Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago

Latitudes' homepage www.lttds.org

The July 2019 monthly Cover Story ‘Francesc Ruiz’s Brexit Bristol sequel, ten years ago’ is now up on Latitudes' homepage: www.lttds.org

The British political system has collapsed… Once the high streets merely declined with their pound shops, gold traders, and bargain basements… Then they slumped as the "major downturn" began to bite… Yet as the economy finally plunged into the devastating recession, countless properties and businesses across the city of Bristol already lay in ruins… Widespread rioting and looting… Shortages of food and medicines… Spiralling inflation rates and a currency crash… The troops now struggle to enforce the state of emergency… The traitors flock to the southern ports, desperately seeking safe passage to Brussels…

—> Continue reading
—> After this month it will be archived here.


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


RELATED CONTENT:





11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)

‘Volcán de Agras. Derechos mineros’. Fotos: Lara Almarcegui.

El próximo 11 de julio a las 19h, la artista Lara AlmarceguiMariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.

A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.  


Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.

Lara Almarcegui es seguramente la artista con la que Latitudes ha colaborado en más ocasiones. Han incluido su trabajo en la publicación ‘LAND, ART: A Cultural Ecology Handbook’ (2006) y en la revista UOVO #14 ‘Ecology, Luxury and Degradation’ (2007). Han escrito textos sobre su trabajo que han sido publicados en la revista Mousse Magazine, así como para los catálogos de los proyectos ‘Estratos’ en Murcia (2008) o ‘Sense and Sustainability’, Urdabai Arte (pdf aquí) (2012), y recientemente para el catálogo de su exposición monográfica en el CAIRN Centre d'art, France (2019). 


(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.


En el 2011 moderaron una conversación con la artista y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, y editaron su primera monografía ‘Lara Almarcegui. Projects 2005–2010’ publicada por Archive Books (2011). Asímismo le han encargado proyectos para proyectos en el espacio público como ‘Portscapes’ en el puerto de Róterdam (2009–10), el puerto más grande de Europa, y presentado su trabajo en exposiciones colectivas como ‘Greenwashing. Percoli, promesse e perplessità’ [Greenwashing. Peligros, promesas y perplejidades] en la Fondazione Sandretto Re Rebaudengo en Torino (2008) y ‘4.543 milliard. La question de la matière’ [4.543 billones. La cuestión de la materia], en el CAPC Musée d'art contemporain de Bordeaux (2017–2018).


Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).

(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.

(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.

(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.


CONTENIDO RELACIONADO:
  • ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
  • Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
  • Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
  • Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
  • Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
  • Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
  • Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
  • Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
  • Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
  • Lara Almarcegui in Frieze Art Fair 19 Octubre 2006




Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores

Nueva imagen corporativa en ocasión del 25º aniversario de La Capella. Foto: Folch Studio.

Después de tres intensas semanas de proceso —una dedicada a la lectura de las 259 solicitudes recibidas, otra al debate con los cinco miembros del jurado (formado por Alexandra Laudo, Antònia Folguera, Joan Casellas, Mireia Sallarès y Latitudes, junto a Oriol Gual (director de La Capella) y David Armengol (coordinador de la comisión), ambos últimos con voz pero sin voto), y una tercera semana entrevistando a 32 finalistas— el jurado y equipo de tutores de Barcelona Producció ha decidido premiar a los siguientes 15 proyectos para su producción y presentación a lo largo de la temporada 2019-2020 (fechas por confirmar):

PROYECTOS EXPOSITIVOS

Sala Grande – Exposición individual
  • "Kyklos" de Martín Llavaneras (29 octubre 2019—16 febrero 2020)
  • "Faula rodona / Sols i embogits / Entre la precisió total i una canço de Sau" de Pere Llobera (10 marzo 2020—31 mayo 2020)
  • "Joc d'infants" de Lola Lasurt (16 junio 2020—4 octubre 2020)
    Sala Gran – Proyecto de comisariado
    • "Esdevenir inmortal i després morir" de Caterina Almirall (20 octubre 2020—31 enero 2021)

    PROYECTOS NO EXPOSITIVOS
      Proyectos deslocalizados
      • "La balena del Prat al Prat / Retorn" de Consol Llupià,
      • "Serps d'aigua. Les rieres ocultes i la construcció simbòlica de Barcelona" de Sitesize (Joan Vila Puig y Elvira Pujol),
      Investigación
      • "Nomenar, posseir. Crítica de la pràctica taxonòmica" de Agustín Ortiz Herrera;
      • "Correspondències simbòliques entre folklore catòlic i música màkina al Casc Antic de Barcelona" de Marc O'Callaghan;
      Publicación
      Acción en vivo (22, 23, 24 septiembre 2019)
      Proyectos de creación transdisciplinar y medios digitales 
      Proyecto educativo y de mediación
      • "εξέδρα (Exedra). L'Art com a eina d'equiparació social" de Jordi Ferreiro.
      Latitudes tutorizará los proyectos de Lola LasurtConsol Llupià y Agustín Ortiz Herrera. Más información y calendario 2019–2021 se irá publicando y actualizando en nuestra web.

