol Llupià, Jose Begega, Usue Arrieta, Guido, Sara Hervàs & Maria, y a la Katherings: Pilar Cortés.

    A Pierrot y a todos aquellos, quienes desde Fregoli, han iluminado los escenarios de la ciudad hasta apagarse.



    Contenidos relacionados:




    Cover Story – November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor


    A new Monthly Cover Story is now on www.lttds.org (after October it will be archived here). "Plucking Gilda, synesthetic Toni and dazzling Víctor" focuses on Antoni Hervàs' exhibition "El Misterio de Caviria" which can be visited at La Capella until November, 13th.   

    “During [my first visit to] El desplume, Víctor Guerrero introduced Gilda (Victor also designs the dazzling attire that she wears): “The legend is here!” Soon, a brilliant and powerful whirlwind appeared, stopping time and winning the audience over from the first moment that she stepped on stage. When Gilda reveals her real age in one of her characteristic monologues, the audience is always left dumbfounded – she seems immortal. I realised that I was establishing some synesthetic relations by which I attributed colours to her stories. I started to imagine a scenario in my head: her large eyes open wide as she perceives a steaming stench cast by Draculina...”

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


    Related content:
    • Archive of Cover Stories
    • Cover Story, October 2016: "A Funny thing Happened on the Way to the Gallery, 13 October 2016
    • Cover Story, September 2016: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
    • Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
    • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
    • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
    • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
    • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




    In conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016)


    Photos: Latitudes.

    After much anticipation, we are elated to see (and touch!) Latitudes' five-part interview with Nicholas Mangan as part of his exhibition catalogue "Nicholas Mangan. Limits to Growth" (Sternberg Press, 2016). The publication is designed by Žiga Testen and includes newly commissioned texts by Ana Teixeira Pinto and Helen Hughes, alongside illustrations of Mangan's work and historical source material.

    The five-part interview weaves together a discussion around five of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016) commissioned for this exhibition survey. Latitudes’ dialogue with Mangan, began around a research trip to Melbourne in 2014, and continued in the form of the public conversation event that took place at the Chisenhale Gallery, London, in 2015, as well as over Skype, email, snail mail and walks.






     

    The publication release coincides with Mangan's eponimous exhibition survey which began in July in Melbourne's Monash University Museum of Art and just opened this past weekend in Brisbane's IMA. The show will further tour to Berlin's KW Institute for Contemporary Art in Summer 2017.

    "Nicholas Mangan. Limits to Growth" 

    Publisher: Sternberg Press with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne.
    Editor: Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. 
    Texts: Latitudes, Helen Hughes, Ana Teixeira Pinto 
    Design: Žiga Testen;
    October 2016, English;
    17 x 24 cm, 246 pages + 2 inserts, edition of 1500; 

    40 b/w and 102 color ill., with color poster and postcard Softcover;
    ISBN 978-3-95679-252-6;
    30 Euros.






















    RELATED CONTENT:




    October Cover Story: "A Funny Thing Happened on the Way to the Gallery"


    A new Monthly Cover Story is now on www.lttds.org (after October it will be archived here). "A Funny Thing Happened on the Way to the Gallery" reflects on the recent reenactment of the 1972 performance by Robert Llimós, restaged during the four days of the recent Barcelona Gallery Weekend. "Los Corredores" was one of the five context-sensitive interventions curated by Latitudes for the second edition of the event.
     
    (...) "During the past few days the Compositions of the Barcelona Gallery Weekend could be found in a subterranean billiards club, an abandoned textiles factory, a masonic-anarchist library, and the stables of the city police. The contribution of Robert Llimós was constantly dashing between these singular venues and the twenty-three participating galleries. Los Corredores (The Runners) was a remake of an action that was originally created in the summer of 1972 as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Meetings). Llimós is best known for a long trajectory as a painter and sculptor that began in the sixties within the Nueva Figuración movement, and continues today with his depictions of extraterrestrials, yet this is one of a handful of his striking performative works." Continue reading...  

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


    Related content:
    • Archive of Cover Stories
    • September Cover Story: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
    • Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
    • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
    • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
    • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
    • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




    Documentación de la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella

     Todas las fotos: Pep Herrero y La Capella/BCN Producció’16.


    La exposición "El Misterio de Caviria" de Antoni Hervàs dibuja los escenarios para un espectáculo visual estilo copla-terror donde, siguiendo los rastros de la Barcelona canalla de los años 60–80, colisionan dos mitologías: la del cabaret barcelonés y la Grecia clásica. Una invocación a los Dioses del subsuelo siguiendo la tradición del rito cabirio en el que el fuego, la sangre y la ridiculización de lo masculino son los ingredientes esenciales que permiten conocer una historia local que es a la vez universal. Sigue leyendo...

    A finales de enero se presentará una publicación conjuntamente editada por The Flames, el Ajuntament de Barcelona y La Capella que incluirá una entrevista entre el artista y Latitudes, tutores del proyecto, así como documentación fotográfica de la exposición y de las actividades programadas. 

    La exposición "El misterio de caviria" se puede visitar en La Capella (c/ Hospital 56, 08001 Barcelona) hasta el 13 de noviembre 2016. El proyecto se enmarca dentro de la temporada BCN Producció'16.

    Fotos: Pep Herrero/La Capella-BCNProducció'16.

    Antoni Hervàs (Barcelona, 1981) estudió Bellas Artes en la Universitat de Barcelona (2006) y realizó un ciclo en grabado y estampación en Escola Llotja. Entre sus recientes exposiciones individuales destacan “Hércules en la luna”, Espai Cultural Caja Madrid, Barcelona (2012); “Kakanoures i kitschades”, galería SIS, Sabadell (2015) y “Agón”, Galería ETHall, Barcelona (2016). Hervàs ha participado en numerosas colectivas entre las cuales se incluyen “Capítulo II. Huidas. La ficción como rigor” dentro del ciclo “El texto: Principios y Salidas”, Fabra i Coats Centre d'Art Contemporani de Barcelona (2014); “PUNK. Sus rastros en el arte contemporáneo”, Museu d'Art Contemporani de Barcelona (2016) y “Deshaciendo el texto”, La Casa Encendida (2016). Como parte de su práctica artística Hervàs ha dirigido “Fénix” (2013–16), el programa educativo del centro Sant Andreu Contemporani involucrando a diversos artistas de la ciudad en sus varias fases. Además ha realizado numerosos proyectos editoriales autogestionados como “Grapandmopotheper” (2009), “Tributo a Ray Harryhausen”, DeGénero Ediciones (2014) o “La trama” para Mataró Art Contemporani (2015). Asimismo ha comisariado exposiciones periódicas como “Doméstica” junto a Ariadna Parreu (desde 2009) y eventos performáticos como “Mercuri Splash” junto a David Bestué para la Fundació Miró (2015). En el 2010 recibió el Premio INJUVE a la Creación en la categoría de ilustración.

    Contenidos relacionados:




    'Compositions' a programme of five artists' interventions for the second Barcelona Gallery Weekend, 29 September–2 October 2016


    Compositions presents five artistic interventions in unique sites across the neighbourhoods of the city of Barcelona. Each of the commissioned artists is represented by a gallery participating in the second edition of the Barcelona Gallery Weekend.

    Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums. 

    In its second edition, Composiciones will present interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects will offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

    Interior of the Club Billar Barcelona. Photo: Courtesy Club Billar Barcelona.
     Zoom in a map here.

    Intervention by Lúa Coderch Club Billar Barcelona
    Gran Via de les Corts Catalanes, 595-599
    08007 Barcelona

    Public transport:
    Metro: Passeig de Gràcia (L2, L3, L4)
    Bus: 7, 50, 54, 67, 68, H12

    Opening hours:
    Thursday 29 September: 5–9pm
    Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm 

    Lúa Coderch’s project for the Compositions programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms, as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics.

    Sunday 2 October, 12am: 
    Free guided visit by the Lúa Coderch and Latitudes at the Club Billar Barcelona, Gran Via de les Corts Catalanes, 595-599.

    Interior of the Biblioteca Pública Arús.
    Zoom in a map here.

    Intervention by Lola Lasurt  –  Biblioteca Pública Arús
    Passeig de Sant Joan, 26
    08010 Barcelona

    Opening hours:
    Thursday 29 September: 5–9pm;
    Friday 30 September: 11am–7pm;
    Saturday 1 October: 11am–2pm;
    Sunday 2
    October: CLOSED;
    Monday 3
    October: 11am–6pm;
    Tuesday 4
    October: 11am–6pm.
     
    Public transport:
    Metro: Arc de Triomf (L1)
    Rodalies: R1, R3, R4 Arc de Triomf
    Bus: 19, 51, 55, B20, B25, N4, N11


    For her intervention for the Compositions programme, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with an outstanding collections related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings that form a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

    Thursday 29 September, 6pm: 
    Free guided visit by Lola Lasurt and Latitudes at the Biblioteca Pública Arús, Passeig de Sant Joan, 26.

     Interior of Can Trinxet factory in L'Hospitalet de Llobregat.
     Zoom in a map here.
    Intervention by Regina Giménez will take place at the Antigua fábrica textil Can Trinxet
    c/ Santa Eulàlia 182–212
    08902 L’Hospitalet de Llobregat (Barcelona)

    Opening hours:
    Thursday 29 September: 5–8pm

    Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

    Public transport:
    Metro: Santa Eulàlia o Torrassa (L1)
    Bus: L16, L52, L82, L85, LH1, N13

    The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project "La Constancia" (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

    Friday 30 September, 12am:
    Free guided visit by Regina Giménez and Latitudes at Can Trinxet, c/ Santa Eulàlia 182–212, L’Hospitalet de Llobregat.

    Zoom in map here.

    Robert Llimós' intervention will connect all the participating galleries of the Barcelona Gallery Weekend. 

    Hours:
    Thursday 29 September: 5–9pm
    Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

    Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, "Los Corredores" (The Runners) was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Encounters). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes 

    Friday 30 September, 5pm:  
    Free guided visit by Robert Llimós and Latitudes. Meeting point: BlueProject Foundation, c/Princesa 57.
    Façade of the Unitat Muntada de la Guàrdia Urbana de Barcelona in Parc de la Ciutadella.
    Location of the Unitat Muntada in the southeastern part of the Parc de la Ciutadella. Zoom in a map here.

    The intervention by Wilfredo Prieto will take place at the Unitat Muntada de la Guàrdia Urbana de Barcelona (Barcelona City Police Stables)
    c/ Wellington s/n 
    08018 Barcelona

    Public transport:
    Metro: Vil·la Olímpica (L4)  
    Tram: Ciutadella–Vil·la Olímpica (just opposite)
    Bus: 36, 59, 92, N0, V21, V27

    Opening hours:
    Thursday 29 September: CLOSED
    Friday 30
    September, Saturday 1 and Sunday 2 October: 11–12am*
    [*] Doors open daily at 10:30am. Kindly note that a photo ID (DNI or passport) is required to enter.]
      
    Conceived by Wilfredo Prieto as his project for the Composiciones programme, "Pantalones rotos" (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of the reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in "Pantalones rotos", this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes  

    Saturday 1 October, 12am:
    Free guided visit by Latitudes at the Unitat Muntada de la Guàrdia Urbana. Meeting point: c/ Wellington s/n. (Opposite the tram stop Ciutadella–Vil·la Olímpica) 

    Follow + Share: 
    @Barcelona_Gallery_Weekend
    #BarcelonaGalleryWeekend
    #Composiciones2016
    #LosCorredores1972   
    @LTTDS 
    #LatitudesBarcelona  



    The Barcelona Gallery Weekend is an initiative of the de Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ajuntament de L’Hospitalet de Llobregat and Acción Cultural Española (AC/E), as well as by private sponsors and individual patrons. http://www.barcelonagalleryweekend.com/


    Related content:

    • Composiciones 2015 commissions;
    • Storify – 2015 social media archive;
    • Instagram of the Barcelona Gallery Weekend;
    • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
    • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015;




    Exposición “El misterio de Caviria” de Antoni Hervàs en La Capella, 16 septiembre–13 noviembre 2016

    Fragmento de la película Jason y los Argonautas dirigida por Don Chaffey con los efectos especiales stop-motion de Ray Harryhausen.

    El proyecto artístico de Antoni Hervàs gira entorno a la leyenda de la expedición de Jasón y los Argonautas en busca del vellocino de oro. No obstante, Hervàs no se interesa únicamente por la narración literaria de la mitología helénica, sino también por la imaginería popular derivada de la homónima película dirigida por Don Chaffey en 1963 que incluyó famosas secuencias de novedosos efectos especiales que permitieron mezclar realidad y animación.

    Hervàs lleva toda esa imaginería a su terreno artístico: un dibujo “expandido” que se nutre de las propias vivencias del artista así como de otras disciplinas —la música y la cultura popular, la performance y el deporte, la tradición oral, proyectos editoriales autogestionados— unas dinámicas de trabajo que por extensión, suelen abarcar a una amplia red de colaboradores y de afectos.

    La exposición “El misterio de Caviria” se divide en ocho capítulos que toman como punto de origen el pasaje en el que la expedición liderada por Jasón se detiene unos meses en Lemnos, la isla del fuego, al norte del Mar Egeo. Aquí habitan una suerte de amazonas organizadas bajo la ginecocracia de la reina Hipsípila y que ocultan un sangriento suceso. Tomando este fragmento, Hervàs explora la posibilidad transformista y transgénero del dibujo, un medio que le permite cohesionar dos mitologías: los ritos cabirios la Grecia clásica y los personajes de la menguante escena del cabaret barcelonés. 


    La exposición culmina una larga investigación a través de la cual Hervàs ha ido solapando intuitivamente leyendas y personajes de ambos mundos, de modo que fantasía, lo camp y la realidad conviven en un mismo tiempo y espacio generando, en palabras del artista, “un complejo espectáculo visual al estilo copla-terror donde se invocan a los dioses del subsuelo y en el que el fuego, la sangre y la ridiculización de lo masculino se convierten en ingredientes esenciales a través de los cuales conocemos una historia local, que es a la vez universal.”

    Fauvista en espíritu y alegórico en referencias, el dibujo de Hervàs recurre a colores chillones y combinaciones reververantes. En esta ocasión el característico efectismo de su dibujo se traslada, por primera vez, a gigantes y paupérrimas escenografías teatrales de fácil (des)ensamblaje realizadas con cartón reciclado, cuyas narrativas se han activado (o activarán) puntualmente a lo largo de la exposición mediante perfomances musicales, coreografías, proyecciones cinematográficas y visitas comentadas. La sucesión de escenas une una fabulosa trama de anécdotas y hechos aparentemente menores sacados de los pies de página de la Historia. Bajorrelieves, cortinajes, andamiajes y columnas falsas se ven bañados por una iluminación multicolor que resultan en conscientes y accidentales especulaciones que huyen de lo nostálgico y reivindican la latencia de campos de acción y resistencia aparentemente inconexos: los personajes del folclore catalán, los deportes minoritarios como la gimnasia rítmica masculina o la progresiva desaparición de locales de espectáculo cabaretesco.

    El recorrido se inicia por el que sería el final cronológico de la historia, subrayando así su efecto en bucle. Aquí la protagonista es La Loba, versión femenina del famoso hombre lobo interpretado por el actor Paul Naschy.1 Seguidamente vemos a la máscara, realizada en colaboración con el artesano Lluis Quinrob (Lluis Robles)2, en la cabeza de la cantante Pilar Carrión quien, en una nueva actuación filmada en el legendario Bar O'Barquinho encarna a la reina Hipsípila y canta la copla “La Loba” plagada de confesiones íntimas y palabras de desamor 3.


    Ocaña durante una actuación en la Bodega Bohemia.

    Proseguimos por la Sala de las columnas, con alusiones al Barcelona de Noche y la Bodega Bohemia, conocidos establecimientos nocturnos que congregaron a la farándula en la Ciutat Vella de los años 50–70. En medio de estas ruinas helénicas del templo Kabeirion en Lemnos escuchamos una grabación realizada especialmente para la exposición a Violeta la Burra, una de las más populares “show-woman” del Whisky Twist, otro concurrido local barcelonés de varietés. Por descuidar el culto a Afrodita, la diosa condenó a las mujeres lemnias a despedir un olor espantoso. Sus maridos las rehuyeron y mantuvieron relaciones con cautivas; y para vengarse de este ultraje, las isleñas decidieron matar a todos sus parientes varones.4 Violeta, en su papel de la vengativa diosa, se pavonea y lanza su conjuro para poder así hacerse con los hombres.


    Continuamos por la espectacular escenografía centrada en La Peste, dedicada a la octogenaria vedette travesti Gilda Love, institución de “lugares de ambiente” como la desaparecida Bodega Apolo y el actual “El Desplume”, espectáculo mensual del Antic Teatre organizado por el cineasta Eduardo Gión. Aquí es donde el pasado mayo se la filmó cantando “Yo soy Gilda Love”, proyección que vemos en el lado opuesto de la sala a modo de espejo. Gilda habla de la peste a las que fueron condenadas las Lemnias, hecho que provocó el rechazo de sus maridos y el trágico asesinato.

    WoMeN Synchro durante su actuación en la Fundació Miró. Foto: Pratdesaba.

    En la primera capilla lateral vemos el Ritual purificador del fuego a través del video documentando la actuación musical de José Jaen cantando “Tengo miedo” en una actuación conjunta con el equipo de natación sincronizada mixta WoMen Synchro – episodio que tuvo lugar en el evento performativo “Mercuri Splash” (2015) comisariado por Hervàs y el artista David Bestué en la Fundació Joan Miró. Los títulos de crédito del video incluyen dibujos documentando elementos ancestrales de los rituales kaviros en la isla de Lemnos dedicados a la purificación y la renovación del fuego y a la necesidad de mantenerlo rodeado de agua. La narración pasa de los rituales a una interpretación musical diurna dentro del marco institucional barcelonés para finalizar con una escena nocturna: una caja con dibujos de Jaen y los nadadores contiene una batería de petardos, transformando el ritual en un modesto espectáculo pirotécnico. 