      Exposición "El Misterio de Caviria" de Antoni Hervàs, parte de la programación de Barcelona Producció 2016 en La Capella. Su proyecto fue galardonado con el Premi Ciutat de Barcelona 2016 y el Premio ACCA al Proyecto Artístico 2016. Proyecto tutorizado por Latitudes. Fotos: Pep Herrero, Barcelona Producció/La Capella.

      Si en la anterior convocatoria se habían doblado el número de categorías pasando de nueve a dieciocho y se sumaron tres nuevos tutores, en esta ocasión la sala pequeña ha sido eliminada aunque se ha introducido un proyecto de educación y mediación
      destinado a la realización de acciones educativas dirigidas al público general sobre la base de las actividades programadasLos proyectos para "Entornos digitales" han pasado a denominarse "Proyectos de creación transdisciplinar y medios digitales" y serán tutorizados por Antònia Folguera.

      Los proyectos deslocalizados, de publicación, los proyectos de creación transdisciplinar y medios digitales, y los de investigación se producirán y presentarán a lo largo de la temporada según el calendario de las propuestas. Los de acción en vivo tendrán lugar tres días consecutivos en Septiembre y Joan Casellas se encargará de tutorizarlos.

      Publicación ‘The Drowned Giant’ realizada por Anna Moreno producido con el apoyo de Barcelona Producció 2017, La Capella, Institut de Cultura de Barcelona. Proyecto tutorizado por Latitudes. Foto: Anna Moreno.

      Vista de la exposición ‘La disidencia nostálgica’ comisariada por Joana Hurtado Matheu, parte de la programación Barcelona Producció 2017, La Capella. Proyecto tutorizado por Latitudes. Foto: Pep Herrero, Barcelona Producció/La Capella.

      Barcelona Producció es una convocatoria anual dirigida a la comunidad artística de Barcelona y su área de influencia. Es una iniciativa del Institut de Cultura de Barcelona (ICUB) del Ajuntament de Barcelona.

      CONTENIDO RELACIONADO:






      Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’

      Latitudes' homepage www.lttds.org

      The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org

      Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”

      —> Continue reading
      —> After May it will be archived here.


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


      RELATED CONTENT:





      Cover Story – May 2019: ‘Buenos Aires in Parallel’

      Latitudes' homepage www.lttds.org

      The May 2019 Monthly Cover Story ‘Buenos Aires in Parallel’ is now up on Latitudes' homepage: www.lttds.org

      “Latitudes recently participated in the Parallel Rooms talks programme of Art Basel Cities: Buenos Aires. Developed in collaboration with the arteBA Fundación, and taking place during the arteBA art fair itself, these events transpired in four temporary domes that popped-up on the central showground of La Rural, a venue more used to hosting prize-winning cattle than forty-two curators, artists, and collectors.


      —> Continue reading
      —> After May it will be archived here.


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


      RELATED CONTENT:





      Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair


      Invited by Art Basel Cities: Buenos Aires to participate in their Parallel Talks programme during ArteBA, Latitudes spent a week in Buenos Aires (9–15 April) visiting a range of studio spaces, non-profit initiatives, commercial galleries, residency programmes, collectors, artists, and the arteBA art fair itself. 

      (Above) Mariana Tellería ("Dios es inmigrante", 2019) and Carlos Huffmann (below) "Hito de frontera", 2019).

      Tuesday 9 April 2019: We arrived in the evening in time to join the opening of the Buenos Aires Art Week (Semana del Arte) at Plaza Seeber. On the square, several sculptures were commissioned for the occasion, including works by Mariana Tellería (representing Argentina in the 2019 Venice Biennale), as well as works by Margarita Paksa, Marie Orensanz, Luna Paiva and Carlos Huffmann (photographed below).


      Façade of MALBA — Museo Arte Latinoamericano de Buenos Aires.

      Wednesday 10 April: Morning visit to MALBA — Museo Arte Latinoamericano de Buenos Aires, who just announced the appointment of Gabriela Rangel as its new director. MALBA we saw "Inner world Modern Argentine Photography 1927-1962" with really compelling photographic work by Horacio Coppola, among others, as well as the survey "Latin American Art 1900–1970from the MALBA collection.


       (Above) Pistal Central de La Rural.