    Durante el taller de cintura para arriba con el Club de lucha de La Mina.
    Materiales fotocopiados durante el taller.

    En la parte frontal del andamiaje vemos La lucha, representada a través de los vestigios documentales de una actividad que tuvo lugar en abril, cuando Hervàs invitó a los “guerreros grecorromanos” del Club de lucha de La Mina a participar en un taller “de cintura para arriba” en el que éstos podían utilizar una máquina de fotocopiar para fijar una imagen que representase los movimientos que realizan durante sus entrenamientos. Estos guerreros contemporáneos enlazan con los argonautas, quienes una vez llegados a Lemnia, y antes de iniciar los festejos, realizaron una tradicional lucha amistosa y cuyo ganador obtuvo un vestido. Fotografías del taller se entremezclan aquí con personajes del cabaret barcelonés. Y de nuevo aparece Hipsípila como maestra de ceremonias de las Kakanoures: la fiesta de renovación que tiene lugar anualmente a finales de junio en Lemnos y a las que Hervàs asistió en 2013: una especie de transposición ritual donde jóvenes hombres encienden fuego a unas coronas. La liturgia de sus cuerpos toma protagonismo, pues se cree que encarnan a sus ancestros: Los Argonautas, quienes según la leyenda se hospedaron en la isla de camino hacia Cólquida. 



    La capilla contigua presenta un traje, El trofeo de la lucha. El psicodélico maillot, como si de una brillante piel de serpiente se tratara, se activa en un evento que tendrá lugar el 18 de septiembre en el antiguo local de fiestas Copacabana (actual aparcamiento del Department de Cultura de la Generalitat en La Rambla) cuando Gerard López, el campeón de España masculino senior de gimnasia rítmica, realice una coreografía llevando este traje diseñado para la ocasión por Hervàs. El Copacabana fue el primer local de espectáculos de travestismo en la ciudad condal tras la Guerra Civil. Uno de sus números más populares era cuando la travesti Margarita (ahora encarnada en el premiado gimnasta), disfrazada con un traje de volantes hechos con papel de periódico, invitaba a los espectadores a que le prendieran fuego provocando su danza frenética.5 Al acercarnos al maillot oímos una sinuosa versión de la danza de los siete velos que Norman Bambi ha compuesto para esta actuación, en la que los movimientos gráciles y seductores del atleta, encubren la poderosa y agresiva disciplina con la que avivará las cenizas del extinto local.


    Fachada del local Barcelona de noche.

    La penúltima escena, en la parte superior e interior del andamiaje, remite a la fiesta — la faceta más lúdica pero necesaria del rito: La ridiculización de lo masculino. Este relieve-collage realizado a partir de imágenes de la revista “Party”, depositada en el archivo del Casal Lambda 6, se centra en unos alegres personajes masculinos y travestidos cuya disposición recuerda a los frisos de la arquitectura templaria griega. Éstos se ensamblan con instantáneas de la Compañía Impacto que en en los años 70 interpretaron “El sueño de Antínoo7 en el Antic Teatre 8, y prosigue con una apología a la libertad sexual y de expresión, así como de expiación de la culpa de las mujeres Lemnias.
     

    Finalmente, desde la “boca” de la escenografía dedicada a Gilda Love, nos adentramos en un túnel hacia La invocación de los dioses del underground. En una épica escenografía final, se funden escenas de rituales del fuego presenciados por el artista en su viaje a Lemnos, con personajes fantasmagóricos del espectáculo como Madame Arthur – famoso travesti del Paral·lel –, rodeados por proyecciones de una selección de películas realizadas por Pierrot (1942–2011), pionero del fantaterror y del cine experimental. Un apoteósico vórtice final donde, como sucedió con los efectos especiales “stop-motion” realizados por el memorable Ray Harryhausen para la mítica película "Jasón y los argonautas" de inspiración péplum, los Dioses del underground barcelonés parecen finalmente salir del dibujo y tomar cuerpo. 

    – Latitudes 

    (Texto de la hoja de sala de la exposicón)

    Actual aspecto de la entrada a la legendaria sala de fiestas Copacabana en el Pasaje de la Banca (acceso por la persiana marrón a la izquierda).
     
    La exposición se podrá visitar hasta el 13 de noviembre y se complementa con las siguientes actividades:

    Domingo 18 de septiembre
    12h

    Passeig de la Banca, 6 (al lado del Museu de Cera)
    Actuación de Gerard López, campeón de España masculino senior de gimnasia rítmica, en la antigua sede de la sala de fiestas Copacabana. Música de Norman Bambi.
    Plazas limitadas. Imprescindible presentar DNI para acceder al recinto. Actividad gratuita.
    Reservas: [email protected]  / 93 256 20 44

    Martes 4 de octubre
    18h

    Sala Gran, La Capella
    (c/ Hospital 56, 08001 Barcelona)
    Visita comentada de la exposición por Antoni Hervàs.
    Actividad gratuita.
     
    Martes 25 de octubre
    18h

    Sala Gran, La Capella (c/ Hospital 56, 08001 Barcelona)
     

    Proyección de películas en super 8 realizadas por el actor, dibujante, escritor y showman Antoni Gràcia, más conocido como Pierrot (1942–2011), pionero del fantaterror y del cine experimental. Con la presencia del cinematógrafo Eduardo Gión y Antoni Hervàs.
    Actividad gratuita.


    Antoni Hervàs (Barcelona, 1981) estudió Bellas Artes en la Universitat de Barcelona (2006) y un ciclo en grabado y estampación en Escola Llotja. Entre sus exposiciones individuales destacan “Hércules en la luna”, Espai Cultural Caja Madrid, Barcelona (2012); “Kakanoures i kitschades”, galería SIS, Sabadell (2015) y “Agón”, Galería ETHall, Barcelona (2016). Hervàs ha participado en numerosas colectivas entre las cuales se incluyen “Capítulo II. Huidas. La ficción como rigor” dentro del ciclo “El texto: Principios y Salidas”, Fabra i Coats Centre d'Art Contemporani de Barcelona (2014); “PUNK. Sus rastros en el arte contemporáneo”, Museu d'Art Contemporani de Barcelona (2016). Como parte de su práctica artística, ha dirigido “Fénix” (2013–16), el programa educativo de Sant Andreu Contemporani involucrando a diversos artistas de la ciudad. Además ha realizado numerosos proyectos editoriales autogestionados como “Grapandmopotheper” (2009), comisariado eventos performativos como “Mercury Splash” junto a David Bestué para la Fundació Miró (2015) o exposiciones periódicas como “Doméstica” junto a Ariadna Parreu. En el 2010 recibió el Premio INJUVE a la Creación.


    1Paul Naschy (1934–2009) fue un actor, director de cine, guionista y levantador de pesas español. Fue uno de los famosos intérpretes del hombre lobo. Naschy fue inmortalizado por los dibujos y poemas que Pierrot (1942–2011), pionero del fantaterror y del cine experimental, realizó y publicó en su fanzine Vudú. https://es.wikipedia.org/wiki/Paul_Naschy

    2La máscara fue parte de la exposición individual “Agón” en la galería etHALL de Barcelona (28 Junio–30 Julio 2016), presentada a modo de preámbulo de la presente exposición. http://www.ethall.net/

    3Hipsípila quedó embarazada de Jasón, quien le juró fidelidad eterna. No obstante Jasón continuó su viaje hacia Cólquide junto a Los Argonautas y pronto olvidó su promesa. https://es.wikipedia.org/wiki/Hipsípila

    4Pierre Grimal, “Diccionario de la mitología griega y romana.” Ed. Paidós, 1994.

    5La escena se puede ver en la película “Lejos de los árboles” (1961) de Jacinto Esteva. https://www.youtube.com/watch?v=1TKmaYeth5w 

    6El Casal Lambda es un centro asociativo sin ánimo de lucro fundado en el 1976 que tiene como objetivo la normalización del hecho homosexual. http://lambda.cat/

    7El emperador romano Adriano (73-138 d.C.) quedó trastornado tras la prematura muerte de su adolescente amante, el esclavo Antínoo, a orillas del Nilo. La pareja es motivo recurrente en la literatura gay. https://es.wikipedia.org/wiki/Antínoo

    8La interpretación también aparece en el documental “Lentejuelas de sangre” realizada en el 2012 por el cinematógrafo Eduardo Gión. Gión es también productor del mensual “El Desplume” en el Antic Teatre.




    Third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China


    As part of Kadist Online Projects, Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)'. The new phase is developed as an online periodical that publishes regular contributions from curators and artists working around the world. 

    Originally conceived by Latitudes as day-long artist-led tours around Mexico City (2012, with dispatches presented as part of an exhibition at Casa del Lago) – followed by Hong Kong (2013, online dispatches via twitter, instagram, and soundcloud) and San Francisco (2015, online dispatches via daily instagram posts) – 'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.


    The third 'Incidents (of Travel)' episode comes from Suzhou, China, where artist and curator Yu Ji met poet Xiao Kaiyu. Their offline day took place in April 2016, when they embarked on a hike on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou.