      In the afternoon we went to the Pista Central of La Rural to attend the opening of ArteBA. Later in the week, twelve concurrent talks — the Parallel Talks programme organised by Art Basel Cities: Buenos Aires — would take place inside transparent geodesic domes installed on this arena.

      "Cultivar el suelo es servir a la patria" (Cultivate the soil is to serve the homeland).

       Inside the art fair ArteBA.


      ‘Lleno de sonrisas serias’, a 1963 work by conceptual artist and fashion designer Dalila Puzzovio (work above, the artist is photographed below on the left) was presented at Rolf Art gallery. Her discarded cast piece was included in the 1964 exhibition ‘New Art of Argentina’, organized by the Walker Art Center in Minneapolis and the Instituto Torcuato Di Tella in Buenos Aires (installation view in the background where her piece was presented on the floor). As Walker curator Siri Engberg wrote, the show ‘brought to Minneapolis Argentine artistic trends in geometric, abstract, and collage painting, constructivism, and other developments’. Rolf Art also presented works by José Alejandro Restrepo ‘Parquedades’ (1987) and María José Arjona's performance ‘Línea de Vida’.


       (Above and four images below) Nicolás Robbio at Museo Sívori

      In the evening we had welcome drinks at the Museo Sívori, which hosted the fantastic solo show "3 de espaldas" by Nicolás Robbio, curated by Sebastián Vidal Mackinson.



      Thursday 11 April 2019: Morning visit to several studios in the Once neighbourhood, including that of Eduardo Basualdo (two images below).

      Later visited a group exhibition at galería Revolver which included "Aspiradora" (2017) by Alberto Borea.

      Vicente Grondona's work also at Revolver.

      cheLA studio spaces in parque Patricio neighbourhood.

      In the afternoon we divided into smaller groups. We went to cheLA, a large 1930s industrial building in Parque Patricios hosting a programme of international residencies directed by Pablo Caligaris. In its 5,000m, cheLA hosts a range of organisations ("Constellations") including Móvil, a non-profit directed since 2014 by Alejandra Aguado and Solana Molina Viamonte, occupying the sala Tatraba.


      Entrance to Móvil in cheLA
      (Above and below) Exhibition "Sí, no y otras opciones" by Tucumán-born artist Mariana Ferreira at Móvil.


      Evening opening at Centro Cultural Kirschner (CCK) hosted a large survey by 47 Argentinian artists titled "La marca original: arte argentino" presented over their vast exhibition spaces on the second and fourth floors. The building was a former post office and reminded us of Madrid's CentroCentro which has undergone a similar readaptation of its use, both struggling to adapt their spaces to the presentation of contemporary art.

       House-gallery of Maria Casado.

      Friday, April 12, 2019: Morning visit to El Tigre, north of Buenos Aires, visiting the home-and-gallery of Maria Casado and the residency programme Proyecto URRA.

      (Left to right) Stuart Fallon (Talbot Rice Gallery, Edinburg), Marie Christine Schuh (Art Basel Cities: Buenos Aires), Latitudes, Richard Parry (Glasgow International), gallerist Maria Casado and Sandino Scheidegger (Random Institute).


      Onwards to the nearby Proyecto URRA artists residencies, also in El Tigre. Introductions by the resident artists Antonio Castillo Coo, Claire de Santa Coloma, Enrique Radigales, Lucas Despósito and Marisol San Jorge, and URRA director Melina Berkenwald.

      Photo: Stuart Fallon.
       (Above and below) Installation by Madrid-based artist Enrique Radigales.
      Enrique discusses his piece with visitors and other residents. Photo: Stuart Fallon.

      Afternoon at the Parque de la Memoria—a fourteen-acre remembrance park situated in front of the Río de la Plata, commemorating the victims of state-sponsored terrorism from the 1976–83 military regime. Here we met Florencia Battiti (Curator at Parque de la Memoria) who explained the mission, programme and public commissions. 



      Saturday 13 April 2019: On Saturday morning we joined the arteBA tour to a few galleries in La Boca neighbourhood: Fundación El Mirador (showing Alfredo Prior), Quadro Galería (showing Karin Idelson) and (photographed) Galería Barro exhibiting Marcelo PomboFundación PROA presented contemporary Argentinian design, and we had ‘choripán’ lunch at the nearby Fundación PROA 21.


      Back at the fair, transparent geodesic domes had been set up by Art Basel Cities: Buenos Aires at the Pista central in La Rural. Each space hosted the three consecutive conversations, starting 5:30. Max Andrews and Mariana Cánepa Luna's individual conversations ran consecutively (at 6:30 and 7:30) each for an hour. 