    Each of the 12 photographs in the sequence is augmented by one or more extra assets: a brief commentary, a caption or a soundscape, and is accessed by clicking the words which overlay the images.

    The series inaugurated with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan. The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


    Forthcoming contributions: Marianna Hovhannisyan (Yerevan), Simon Soon (Kuala Lumpur / Sydney) and Natalia Zuluaga (Pereira / Miami), all fellows who participated in the seminar ‘The Place From Where We Look’ at Kadist Paris in June 2015. 


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    In conversation with Lucas Ihlein for Artlink Magazine

    The September issue of Artlink Magazine – a quarterly themed magazine covering contemporary art and ideas from Australia and the Asia-Pacific – includes a conversation we recently made with artist Lucas Ihlein. Ihlein's projects explore subjects as diverse as agriculture, gardening and social ecology, everyday life, avant-garde cinema history, fan culture, urban planning, communication and social relations.

    The interview, titled "1:1 scale art and the Yeomans Project in North Queensland", is preceded with an intro contextualising our conversation and how we met:

    Lucas Ihlein and Ian Milliss, "The Yeomans Project", field trip. Farmer Peter Clinch demonstrates the keyline irrigation channels at The Oaks Organics, Camden, NSW, 2014. Photo by Caren Florance.

    We first met Lucas Ihlein in May 2014 at the recommendation of artist Nicholas Mangan. We had been invited to Melbourne to participate in Gertrude Contemporary’s Visiting Curator Program in partnership with Monash University of Art Design & Architecture, and had taken a few days out to visit the Biennale of Sydney and meet some Sydney-based artists. Nicholas was already familiar with our curatorial interests, stemming from ecology and site-specific practices; indeed, we’ve recently made an extended interview with him for the catalogue of his exhibition "Limits to Growth", so his matchmaking with Lucas was prescient. We talked for hours and have been corresponding ever since, with a view to collaborating further.

    We were struck by the breadth and enthusiasm of Lucas’s practice and his voracious approach to the process of learning from the point of view of a novice. Where other people might pain over the policing of the roles of artist, curator or researcher, Lucas happily didn’t spend much time worrying about it. Accordingly, although it was the engagement with social and environmental ecology that initially piqued our interest, we soon realised that his was a collaborative practice that has embraced, for example, the re-enactment of “expanded cinema” works from the 1960s and 1970s (in the form of Teaching and Learning Cinema, run with Louise Curham) as well as a “blogging as art”, an approach that really chimed with our project for The Last Newspaper for which we had edited a weekly newspaper within an exhibition.

    Indeed, a key impulse of our approach to the projects we have undertaken as Latitudes around art and ecology, in the broadest sense, has been to resist the narrow restraints of normative environmental-concern ecology, in part following Felix Guattari’s essay "The Three Ecologies" (2000), to encompass social and political relations, human subjectivity as well as historical research. In other words, thinking about a practice that does not necessarily give primacy to exhibition‑making as well as considering what an ecological art project might mean in terms of process and site, and thinking through what acting ecologically might entail in relation to acting curatorially, acting editorially, or acting historically, and so on.

    Looking back on our projects in collaboration with the Royal Society of Arts “Arts & Ecology” programme—a public commission for London with artist Tue Greenfort (2005–8), our publication "Land Art: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006), and the symposium of “Art, Ecology and the Politics of Change”, 8th Sharjah Biennial (2007)—as well as the exhibition "Greenwashing. Environment: Perils, Promises and Perplexities", Fondazione Sandretto Re Rebaudengo, Turin (2008), they now seem to belong to a very specific time when green issues gained wider traction. One might crudely say this began with the Stern Review on the Economics of Climate Change in 2006 and effectively ended, or was overshadowed, by the 2008 financial crisis and its grim legacies.

    We begin this interview at a moment when we’re revisiting some of the concerns left in the wake of such projects from the near past while preparing a group exhibition for CAPC musée d’art contemporain de Bordeaux in 2017 around the carbon cycle and narratives of raw materials. At the time of writing Lucas has just returned from Guangzhou, where he has been exploring the geographical and social dimensions of sea level rise in the Pearl River Delta.


    Continue reading... 

    Lucas Ihlein is an Australia Council for the Arts Fellow in Emerging and Experimental Arts. He is currently showing alongside Trevor Yeung (Hong Kong) in Sea Pearl White Cloud 海珠白雲 at 4a Centre for Contemporary Asian Art until 24 September 2016. Ihlein’s collaborative project Sugar vs the Reef will culminate in an exhibition at Artspace Mackay, Queensland, in mid-2018. 


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    September Cover Story: "El misterio de Caviria" by Antoni Hervàs


    You can now read our September 2016 Monthly Cover Story "El misterio de Caviria" on www.lttds.org (after September 2016 it will be archived here), a preview of his forthcoming solo exhibition "El misterio de Caviria" at La Capella, part of the BCNProducció'16 production grants. Hervàs' project is one of the three exhibitions Latitudes mentors this year.

    (...) "Antoni Hervàs draws back the curtains on his exhibition El Misterio de Caviria at the Sala Gran of La Capella, Barcelona, on 15 September. As part the tutorial team of BCNProducció'16 alongside David Armengol and Mireia Sallarès, Latitudes has been working with Toni since February on the development of what can only be described as an epic production. Continue reading...

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


    Related content:
    • Archive of Cover Stories
    • Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
    • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
    • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
    • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
    • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




    Last chance to read the August 2016 Monthly Cover Story "Fermínlandia"


    Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" on www.lttds.org (after August 2016 it will be archived here)

    "
    Five years ago, in August 2011, Fermín Jiménez Landa initiated the surrender, conquest and defence of a small nameless island using the power of music. With the help of local fishermen he had taken a portable generator, two tripod-mounted loudspeakers, and an mp3 player out into the Aegean Sea and planted the equipment on this uninhabited Greek island. Its new national anthem played again and again until the batteries ran out. You can just make out the two loudspeakers sitting atop the grassy rock in this photograph by Fermín." Continue reading...

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


    Related content:
    • Archive of Cover Stories.
    • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
    • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
    • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
    • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




    Latitudes' "out of office" 2015–2016 season

    "CLOSED. We open when we arrive, close when we leave, and if you come and we're not here, we just didn't coincide."

    The end of the season is approaching and high summer is looming. Following Latitudes tradition we mark the summer break not by presenting a memo of activities per se, but with an "out of office" post (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15 versions) with a series of 'behind the scenes' photos revisiting moments from the year gone by. So here are some glimpses of the past season, starting September 2015 to July 2016. See you in September!

    In order to be conducive to freedom of interaction, the ‘Near-Future Artworlds Curatorial Disruption Foresight Group’ meetings have been held under the Chatham House Rule: This allows participants to express personal views, to listen, reflect and gather insights with a clear distinction from the position of their employers and/or the policies of any associated organization. Participation is expected, but there will be no resolutions issued, no votes are undertaken, and no policy statements proposed. Only this photo was taken.

    Latitudes 2015–16 season started with a residency at Kadist, San Francisco (26 August–9 September) during which time we had the opportunity to develop several projects. Three artist-led tours with SF-based artists Amy Balkin, Rick & Megan Prelinger and Will Brown were part of our ongoing series 'Incidents of Travel' (see 2012 in Mexico City, 2013 in Hong Kong and most recent 2016 online incarnation). We took over Kadist social media with an instagram residency and contributed to the online programme 'One Sentence Exhibition'.

    Furthermore on August 29, we convened the second ‘Near-Future Artworlds Curatorial Disruption Foresight Group’ at Kadist, a "by-invitation meeting bringing together individuals and expertise from the Bay Area with an active interest in institutional prototyping and emergent usership" initially presented in May 2015 for the
    International Curatorial Retreat in Bari, Italy.

    The workshop is "a forum for informal dialogue about megatrends and the future of contemporary art institutions. In the San Francisco iteration, an emphasis was put on cross-pollination between design thinking and curatorial thinking. Participants also discussed, among other things, the notion of the post-disciplinary, and the question of appropriate speeds, scale or periodicities of institutions."

      Photo: Arash Fayed.

    September 8: Our last activity in the Bay Area was a session with first-year participants of the MA Curatorial Practice at the California College of the Arts (CCA). We briefly introduced our curatorial practice and invited the new students to imagine the governance and daily operations of a range of institutions – a remote residency facility, a commissioning institution, and an annual festival.


    (Above and below) BAF technical team and artist Daniel Steegmann Mangrané installing the sound piece “Surucuá, Teque-teque, Arara” (2012) at the Umbracle (shade house), Parc de la Ciutadella. One of the "Composiciones" commissions for the Barcelona Gallery Weekend.

    September 25: Max Andrews of Latitudes participates in the symposium "The Shock of Victory" held at CCA Glasgow. Meanwhile, installation is well underway for the first Barcelona Gallery Weekend, for which Latitudes devised a special programme of five artists' commissions.

     (Above and below) David Bestué browsing and choosing ceramic pieces and moulds in the attic at the Cosme Toda factory, for his "Composiciones" installation.