      As narrated by co-guest Sandino Scheidegger of the Random Institute, other talks included topics such as ‘An Exhibition By Any Other Name’, ‘How Can Art Institutions Foster Experimentation?’ or ‘Curating in Context: How to Be Site-Specific’ (programme pdf here).

      On the subject of the 3-year relationship between arteBA and Art Basel Cities: Buenos Aires, Kerry Doran wrote his impressions in Artforum diary



      Sunday 14 April 2019: A very welcome free day Sunday. We visited MUNTREF—Centro de Arte Contemporéneo's recently opened Premio Braque 2019 exhibition featuring works by fifteen Argentinian artists: Alfredo Dufour, Belén Romero Gunset, Celina Eceiza, Erica Bohm, Gustavo Nieto, Julián Sorter, Malena Pizani, Mariana Ferrari, Mónica Heller, Nacha Canvas, Nicolás Mastracchio, Juan Sorrentino, Mariana López, Dani Zelko and Cecilia Szalkowicz, awarded this year Premio Braque with her piece ‘Cosmos’. The award consists of a six-month residency at the Cité Internationale des Arts in Paris. 

       (Above and below) ‘Cena recalentada’ by Celina Eceiza.
       (Above, left) Belén Romero Gunset ‘Pensar sola es criminal’ and (right) Erica Bohm ‘El cristal perfecto’. 
      (Above) Julián Sorter ‘Doble de cuerpo’.
      View of the show with works by Alfredo Dufour ‘Cest la vie I’, Malena Pizani ‘Cinco monos’ and Nicolás Mastracchio ‘Inducción VI’. 
      (Above, foreground) works by Nacha Canvas ‘Símil’ and (background) Mariana Ferrari ‘Vivir aquí’.

      Entrance to Carla Zaccagnini's "Mañana iba a ser ayer" curated by Lucrecia Palacios y Agustín Pérez Rubio also on view at MUNTREF—Centro de Arte Contemporéneo.

      A classic fugazzeta at El Cuartito was followed by 1h walk to the Museo de Arte Moderno de Bellas Artes in San Telmo, with a short diversion to El Ateneo bookstore (below).




      At the Museo de Arte Moderno de Buenos Aires: "Una Historia de la imaginación en la Argentina", subtitled "Visiones de la Pampa, el litoral y el altiplano desde el siglo XIX a la actualidad", one of the most interesting shows in town. We wished we had seen it earlier in what has been a busy week. It included 250 works from different geographical points of the country, selected around their representation of nature, the feminine body and violence. It was curated by Javier Villa, Chief Curator at the Museo de Arte Moderno de Buenos Aires.


      (Above) Works by Calixto Mamani and exhibition views below.
      Installation "Mi Silencio miseria" (2015-19) by Carlos Herrera.


      Also at MAMBA, we caught the last day of Mercedes Azpilicueta's solo show ‘Cuerpos pájaros’, and more specifically, her performance "Oh Eduarda!".


      (Above) Azpilicueta performing during her "Oh Eduarda!", a script realised in collaboration with Agustina Muñoz, who performs alongside the artist. 


      RELATED CONTENT:




      ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’


      (Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.

      Lara Almarcegui's exhibition ‘Béton’ opened on April 5 at CAIRN Centre d'art, in Digne-les-Bains, France, and will be on view until June 30th, 2019.

      Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.



      As Latitudes' writes in the essay (...) ‘As part of her most recent project for CAIRN Centre d’art, Almarcegui has produced ‘Roches et Materiaux du Bassin de la Bléone’ (2019), an inventory of the different types of geological matter comprising the entire drainage basin of the Bléone river from its source near Prads-Haute-Bléone to its confluence with the Durance at Chateau-Arnaux, a terrain of some 906 km2.

      In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?”[1] She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’



      ‘Lara Almarcegui. Béton’
      April 2019, 48 pages, 24 x 17 cm
      Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann. 
      French/English 
      Published by Silvana Editoriale
      Edited by CAIRN centre d'art
      ISBN 9788836640904
      Purchase here for 10 Euros.

      RELATED CONTENT:
      • Writing archive on Latitudes' website;
      • Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
      • Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
      • Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
      • art-agenda review of Frieze week 2018 15 October 2018
      • Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018




      Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019


      Art Basel Cities: Buenos Aires in collaboration with arteBA Fundación will host a Talks Programme between April 12–14, 2019. Forty-two speakers from across the cultural sphere will discuss salient topics with the Buenos Aires audience. 

      Max Andrews and Mariana Cánepa Luna of Latitudes will each participate in Parallel Rooms, an Art Basel programme format that began in 2017 allowing attendees to choose from and roam among multiple conversations happening simultaneously. Check the full events programme here (in Spanish).


      Parallel Rooms takes place at arteBA, Pista Central de la Rural, Palermo, and are free and open to the public.


      Parallel Rooms | Session 2 | Room 3
      "First Things First: Making Exhibitions for a General Audience"

      Saturday 13 April 2019
      6:30
      7:30pm

      In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?

      This session is free and open to the public and will be held in Spanish.


      Parallel Rooms | Session 3 | Room 2
      "Beyond the Museum: New Institutional Frames for Art"
      Saturday 13 April 2019
      7:30—8:30pm


      Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.

      This session is free and open to the public and will be held in Spanish.
      + info


      RELATED CONTENT:





      Cover Story – March-April 2019: Icelandic refraction


      Latitudes' home page www.lttds.org

      The March-April 2019 Monthly Cover Story “Icelandic refraction” is now up on Latitudes' homepage: www.lttds.org

      “It has been speculated that Icelandic spar was at one time used for navigational purposes,” reflects curator Becky Forsythe. Her account of a short Reykjavík day spent with artist Þorgerður Ólafsdóttir is the latest episode of Incidents (of Travel), the series edited by Latitudes and produced by Kadist.”


      —> Continue reading
      —> After April it will be archived here.


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


      RELATED CONTENT:

      • Archive of Monthly Cover Stories
      • Cover Story–February 2019: Schizophrenic Machine (1 February 2019)
      • Cover Story—January 2019: “Seesaw” (7 January 2019)
      • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
      • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
      • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
      • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
      • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
      • Cover Story–July 2018: No Burgers for Sale 2 July 2018
      • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
      • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
      • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 




      Latitudes' redesigned portfolio – projects since 2005


      After weeks and long hours facing the screen and mining hard disks, we've uploaded Latitudes' redesigned portfolio, at last! Go to download page and choose format:

      For desktop/laptop/tablet view (83pp, 30.9 MB)
      For mobile (164pp, 15.8 MB)
      For print (164pp, 155.3 MB)


      The pdf gathers a selection of projects produced since 2005 and includes a refreshed version of our biographies – which have also been updated on our website.

      We have also included short individual biographies available for download as pdf – see below highlighted in yellow.

      PDF designed and edited by Latitudes.

      RELATED CONTENT:




      Ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir from Reykjavík, Iceland

      Episode #9 of ‘Incidents (of Travel)’ from Reyjkavík on http://incidents.kadist.org 
      All photographs by Þorgerður Ólafsdóttir © 2018.


      In the ninth 'Incidents (of Travel)' dispatch, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík's surroundings considering Þorgerður's "current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites, collecting moments and considering the ways in which geologic time surfaces in the context of human time."

      Each of the 27 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.

      Selection of pages from the latest Incidents (of Travel)' dispatch from Reyjkavík. 


      '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 were presented as part of an exhibition on Latitudes' 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 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 Buenos Aires (Argentina), 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.
      Episode 8 from Buenos Aires http://incidents.kadist.org/buenosaires


      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.

      RELATED CONTENT:





      Cover Story–February 2019: Schizophrenic Machine

      Latitudes' home page www.lttds.org

      The February 2019 Monthly Cover Story “Schizophrenic machine” is now up on Latitudes' homepage: www.lttds.org


      Schizophrenic machine, the concluding performance of the Latitudes-curated Joan Morey project COLLAPSE, took place on the freezing evening of 10 January. One hundred and thirteen pre-vetted audience members, each complying with a rigid all-black dress code, were driven by coach to the previously undisclosed location: the former La Model prison in Barcelona’s Eixample neighbourhood. More strictures were barked by a balaclava-clad doorman upon arrival: silence! single file! No mobile phones, no bathrooms, no chance to leave. The reverberation of a door slamming. More than two hours in the darkness and cold.

      —> Continue reading
      —> After December it will be archived here.


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


      RELATED CONTENT:

      • Archive of Monthly Cover Stories
      • Photo documentation of COLLAPSE.
      • Cover Story—January 2019: “Seesaw” (7 January 2019)
      • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
      • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
      • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
      • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
      • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
      • Cover Story–July 2018: No Burgers for Sale 2 July 2018
      • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
      • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
      • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 




      ‘COLLAPSE. Schizophrenic Machine’ site-specific performance by Joan Morey at the former prison La Model, Barcelona, 10 January 2019



      ‘Schizophrenic Machine’ site-specific performance by Joan Morey at the former Panopticon-inspired prison La Model, Barcelona, 10 January 2019. © All photographs by Noemí Jariod. Courtesy of the artist.




