    (Above and below) Jordi Mitjà discussing his work to the team at the Museu Geològic del Seminari during the installation of his "Composiciones" piece.
    Rasmus Nilausen lights up Pere Llobera's drawing in dust, part of their joint "Composiciones" adventure.

    (Above) Second seminar at the Biblioteca del Campo Freudiano de Barcelona, project by Dora García for "Composiciones".

      (Above) Display of the books selected by Dora García from the holdings of the Biblioteca del Campo Freudiano de Barcelona.

    'Composiciones' received some great write-ups – including by Frederic Montornés and by Jörg Heiser at frieze magazine. We also gathered hundreds of tweets, Instagram shots and press material on this Storify.  

     Board announcing the seminar and public talk.

    Closed-door seminar at Tabakalera. Photo: Consonni. 

    Public presentation of Latitudes' projects at Tabakalera. Photo: Consonni.

    November 2015: Latitudes travelled to Donostia's recently opened Tabakalera. We were invited by LaPublika's programme, created by Consonni, to lead a two-day seminar and public lecture around artists working in the public sphere.


    Moments before starting the ESP people assembly at Birmingham's Eastside Projects.

    On November 15 Latitudes convened the third iteration of the 'Near-Future Artworlds Curatorial Disruption Foresight Group', this time in Birmingham's Eastside Projects. This "forum for informal dialogue about megatrends and the future of contemporary art institutions" collectively imagined a ‘What if?’ – a post-apocalyptic scenario in which the entire art ecology of Birmingham had to be regrown from the ground up, an exercise that would help define and identify which are the most urgent organisations, facilities and tools.

    International Summit Synapse 1 at New Rex of the National Theatre of Greece. 'Session II: Rethinking Institutions': (from left to right) Leo Panitch, Maria Hlavajova, Adam Szymczyk, Amalia Zepou (moderator), Hilary Wainwright, Emily Pethick, Latitudes (Max Andrews & Mariana Cánepa Luna) © Eva Galatsanou. 

      Second-day assembly at the Bargeion Hotel. 

    Shortly after, on 18–19 November Latitudes participated in the OMONOIA summit which began the Athens Biennale 2015–2017. For a short report see the Cover Story of December 2015 and this blog entry.

    December 2015: Mariana joined Hangar's new Board of Trustees as its Secretary, a responsibility she will fulfil for the next three years. 

    December 4: Participation in the BAR module: Curating the space / Space for curating open public conversation with Sofía Hernández Chong Cuy, Carles Guerra, Michy Marxuach and BAR module participants. 
    (Above and below) Courtesy: BAR Project.  Photos: Eva Carasol. 

    January 2016: After an intense jury process in January, we began the year-long mentoring process of three exhibition projects out of the nine selected projects as part of the 2016 season's BCN Producció 2016.



    The first project Latitudes mentored was by Pau Magrané/PLOM who turned the Espai Cub, a 3x3x3 metre white cube, into "a sound stage/instrument, an echo chamber hosting different screenings and objects to be played by PLOM at the opening". The two other projects Latitudes is mentoring are by Antoni Hervàs (September 15) and a group exhibition "La dissidència nostàlgica" by curator Joana Hurtado Matheu (December 1). 

    From January onwards: Preparations for the five projects produced in the context of the second edition of the Barcelona Gallery Weekend. Studio visits, site visits, project proposals, budget and production planning, taking measurements...

    May 2016: Regina Giménez and Rafel G. Bianchi taking measures of Can Trinxet's walls, a former 19th Century textile factory in L'Hospitalet de Llobregat. 
    March 2016: visiting Robert Llimós's studio in Sant Pere neighbourhood.

     Lola Lasurt doing some tests positioning her paintings at the Biblioteca Pública Arús.

    February 2016: Trip to Arles to attend the 'How Institutions Think' symposium at the LUMA Foundation, this time not participating but listening and reporting. Read Max Andrews' report on the frieze blog.


    Besides the reportage from the Arles conference, Max also published other reviews in Frieze magazine as one of its team of contributing editors: Xavier Ribas at ProjecteSD (Barcelona); Joachim Koester at BlueProject Foundation (Barcelona); Alexandre Estrela at the Museo Reina Sofía (Madrid) and Critic's Guide: Barcelona highlighting some of the interesting shows in the city on frieze website. He has also contributed the text "Soups & Symptoms" for a forthcoming publication of Barcelona-based Danish painter Rasmus Nilausen. 
    View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016. Courtesy of garcía galería, Madrid. Photo: Roberto Ruiz.

    On February 25, Mariana Cánepa Luna's review of Francesc Ruiz's exhibition at garcía | galería, Madrid, was published online on art-agenda: "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)." continue reading...


    Mariana also contributed to the publication "Great Expectations: Prospects for the Future of Curatorial Education" edited by Leigh Markopoulos and published by the California College of the Arts and The Banff Centre – with some insightful questions by Banff Centre Walter Phillips Gallery curator Peta Rake.

    Miquel from MACBA's AV team checking the connections behind the monitor that presented 'Houdini' (1991) – one of the most challenging works in the exhibition for the technical team as it meant dismantling a 40-year-old TV and submerging the front part into water.

    March 2016: Installation begins! After over year and half of preparation, the exhibition "I Will Fear No Evil" opened at Convent dels Àngels del MACBA on March 17, 2016. Two busy weeks of installation in the Convent dels Àngels space preceded the opening. Many press tours, exhibition reviews, photo and video recordings, guided visits, film screenings, and music events followedthey're all archived here!

     Alex from MACBA's restoration department scraping the old silicone off the acrylic box containing "San Guinefort" (1991).
    Tria33, a programme broadcast at Canal 33, came to film during the installation.
     Lightbox of "El Resplandor de la Santa Conjunción aleja a los demonios" in progress, a piece from 1991, exhibited for the first time in the Sala RG in Caracas, and also reconstructed for the present exhibition. 
    TTI installation team placing twelve pork rind skateboards on the metal structure. "La Hermandad" (1994) was commissioned for the 1994 exhibition "Cocido y Crudo" at the Museo Reina Sofía, Madrid, and it's now part of the "la Caixa" Collection.  

     Vinyls go up – design by Mucho. More on the exhibition graphic design. 
    March 17, 11:30am: Presentation to the press. Left to right: Ferran Barenblit (MACBA director), exhibition curators Mariana Cánepa Luna and Max Andrews of Latitudes, and artist José Antonio Hernández-Díez. Photo: MACBA twitter.

    Visitors in front of "Sagrado Corazón Activo", a work from 1991 reconstructed for this exhibition. Photo: Miquel Coll/MACBA.
    Visitors next to "Houdini", a work from 1989 reconstructed for this exhibition. Photo: Miquel Coll/MACBA.

     General view of the exhibition. Photo: Roberto Ruiz/MACBA.

    April: We love snail mail and handwritten notes! We received a note from Rick & Megan Prelinger alongside a copy of their Yearbook 2015. We relished spending time at the Prelinger Library in San Francisco last August as part of our 'Incidents of Travel' series! (Our extended heartfelt thanks to the Kadist team for hosting us!).

    Card and Yearbook 2015 by the Prelinger Library.
     
    April 20: Wrapped-up a five-part interview with Melbourne-based artist Nicholas Mangan to be published in the catalogue of his forthcoming solo exhibition ‘Limits to Growth’, co-produced by Monash University Museum of Art (MUMA), Melbourne (opening July 20) and Institute of Modern Art (IMA), Brisbane (where it will be on view from October 29). The exhibition will travel to KW in Berlin in Summer 2017.


     Installing Pau Magrané exhibition at the Cub space in La Capella. Photos: Pau Magrané.

    April 27 (until June 12): Exhibition "Demo" of Pau Magrané/PLOM at Espai Cub, La Capella. This is the first of the three projects Latitudes is mentoring throughout 2016  as part of BCN Producció'16 production grant scheme. Video of the project here (Catalan with Spanish subtitles) or here (English).


    April 25–May 7: Two-week residency at CAPC Bordeaux to research for a group exhibition which will take place in 2017. One strand of our investigations departs from the CAPC building itself, known as Entrepôt Lainé – a 19th Century warehouse for colonial commodities. We learnt from the museum staff that coffee beans are occasionally found atop a pile of papers on an office desk or in the middle of the exhibition galleries. This became the focus of our May Cover Story (archived here).
    First and last pages of the first online dispatch by Chicago-based curator Yesomi Umolu within the distributed phase of Incidents (of Travel). http://incidents.kadist.org/
     

    May: Launch of the online project Incidents (of Travel), produced by Kadist Art Foundation. The web marks a new ‘distributed’ phase of ‘Incidents (of Travel)’ as an online periodical. The ongoing series will be edited by Latitudes and produced by Kadist.

    Originally conceived by Latitudes as day-long artist-led tours commissioned to artists in and around Mexico City (2012) – followed by Hong Kong (2013) and San Francisco (2015) – ‘Incidents’ expands on the format of the curator-meets-artist studio visit to explore the chartered itinerary as a format of an artistic encounter. The first dispatch came from Chicago and featured Yesomi Umolu (Exhibitions Curator at the Reva and David Logan Center for the Arts at the University of Chicago) and artist Harold Mendez, an offline day photographed by Nabiha Khan.