      Schizophrenic Machine’ was the closure to the three-part project ‘COLLAPSE’ by Joan Morey. This new site-specific performance took place on January 10, 2019, in the former prison La Modelo, a location that was kept in secret up until the 113 guests were driven in coaches from either Centre d'art Contemporani - Fabra i Coats, or the Centre d'art Tecla Sala

      The audience previously registered to attend the closed-door performance and agreed to comply with the strict dress code. The performance script integrated the 1904 chilling architecture of the prison through voice and technological devices such as drones, surveillance cameras, strobe lighting, an architecture scanning laser. Each one activated and deactivated the building's memories making ‘Schizophrenic Machine’ be Morey's first performance with no human actors as protagonists. ‘Schizophrenic Machine’ continued Morey's long-standing exploration of power structures and control of the body.



      Schizophrenic machine’ took the physical and discursive past of La Model as a scenario for performance where bodies were not acting and the protagonist was the architecture itself. The Panopticon-inspired prison was inaugurated on June 9, 1904, and was conceived as a model for the Spanish penitentiary system: an example of the reintegration of criminals into society through discipline, isolation and religious morality. La Model was one of the main sites of political repression and social control in the city. Followers of all political persuasion passed through its cells, aside from common criminals, yet during the long totalitarian dictatorship of General Franco (1939–1975), it was especially notorious as a site for the repression of political dissidents. La Model closed on June 8, 2017, 113 years after its inauguration


      ‘Schizophrenic machine’ took over the unoccupied building and created a phantasmagoric presence that activated and deactivated its own memory. Conceived as an all-encompassing experience the event took on a singular awareness of the building and the site. The sequential dramatisation of its radial spaces articulated a dystopian representational device. A cast of technological interpreters —voices, sound, lights, cameras, drones and other devices— took the place of performing bodies. Moreover, the panopticon architecture itself seemed to address spectators through a female voice that spoke on the principles of control, power and the paradigm of a surveillance society. La Model became a schizophrenic machine, an imperious disciplinary mechanism for the 21st century. 

      Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.





























      Share: #JoanMoreyColapso

      RELATED CONTENT:

      • Wakelet archive of social media content
      • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
      • Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey (11 Diciembre 2018)
      • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
      • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey (10 December 2018)
      • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
      • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
      • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
      • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
      • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
      • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
      • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
      • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
      • Full performance programme
      • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
      • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018




      Selección de reseñas, videos y entrevistas sobre el proyecto COLAPSO de Joan Morey


      Natàlia Farré, ‘Sumisión y frío en la Modelo’, El Periódico, 15 de enero 2019.
      Maria Palau, ‘Angoixats a la Model’, El Punt Avui, 13 de enero 2019, pág 23.

      Conxita Oliver, ‘El món performatiu de Joan Morey, a revisió’, eltemps.cat, 13 desembre 2018 (Catalán).


      Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", núvol.com, 6 desembre 2018 (Catalán).



      María Muñoz, ‘Sobre el poder, la performance y el deseo’, Metal magazine, 4 diciembre 2018 (Castellano).




      "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'H digital Mitjans de Comunicació de L'Hospitalet, 29 novembre 2018 (4'57'', Catalán).


      Entrevista ‘Joan Morey, artista i performer mallorquí’ con Tania Adam, programa ‘Terrícoles’, canal betevé, 13 novembre 2018 (27', Catalán).
      Vanessa Graell, ‘Anatomía de la ‘performance’’, El Mundo, 27 septiembre 2018 (Castellano).
      Maria Palau, ‘Contra l'abús de poder’, El Punt Avui, 23 setiembre 2018 (Catalán).
      Núria Juanico, ‘L’entrada a l’univers sinistre de Joan Morey’, Ara.cat, 25 setiembre 2018 (Catalán).


      CONTENIDO RELACIONADO:
      • Proceso de inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey 11 Diciembre 2018
      • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
      • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
      • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
      • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
      • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
      • Wakelet archive of social media content




      Cover Story—January 2019: “Seesaw”

      Latitudes' home page www.lttds.org

      The January 2019 Monthly Cover Story “Seesaw” is now up on Latitudes' homepage: www.lttds.org


      “The exhibition “Te toca a tí” (It’s your turn) continues at Espai d’art contemporani de Castelló, Castellón de la Plana, until February 17th. Curated by Laura Vallés Vílchez (editor of the journal Concreta) it includes works by ten artists within a conceptual framework that asks how a gallery space can become a site of negotiation, process, reciprocity, and empathy. Mariana Cánepa Luna’s review of this optimistic show was recently published in Art Agenda.”

      —> Continue reading
      —> After December it will be archived here.


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


      RELATED CONTENT:

      • Archive of Monthly Cover Stories
      • Writing archive – exhibition reviews, artists' profiles, opinion columns, interviews, and catalogue essays written by Latitudes since 2005.
      • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
      • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
      • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
      • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
      • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
      • Cover Story–July 2018: No Burgers for Sale 2 July 2018
      • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
      • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
      • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 




      Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell)

      Max Andrews, co-founder of Latitudes and contributing editor to frieze, recently reviewed the group exhibition ‘A Provisional History of the Technical Image, 1844–2018’ at LUMA Foundation in Arlès. The exhibition is curated by artist Walead Beshty and is on view until January 6, 2019. Published on frieze.com, 20 December 2018.
      Frank Gehry's LUMA building under construction, as of October 12, 2018. Above and following photos by Latitudes. 

      Views from the exhibition ‘A Provisional History of the Technical Image, 1844–2018’.

      "Le Fusil Photographique" by Étienne-Jules Marey. 

      Works by Wolfgang Tillmans (vitrines) and Christopher Williams (wall).

      Hans-Peter Feldmann's "9-12 Front Page", 2001. 


      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


      Also for frieze, Max Andrews reviewed two concurrent exhibitions by Pere Llobera: Acció’ at Bombon Projects (Barcelona) and ‘Kill Your Darlings’ at Sis Galería (in nearby Sabadell), ‘exploring the artist’s ever-changing styles and painterly references.’ Published online on 13 November 2018, and included in January-February 2019 print issue #200.

      “As if tormented by his own cursed hand, Llobera’s darkly fugitive shtick is his alarm at its ability to paint so adeptly so easily, despite his mind’s suspicion of painters painting to be admired.” 


       Views from Pere Llobera's exhibition ‘Acció’ at Bombon Projects, Barcelona. Courtesy the artist. Above and photos below: Roberto Ruiz.



      RELATED CONTENT:
      • Writing archive on Latitudes' website (since 2005);
      • Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze 9 April 2018
      • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
      • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
      • Cover Story – January 2017: How open are open calls? 4 January 2017
      • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
      • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
      • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
      • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015




      Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey



      Se abre el proceso de inscripción (¡hasta el 20 de diciembre 2018!) para asistir a ‘Máquina esquizofrénica’, una performance inédita de Joan Morey que tendrá lugar el 10 de enero de 2019 a las 19 h en una ubicación muy relevante de la ciudad de Barcelona pero que se mantiene expresamente en secreto.

      Máquina esquizofrénica’ es la tercera y última parte del proyecto COLAPSO de Joan Morey y comisariado por Latitudes. La primera parte del proyecto, titulada Máquina deseante, máquina de trabajo se exhibe en el Centre d'Art Contemporani de Barcelona - Fabra i Coats. La segunda parte tiene lugar en el Centre d’Art Tecla Sala, en L’Hospitalet de Llobregat, y es la versión definitiva de la exposición itinerante ‘Cuerpo social’. Ambas pueden visitarse hasta el 13 de enero 2019.


      Formulario de inscripción aquí.

      Observaciones:


      Performance a puerta cerrada y de acceso restringido. Aforo limitado. La performance es exclusivamente para público adulto y, debido al entorno arquitectónico, no es apta para personas con movilidad o visibilidad reducida. El acceso a la performance está sujeto a normas de protocolo, entre ellas el código de vestimenta y la aceptación por escrito de condiciones para la asistencia. Aun habiendo recibido confirmación y cumplir de forma correcta el protocolo de asistencia indicado, el artista, el Fabra i Coats. Centre d'Art Contemporani y el Centre d'Art Tecla Sala se reservan el derecho de admisión. En la confirmación de asistencia se facilitarán todos los detalles organizativos.


      + info

      Comparte: #JoanMoreyColapso

      CONTENIDO RELACIONADO
      • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
      • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
      • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
      • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
      • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
      • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
      • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
      • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
      • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan) 
      • Full performance programme 
      • Wakelet archive of social media content
      • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
      • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018




      Lawrence Weiner tote bag and sugar sachets at the McManus Museum and Galleries in Dundee

      Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

      Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.

      The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

      Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.


      Photo: Creative Learning Team McManus.

      RELATED CONTENT:




      "Barcelona / Such a beautiful horizon: Critical social infrastructure to promote art scene health resilience" sessions with BAR Tool 2018–19 participants

      Poster produced for the 2015 seminar at the Kadist Art Foundation, San Francisco. Photo: Latitudes.

      Latitudes has been invited to lead three closed-door sessions with BAR Tool's 2018–19 participants Milagros Bedoya, Arash Fayez, Adëláide Feriot, Fran Glez, Céline Mathieu, Marina Salvo, Gabriella Torres-Ferrer. The sessions will take place on October 29, 2018; January 22 and March 5, 2019.