      
    June: Launch of the second Incidents (of Travel) dispatch, an encounter between curator Serubiri Moses and photographer Mohsen Taha in Jinja, Uganda, narrated throughout 18 photos by Taha with an introduction, captions, sound and commentary.
     

    And finally July. Some are off on holiday but many remain working full speed despite the less frantic inbox. Many surely agree that this is one of the weirdest months in the calendar, a bit like the pre-Christmas rush, but with a whole month of heated intensity

    4–8 July: Second trip to Bordeaux, more archival appointments and more geology. Led by Bruno Cahuzac (Maître de Conférences, UFR Sciences de la Terre et de la Mer) from the Faculté des Sciences de Bordeaux, we visited the incredible carothèque-lithothèque at the Université de Bordeaux in Talence which houses over 30,000 core samples from the subsoil of the Aquitaine basin.

    (Above) Gerard Ortín's exhibition "Vijfhoek" at Galería Estrany-de la Mota and (below) Gerard receiving the award.



    July 9 and 20: As jurors of this year's award Art Nou/Primera Visió we visited the twenty participating commercial galleries, non-profits, private foundations and museums alongside BCNProducció'16 co-tutors Mireia Sallarès and David Armengol. We unanimously decided to award Gerard Ortín for his solo show at Galería Estrany-de la Mota. Ortín receives 2,000 Euros to produce a new publication. The ceremony took place on July 21 at La Capella. Last year winner Rasmus Nilausen produced the publication "Soups & Symptoms" which includes a text by Max Andrews of Latitudes.


    Instagram post by Fireplace project.

    July 11: Presentation of the publications of the projects by artists Ricardo Trigo and Pau Magrané resulting from the production grant BCN Producció'16.  

     February 2016 Cover Story was dedicated to Sarah Ortmeyer. 

    Cover Stories on www.lttds.org: Over a year ago we began the monthly section "Cover Story" on our home page (archive of this section). October 2015 was dedicated to David Bestué's "Luces" installation commissioned for Composiciones, November 2015 marked the sixth anniversary of Globalising the Internationale, Christina Hemauer and Roman Keller’s project for Portscapes; December presented a shot taken during OMONOIA, the International Summit at the National Theatre of Greece’s New Rex which kicked off the Athens Biennale 2015–2017. 

    January shifted to black-and-white with a Mediterranean shot from E.1027, the 1920s Côte d'Azur house designed by Eileen Gray and Jean Badovici near Monaco meticulously documented since 2008 by Danish artist Kasper Akhøj. February stayed in France, going up to the Tour Eiffel and looking back at a piece by Sarah Ortmeyer presented in a 2011 exhibition in Brussels. March showed a behind-the-scenes moment of the production of "Sagrado Corazón Activo" (1991) a work by José Antonio Hernández-Díez that was only ever exhibited once before, in 1991 in Caracas. The piece was specially reconstructed for the exhibition "I Will Fear No Evil" at MACBA presenting a selection of his early works. In April we announced the forthcoming launch of 'Incidents (of Travel)', an online periodical produced by Kadist; and in May (back to France) we began our research at CAPC Bordeaux, where we'll be curating a group exhibition in June 2017. June took us back to Hernández-Díez's show which was coming to an end – some exhibition reviews here; and July took us back to the Latitudes-devised Composiciones commissions last October (the programme of artists’ interventions returns later this year).

    June Cover Story – all cover stories archived here.

     Antoni Hervàs preparing his installation for BCN Producció'16.

    We are presently preparing for what will be a rather intense September. Antoni Hervàs's exhibition "El Misterio de Caviria" at Sala Gran of La Capella (third round of exhibitions of the grant scheme BCN Producció) opens on September 15. It will be shortly followed by the presentation of the five "Composiciones" commissions by Lúa Coderch, Regina Giménez, Lola Lasurt, Robert Llimós and Wilfredo Prieto for the second Barcelona Gallery Weekend, inaugurating on Thursday 29 September, and on view until Sunday 2 October. 
     
    We have also been invited to contribute to Oslo Pilot, the two-year project investigating the role of art in the public realm led by Eva González-Sancho and Per Gunnar Eeg-Tverbakk. We will be writing on a selection of case-studies based around their four areas of research – Reactivation, Periodicity, Public and Disappearancewhich will be published in the magazine launched during a three-day symposium in mid-November 2016. 

    RELATED CONTENT:




    Premi Art Nou 2016: Gerard Ortín – Acta del jurado


    Durante el mes de julio la asociación de galerías Art Barcelona organiza la quinta edición de Art Nou "con la intención de activar la escena de arte emergente local con exposiciones, talleres, charlas, visitas a estudios en espacios de arte de toda la ciudad."

    Más de 30 artistas optaron al Premio Art Nou/Primera Visió, que en su edición 2016 ha sido otorgado a Gerard Ortín por su exposición "Vijfhoek" en la galería Estrany-de la Mota. El premio está dotado con 2.000 euros que otorga La Capella para la realización de una publicación. Artistas como Marla Jacarilla, Adrián Melis, Luz Broto y Rasmus Nilausen, han sido los galardonados en las pasadas ediciones.

    (Arriba) Mireia Sallarès leyendo el acta del jurado y (abajo) el artista Gerard Ortín recibiendo el premio y agradeciendo la obtención del Premi Art Nou/Primera Visió 2016. Fotos: Andrea Paesante. Cortesía: Art Barcelona. 

    A continuación el acta (en catalán) que leyó Mireia Sallarès en representación del jurado formado por los tutores de BCN Producció'16 (David Armengol, Mireia Sallarès y Latitudes), al anunciar el premio en la fiesta que se organizó el 21 de julio:
     
    "Bona tarda i gràcies per ser aquí, ha arribat el moment més esperat de la vetllada.

    Primer de tot dir que els membres del jurat d’aquest premi que som en
    David Armengol, l’equip de Latitudes (Max Andrews i Mariana Cánepa Luna) i Mireia Sallarès, hem guiat les nostres deliberacions tenint ben present l’objectiu principal d’Art Nou: que és el de descobrir i difondre nous talents artístics per tal de donar un impuls a la creació emergent i a les noves generacions artístiques a la nostra ciutat.

    En aquest sentit voldríem dir que la nostra decisió no ha sigut fàcil perquè hi han participat propostes de molt bon nivell; i en especial també degut a la disparitat dels projectes participants (es tracta d’espais de naturalesa molt diversa amb recursos molt diferents, d’exposicions individuals i col·lectives, amb o sense comissariat, on conviuen projectes de diferent tipus: des de galeries a espais independents fins a estructures institucionals). Dit això i tenint en compte que és un premi que es dóna a l’artista  (i no tant a l’espai que l’exposa o a l’exposició de la que forma part en cas d’exposició col·lectiva), hem decidit atorgar el premi a
    Gerard Ortín per l’exposició "Vijfhoek" (Pentàgon) realitzada a la galeria Estrany-de la Mota.

    Els motius han sigut la gran qualitat del projecte que considerem fruit d’una investigació seriosa i poètica; on creiem que l’artista ha fet una molt bona traducció al format expositiu d’una experiència que de fet té caràcter performàtic. Es tracta d’una acció que va tenir lloc a Àmsterdam i que comptava amb la participació del públic en una passejada en grup en un indret molt especial. L‘artista s’hi refereix com a walk performances que propicien una experiència introspectiva individual a través d’un ritual col·lectiu i que són una forma genuïna d’explorar el paisatge. Ens sembla una obra excel·lent i mostra d’una bona evolució de la seva jove trajectòria, essent aquesta la primera exposició individual de l’artista. Estem convençuts, a més a més, que en Gerard farà també molt bon treball en l’exercici de traduir en forma de publicació la seva obra —gràcies a l’ajut que en específic atorga aquest premi. Així que, Felicitats Gerard, seguirem els teus nous projectes amb interès!

    I abans d’acabar, volem també fer dues mencions especials. Primer a l’exposició “Curvar a Miguel es arruinar las baldosas” de Jorge Satorre presentada a la Fundació BlueProject. Jorge és un artista d’origen mexicà molt vinculat a Barcelona que participa amb un projecte excel·lent que té el parc de Collserola com a centre i que ha sigut fruit d’una residencia a la ciutat i ha comptat també amb l’ajut d’espais imprescindibles del nostre context com són Hangar o la nau Estruch de Sabadell. I també, a l’exposició “Els músculs de Zaratrustra” una col·laboració de Marcel Rubio i Victor Balcells que ens ha sorprès molt positivament per la seva força narrativa i per la bona simbiosis de la col·laboració entre un artista visual i un escriptor. I perquè és també una mostra molt maca del bon impuls d’una de les iniciatives independents d’aquesta ciutat com és Passatge Studio al barri del Poblenou on l’artista Bernat Daviu cedeix temporalment el seu estudi com a espai expositiu.

    Felicitats doncs al guanyador i gràcies a tots els participants. Confiem que la propera convocatòria anirà perfilant les seves bases; i en aquest sentit farem arribar els nostres suggeriments als organitzadors per tal de que els creadors i creadores sentin aquest premi com un veritable impuls al seu treball. Aquest treball que tan necessita la nostra ciutat." 


    – Barcelona, 21 de juliol 2016.





    Second research trip to Bordeaux in preparation for an exhibition at CAPC musée d'art contemporain de Bordeaux

    We just returned from a week in Bordeaux, where we continued with meetings and archival research in preparation for the forthcoming Latitudes-curated group show at CAPC musée d'art contemporain de Bordeaux opening at the end of June 2017 coinciding with the 7th edition of the Agora Biennial of Architecture, Planning and Design centred on landscape. 

    The exhibition will present existing artworks (including several from CAPC’s collection) alongside commissioned pieces, as well as documents and objects from Bordeaux’s municipal archives, seeking to problematise the time-span of museums and consider their collections as tangible material history.


    Upon arrival, led by Bruno Cahuzac (Maître de conférence), we visited the incredible carothèque-lithothèque at the Université de Bordeaux in Talence which houses over 30,000 core samples from the subsoil of the Aquitaine basin. 
     


    We also went back to the Archives Bordeaux Métropole to continue looking for documents related to the trade with the former French colonies of the Antilles (known as "sugar islands"). We also visited the Archives Départamentales / Gironde where we found further evidence of CAPC musée's past as the former warehouse for colonial commodities known as Entrépot Lainé. 

    Delving deeper into colonial landscapes and commodities exchange we were glad to revisit the permanent presentation of the Marcel Chatillon Collection at the Musée d'Aquitaine, which includes an incredible selection of over 600 documents and iconographic representations of slave working conditions, as well as portraits, flora and landscapes from the 17th to the 20th Century. 

    Some of the Bordeaux's frantic maritime trade is visible in Pierre Lacour's majestic "Vue d'une partie du port et des quais de Bordeaux dits des Chartrons et de Bacalan" (1804–1806) one of the most iconic pieces in the Musée des Beaux-Arts (below). 



    Pierre Lacour, "Vue d'une partie du port et des quais de Bordeaux dits des Chartrons et de Bacalan" (1804–1806), Musée des Beaux-Arts.

    On the left one can identify the two iconic conical towers of Hôtel Fenwick, built between 1796-99 by Jean-Baptiste Dufart, and the location of the first Embassy of the United States. Out of the picture, also on the left, a few years later in 1822, architect and engineer Claude Deschamps would build the Entrêpot Lainé, headquarters of the CAPC musée d'art contemporain de Bordeaux since 1974.

    Photo of the Entrêpot Lainé published in the book "Bordeaux: Il y a 100 ans en cartes postales anciennes" by Fabienne Texier and Jean-Claude Bertreau.   


    Related content:
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016).




    Cover Story: July 2016 – Through the grapevine – Rasmus Nilausen’s Soups & Symptoms


    New Monthly Cover Story "Through the grapevine – Rasmus Nilausen’s Soups & Symptoms" is now on www.lttds.org (after July 2016 it will be archived here)

    "Rasmus Nilausen’s "The Cluster" III (2014) sits tight in a cupboard in what was once the house of a priest. This painting formed just one part of the exhibition that, together with Pere Llobera, Nilausen made for the Latitudes-devised Composiciones last October (the programme of artists’ interventions returns later this year). "Vera Icon" took over the rooms of the abandoned house in the gardens of La Central bookstore, itself a former city-centre church, and tweeting Mayoress Ada Colau was one of the many curious visitors over the weekend." continue reading...

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 
    "Highly recommended the #BarcelonaGAlleryWeekend @ArtBarcelona_AS". Twitter by Ada Colau, Barcelona Mayor during her visit to Rasmus Nilausen (photographed on the left and upper right corner) and Pere Llobera exhibition at the house of a former priest, La Central Bookstore. Slideshow starts here.

    Related content:
    • Archive of Cover Stories.
    • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
    • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
    • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
    • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




    Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda


    As part of Kadist Online Projects, Kadist and Latitudes are partnering in a new 'distributed' phase of 'Incidents (of Travel)' as an online periodical that is publishing regular contributions from curators and artists working around the world. 

    Originally conceived by Latitudes as day-long artist-led tours around Mexico City (2012) – followed by Hong Kong (2013) and San Francisco (2015) – 'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.



    The second 'Incidents (of Travel)' dispatch comes from Jinja, Uganda, where writer, researcher and curator Moses Serubiri met photographer Mohsen Taha. On this occasion Taha photographed the day together exploring Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972. Taha's photographs show the architectural remnants of their presence, and Serubiri's commentary tells of the forces at work in Uganda during that period.

    Each of the 18 photographs in the sequence is augmented by one or more extra assets: a brief commentary, a caption or a soundscape, and is accessed by clicking the words which overlay the images.


    The series inaugurated with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan

    Forthcoming contributions by Marianna Hovhannisyan (Yerevan / Istanbul), Yu Ji (Shanghai), Simon Soon (Kuala Lumpur / Sydney) and Natalia Zuluaga (Pereira / Miami), all fellows who participated in the seminar ‘The Place From Where We Look’ at Kadist Paris in June 2015. 


    RELATED CONTENT:




    Documentación de la exposición de Pau Magrané/PLOM en La Capella, BCN Producció 2016

    Fotografías exposición: Pep Herrero i La Capella/BCN Producció'16.
     
    Como parte del equipo tutorial de BCN Producció 2016 (junto al comisario David Armengol y la artista Mireia Sallarès) acompañamos a los artistas Pau Magrané/PLOM (Espai Cub, abriljunio) y Antoni Hervàs (Sala Gran, septiembre–noviembre), y la comisaria Joana Hurtado Matheu (Sala Gran, 2 marzo 201630 abril 2017) a lo largo de este año en la preparación y producción de sus respectivas exposiciones. La exposición "Demo" de Pau Magrané finalizó hace unos días en La Capella (c/ Hospital 56).  

    "Demo" (27 abril–12 junio 2016) compartió programación con la exposición "Background Immunity" de Ricardo Trigo, tutorizada por Armengol. "Demo" fue un concierto audiovisual en el que la reapropiación de sonidos y la visión escultórica juegan un papel fundamental. El concierto defin el Espai Cub de 3x3m como escenario-instrumento sonoro, una caja de resonancia que acoge distintas proyecciones y objetos activados por PLOM (alter ego de Magrané) durante su inauguración, pero que se mantuvieron durante toda la exposición invitando al público a interactuar con ellos.



    Fotografías publicación: Folch.

    Podéis adquirir la publicación "Demo" [ISBN 978-84-985087-8-9 en catalán, castellano e inglés, 5 Euros] publicada por el Ajuntament de Barcelona y The Flames con motivo de la exposición, en La Capella y online a través de la web de Folch studio, diseñadores de la publicación y de la imagen gráfica del ciclo


    Aquí podéis ver un vídeo de la exposición (5'26'', catalán con subtítulos en castellano. Here with English subtitles) realizado por Hugo Barbosa 

    El 11 de julio 2016 a las 19h, los artistas y tutores presentarán la publicaciones resultantes del proyecto en la librería Múltiplos (c/ Joaquim Costa 30), que incluyen una entrevista entre artista-tutor y fotodocumentación de sus exposiciones.
       
    BCN producció es una convocatoria anual dirigida a la comunidad artística de Barcelona (y su área de influencia), para la producción y presentación de tres exposiciones individuales en la Sala Gran de La Capella, tres en el Espai Cub, un proyecto de comisariado y dos proyectos deslocalizados. Es una iniciativa del Institut de Cultura de Barcelona (ICUB) del Ajuntament de Barcelona.



    CONTENIDO RELACIONADO:

    • Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona (2 Febrero 2016)
    • Proyecto de investigación ‘#OpenCurating’, BCN Producció 2012, Barcelona, junio 2012–april 2013.  
    • Ten interviews with artists, curators, archivists, online dept., editors around how the internet is changing artistic and curatorial practice  – free download via Issuu.
    • The rise of Web 2.0 and an increasing expectation of participation and transparency is transforming our political, social and cultural landscape. What relevance does this have in contemporary art production, exhibition making and curatorial authorship? Storify #OpenCurating




    Barcelona Gallery Weekend 2016 – Artists and locations of the programme "Composiciones" announced


    A "Save The Date" press release (scroll down for different languages) has been sent out with information of the participating galleries and spaces and their exhibitions for the forthcoming Barcelona Gallery Weekend (29 September–2October 2016)

    Returning for its second edition in 2016, Latitudes will curate "Compositions" (Composiciones), a series of artistic interventionsin unique sitesacross the neighbourhoods of the city. Each of the commissioned artists is represented by a gallery participating in the Barcelona Gallery Weekend. 

    Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.  