      Titled "Barcelona / Such a beautiful horizon: Critical social infrastructure to promote art scene health resilience", the three-part seminar will draw on the qualitative analysis of the legacy of three meetings of the "Near Future Artworlds Curatorial Foresight Disruption Group" convened in 2015 (Vessel–MADA International Curatorial Retreat, Bari, Italy; Kadist Art Foundation, San Francisco, USA; Eastside Projects, Birmingham, UK). The invitation is to collectively instigate a collective systematic review of proposed decisive factors that underpin the psychological fitness and physical well-being of a city art scene, with Barcelona as a case study.

      With a focus on developing taxonomies and diagnostics, as well as therapies and triage, this strand of BAR Tool will culminate in a series of institutional simulations and operations. Viva! Barcelona! Such a beautiful horizon!

      BAR TOOL is a practice-based training program articulated around research, production and presentation processes. Conceived by BAR project in collaboration with Fundació Antoni Tàpies and Fabra i Coats – Art Factory, Barcelona.


      RELATED CONTENT:

      • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group 4 June 2018
      • Sediments of the Geologic Time 4-week residency at the Banff Centre for Arts & Creativity 10 October 2017
      • Documentation of Latitudes' talks at the Athens Biennale summit and Tabakalera, Donostia-San Sebastián, November 2015 19 February 2016
      • 'Near-Future Artworlds Curatorial Disruption Foresight Group' seminar convenes in its third iteration in Birmingham's Eastside Projects, 15 November 2015 11 November 2015
      • Session with first-year participants of the MA Curatorial Practice at the California College of the Arts (CCA), San Francisco, 8 September 15 September 2015
      • Guest Faculty of the Thematic Residency 'Blueprint for Happiness' at The Banff Centre, Canada, 27 July–8 August 2015 16 July 2015 
      • Tutors of the 2015 International Curatorial Retreat, 9–13 May, Bari (Italy) 17 May 2015 
      • Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and a field trip to Hong Kong (16–20 June) 30 May 2014




      October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey

      Third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.

      Event: Reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey

      Scheduled forOctober 11, 2018, 7pm
      Interpreter: Jordi Vall-lamora
      Location: Third floor, Centre d'Art Contemporani de Barcelona - Fabra i Coats.


      The reenactment is part of the live programme of six performances reactivated within Joan Morey's exhibition survey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats (on view until January 13, 2019).


      Each of the performances of the programme is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.

      Access to all performances is unrestricted.


      APORIC LITANY’ was originally presented in 2009 as a pre-recorded spoken-word work in English (included in full in the audio programme of the present exhibition), and excerpts of it in Catalan were also read live as part of the final part of ‘CRIES & WHISPERS’ that same year. The second word in its title derives from aporia, a philosophical notion of dynamic uncertainty. In common use, the word litany has also come to signify a long list of failures, complaints, or disasters. The litany addressed to a deity conventionally takes the form of a series of set invocations recited by a priest, which alternate with the invariable responses of the congregation. Yet, here, the rhythmic and rhetorical expressions that have been scripted by the artist leave no semantic room for reply, and piety has been infused with profanity.

      This dramatized, repetitive oration—at moments marked by obedience, anguish, apostasy, regret, abuse, and provocation—is delivered in Catalan by an inscrutable priest-courtier character. Because the format of the litany has been folded in on itself (believers are neither being addressed nor obediently responding), the effect of the voice is more akin to a conflicted interior monologue that stutters and recurrently ties itself into the same knot of compulsions and desires.

      COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (and on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona.

      RELATED CONTENT:
      • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
      • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
      • Full performance programme 
      • Wakelet archive of social media content
      • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
      • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018




      Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’

      The third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.

      On September 27, 2018, a live programme of performances will begin as part of the exhibition survey by Joan Morey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats.

      ‘POSTMORTEM. Pour en finir avec le jugement de dieu’ (2006-2007) will be the first of six the reenactments that will take place on the third floor of the exhibition

      Each of the six performances is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.

      Access to all performances is unrestricted.


      An extract from panel 7 of POSTMORTEM. A solo female performer wears a loudspeaker which plays excerpts from "To have done with the judgment of God" (1947) by Antonin Artaud, a radio play which here also serves as a form of a choreographic score. Made inert as an individual by the skin-tight garment that covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.

      COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona.

      Centre d'Art Contemporani de Barcelona - Fabra i Coats
      c/ Sant Adrià, 20 
      08030 Barcelona
      centredart.bcn.cat


      RELATED CONTENT:




      Older Posts / Entradas antiguas