    The invited artists are Lúa Coderch  (Iquitos, Perú, 1982), Regina Giménez (Barcelona, 1966), Lola Lasurt  (Barcelona, 1983), Robert Llimós  (Barcelona, 1943), and Wilfredo Prieto (Santi Spiritus, Cuba, 1978), and the spaces where their interventions will take place are: 
    The full schedule of routes, guided tours and parallel programming will be announced in September.

    'Composiciones', five new commissions for the Barcelona Gallery Weekend, 1–4 October 2015.

    "Compositions" is a programme of artists’ interventions originally conceived and curated by Latitudes for the first Barcelona Gallery Weekend in 2015, when it produced five projects by David Bestué (in the former ceramics factory Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano de Barcelona); Jordi Mitjà (in the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the house of the former priest, gardens of La Central del Raval) y Daniel Steegmann Mangrané (in the Umbracle – Shadehouse – at the Parc de la Ciutadella). 

    #BarcelonaGalleryWeekend
    #Composiciones2016

    Related content:

    • Composiciones 2015 commissions;
    • Storify – 2015 social media archive;
    • Instagram of the Barcelona Gallery Weekend;
    • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
    • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015;




    Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection

    Monthly cover story on www.lttds.org

    José Antonio Hernández-Díez’s exhibition No temeré mal alguno (I will fear no evil) – curated by Latitudes – continues at the Museu d’Art Contemporani de Barcelona (MACBA) until 26 June. Reconstructed for the exhibition, the extraordinary Sagrado Corazón Activo was first shown in September 1991 in a group show titled El Espíritu de los Tiempos (The Spirit of the Times) in Caracas, Venezuela. It belongs to a body of work that José termed a ‘New Christian Iconography’ in which the application of communications and medical technology interlace with systems of paranormal belief, most prominently Christian theology.


    Published as part of MACBA’s Portable Notebook series, Latitudes’s essay about José’s exhibition explains that “this visceral work deals with a key point of difference in theologies related with transubstantiation and ‘real presence’ – the notion that Jesus Christ is actually somehow present in a fleshy way in the bread and wine of the Eucharist versus being a symbolic or a metaphorical presence. Sagrado Corazón Activo seems to inhabit the peculiarly disjointed temporality that is proper to hauntology – a techno-medical vision of a science-gone-mad future within an ancient symbolic past.”   

    Photo: Inés Balcells for ABC El Mundo.

    No temeré mal alguno (I will fear no evil) focusses on José’s first experimental works with videography in the late 1980s and early 1990s and such early iconic vitrine-based works, alongside a new project made for the occasion. The presence of ghosts and bodily organs in this phase of Hernández-Díez’s out-of-joint art – videographic spectres, disembodied voices, preserved creatures, hearts and skin – is only enhanced by the necromantic aspect of the fact that several of his works were remade, as if brought back to life, for the exhibition.

    #HernándezDíez
      
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    Reseñas sobre la exposición "No temeré mal alguno" de José Antonio Hernández-Díez en el MACBA

    A una semana de concluirse la exposición de José Antonio Hernández-Díez en el MACBA (finaliza el 26 de junio), hacemos revisión de la cobertura de prensa más relevante que ha recibido (por orden cronológico) y que encontraréis bajo la pestaña "Contenidos relacionados" en la sección final de ésta y en todas nuestras páginas, espacio desde donde también compartimos entradas al blog.

    Compartimos una vez más el registro fotográfico de la exposición y el archivo de redes sociales (reseñas, instagrams, tweets) que diferentes usuarios han ido publicando a lo largo de los tres meses que ha durado la exposición. 

    Recordad que quedan dos activides más: el 22 de junio, 19h, se proyectará "Vampyr" de Carl Theodor Dreyer (1932, Francia y Alemania, 75 min, b/n, sin sonido) dentro del ciclo "Sombras y silencios o los fantasmas que vuelven como la primera vez" que comisaría el cineasta Andrés Duque para la exposición y el sábado 25 de junio, 19h, Nieve Fuga realizará un concierto en vivo en la sala de exposiciones en el contexto de la programación #MACBAesviu, un collage sonoro inspirado en las obras de la exposición
     
    “Las obras de José Antonio Hernández-Díez toman el MACBA”, eldiario.com, 17 marzo 2016.


    “El MACBA acull una exposició amb instal·lacions experimentals de José Antonio Hernández-Díez”, Vilaweb.com, 17 març 2016.

    Núvol, video by Ester Roig, 17 març 2016.
     

    Sonia Ávila, "José Antonio Hernández-Díez mira a su pasado”, El Periódico, 17 marzo 2016.

    Carlos Sala “Cuando el video era el rey”, La Razón, 18 marzo 2016.
     

    Griselda Oliver, "Viu o mort. El gos d’Antonio Hernández-Díez", Núvol.com, 19 març 2016.


    Eugènia Sendra, “Com recuperar la fe perduda”, revista Time Out, 23 març 2016.

    Javier Díaz-Guardiola, “La obsolescencia artística programada también existe”, ABC Cultural, 25 marzo 2016.
    Antoni Ribas Tur, "Nova iconografia religiosa i un gos sant, al Macba”, www.ara.cat 29 març 2016.

    Jaume Vidal Oliveras, "Hernández-Díez, líbranos de todo mal", El Cultural, El Mundo, 1 abril 2016.

    Maria Palau, "Art, vida i mort", El Punt/AVUI, 7 abril 2016.

    Roberta Bosco, "Arqueología contemporánea", El País (Catalunya),17 abril 2016.

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    Kadist and Latitudes present 'Incidents (Of Travel)' online


    Latitudes and Kadist Art Foundation are partnering in a new 'distributed' phase of 'Incidents (of Travel)' as an online periodical. As part of its Online Projects, Kadist will be publishing regular contributions from six of its fellows working around the world. 
     
    Originally conceived by Latitudes as day-long artist-led tours around Mexico City (2012) – followed by Hong Kong (2013) and San Francisco (2015) – 'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter. Online storytelling present and document curatorial fieldwork and an offline day’s itinerary.
     
    Curator Yesomi Umolu and artist Harold Mendez inaugurate the series with a dispatch from Chicagofieldwork and online storytelling photographed by Nabiha Khan of an offline day’s itinerary. 

    Forthcoming contributions from Marianna Hovhannisyan (Yerevan / Istanbul), Yu Ji (Shanghai), Moses Serubiri (Kampala), Simon Soon (Kuala Lumpur / Sydney), and Natalia Zuluaga (Pereira / Miami), fellows who participated in the seminar ‘The Place From Where We Look’ at Kadist Paris in June 2015. 



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    Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux


    A cover story is published monthly on www.lttds.org

    "In pondering a museum’s memories you seldom think of coffee beans. Yet at CAPC Contemporary Art Museum Bordeaux, burnished nuggets of the past in the form of the seeds of Coffea arabica occasionally materialise, as if out of nowhere. One day one might appear atop a pile of papers on an office desk; weeks later, another bean might show up in the middle of one of the exhibition galleries. A look on top of a shelf in the library might harvest several. During Latitudes’ recent residency at CAPC, François Poisay from the exhibition team showed us the stash he has been squirrelling away in his desk for years." 

    Continue reading on www.lttds.org (after May 2016, it will be archived here

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    Interview with Nicholas Mangan for his forthcoming catalogue ‘Limits to Growth’

    Nicholas Mangan, ‘Ancient Lights’ (2015). Installation views, Chisenhale Gallery, 2015. Co-commissioned by Chisenhale Gallery, London and Artspace, Sydney. Courtesy the artist; Labor Mexico; Sutton Gallery, Melbourne; and Hopkinson Mossman, Auckland. Photo: Andy Keate.

    We have just wrapped-up an interview with Melbourne-based artist Nicholas Mangan to be published by Sternberg Press as the catalogue of his forthcoming solo exhibition ‘Limits to Growth’, co-produced by Monash University Museum of Art (MUMA), Melbourne (opening July 20) and Institute of Modern Art (IMA), Brisbane (where it will be on view from October 29), it will later travel to Kunst-Werke Institute of Contemporary Art in Berlin (summer 2017)

    The five-part interview weaves together a discussion of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016), to be premiered at Monash University Museum of Art (MUMA). Part of an ongoing dialogue with Mangan, it developed from a public conversation event that took place at Chisenhale Gallery, London on 7 July 2015. 

    ‘Limits to Growth’ references a 1972 report commissioned by the Club of Rome that analysed a computer simulation of the Earth and human systems: the consequences of exponential economic and population growth given finite resource supplies. The overlapping themes and flows of energies in the five of Mangan’s projects discussed in the interview might be read as an echo of the modelling and systems dynamics used by the simulation in order to try and better understand the limits of the world’s ecosystems. 

    Mangan is presenting Ancient Lights’ (2015) at his Mexico City gallery LABOR on April 22, a work co-commissioned by Chisenhale Gallery in London and Artspace in Sydney.

    In conversation between Latitudes and Nicholas Mangan, Chisenhale Gallery, 7 July 2015. Photos: Manuela Barczewski.

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    Graphic communication of the exhibition 'José Antonio Hernández-Díez. I Will Fear No Evil' at MACBA

    Exhibition announcement sent via email.

    The invitation for the solo exhibition "I Will Fear No Evil" by