Latitudes' "out of office": wrap up of the 2018–2019 season

Seen in Malasaña, Madrid. Photo: @marianacanepaluna

This is our tenth ‘Out of Office’ post, a tradition which started with this 2008-9 post in pre-Facebook, pre-Twitter, pre-Instagram days. We’ve come a long way, but remain faithful to the idea of sharing behind-the-scenes moments. Below we share a selection of the art we’ve seen, the trips we had a chance to take, the conversations we began, the meals we shared, and (oh, we particularly love these) installation scenes. Subverting the institutional convention of the year-end report, our ‘out of office’ mixes official and unofficial photos, screengrabs and we-fies, even! Revision, reflection, remembrance, re-ignition. Create or die!

September 1, 2018: New season, new month, and new cover story on the Harald Szeemann exhibition in Bern (cover story archive here).
September 5, 2018: Launch of a new dispatch of ‘Incidents (of Travel)’ from Buenos Aires, Argentina. In this eighth episode, Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around the self-regulated community Velatropa, 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)’ is an ongoing editorial project edited by Latitudes and produced by KADIST. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia) and Yerevan (Armenia).


September 11–15, 2018: Installation and opening of the exhibition ‘Cream Cheese and Pretty Ribbons!’ at Martin Janda Gallery, Vienna.

Installation process of ‘Cream Cheese and Pretty Ribbons!’. Photo: Martin Janda Gallery.

Exhibition file with correspondence, floor plan, artist's CVs, checklist, price list, technicians notes, etc. Above and following photos: Latitudes.

Mariana installing David Bestué’s ‘Trencadissa’ (2013).

(Left) Eulàlia Rovira and Adrian Schindler’s ‘Els peus fixats al terra delatant cap impaciència’ [THE FEET FIXED TO THE GROUND BETRAY NO IMPATIENCE] (2016) and (right) photograph series by Sean Lynch, part of the installation ‘A BLOW BY BLOW ACCOUNT OF STONE CARVING IN OXFORD’, (2013-14).
With Sean, Eulàlia and Adrian. Unanimously decided Adrian’s arm was the longest and therefore would perform better as a ‘we-fie’ stick. 


September 14, 2018: The day after the opening Eulàlia and Adrian presented “One motif says to another ‘I can't take my eyes off you’” a new performance produced for the occasion at the gallery (focus of the October Cover Story), and Sean Lynch performed the lecture ‘A Blow by Blow Account of Stonecarving in Oxford’, parrots and owls! More photos.
October 2018 cover story. Archived here.

September 2—18, 2018: Intermittent installation of Joan Morey’s exhibition ‘COLLAPSE’ at the Centre d’Art Contemporani de Barcelona — Fabra i Coats.


Deciding among the two options for the façade banners. Italics or not?

Last-minute proofreading of exhibition captions and panels.
Planning the next steps during the installation with technician guru Alberto Calvete.
A heads up to visitors.
Listing the contents in each vitrine.
Wall labels, exhibition guide, essay and remote controls.

September 19, 2018: Opening of Morey’s exhibition ‘COLLAPSE’, Centre d'Art Contemporani de Barcelona – Fabra i Coats. 


 Opening photos: Eva Carasol. 

September 27, 2018: First reenactment of Joan Morey’s performance ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) interpreted by Sònia Gómez, in the context of the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats.

‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) published in frieze magazine Instagram.

September 28–October 7, 2018: Research trips to London  during Frieze art week (blog post here, art-agenda round-up here) and Liverpool for the Liverpool biennial (photo report here). 


While in London we met with Valentina Ravaglia, Assistant Curator, to donate Lawrence Weiner's limited edition tote bag, designed in 2015 to commemorate Latitudes’ 10th anniversary. Shortly after, the tote was included in Tate's ‘ARTIST ROOMS: Lawrence Weiner’ exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

(Above and below) View of ‘Lawrence Weiner. ARTIST ROOMS’, National Galleries of Scotland and Tate. ©Lawrence Weiner. 

October 11, 2018: Second reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘LLETANÍA APÒRIMA’ [APORIC LITANY] (2009) was interpreted by Jordi Vall-lamora.

Joan Morey. LLETANIA APÒRIMA (2009). Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring MKachine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.

October 12, 2018: art-agenda.com publishes Mariana Cánepa Luna’s Frieze Roundup review. Read it here.


October 12–14, 2018: Train to Arlès to visit the exhibition ‘Picture Industry: A Provisional History of the Technical Image’ at LUMA Arlès (Max Andrews’s review was published in December).

Frank Gehry’s building under construction. 
 A large exhibition devoted to Gilbert & George works. 
Saturday morning reception at LUMA.
Before the morning reception, a quick walkthrough Arlès busy Saturday market. 

October 19, 2018: (Secret) Site-visit to La Modelo prison with Joan Morey (artist) and Esther Doblas (Executive production) to check the spaces, discuss script possibilities (plan A, B, C, D...), identify mobility issues, etc. At this point in time, nobody knew the location of the event which was only disclosed the very same evening of the performance.

Salvador Puig Antich, the last political activist executed by Franco’s dictatorial regime, was jailed in this wing, in the cell 443. He was garroted in March 1974 in a room where parcels were delivered to the prison.
 Advanced tangle wiring techniques.
 Central space. Morey makes notes on his map of all the access, exits, gallery numbering, etc.
 Exit to the largest prison yard.
 Cisterns placed outside the cells in cages to avoid prisoners hiding anything in them.

 Joan taking further notes nearby the room where prisoners were given methadone.

Joan, Esther and Mariana discuss options in the Panopticon-inspired central space (this cabin is not the original structure).

October 25, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)] (2009) was interpreted by Carme Callol and Tatin Revenga.

Carme Callol and Tatin Revenga rehearsal. Photo: Joan Morey.

Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009. Interpreted by Carme Callol and Tatin Revenga. Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.

October 26–27, 2018: Attending the opening of ‘Te toca a tí’ in Espai d'art contemporani de Castelló (EACC). Mariana’s review of the exhibition would be published on
 January 7, 2019, in art-agenda


Teresa Lanceta’s work, exhibition view of ‘Te toca a tí’ in Espai d’art contemporani de Castelló (EACC). 

November 1, 2018: Morey’s first performance of the series is this months’ focus on Latitudes’s home page. 
November 13, 2018: frieze.com publishes the review of Pere Llobera show at Bombon Projects and SIS galería by Max Andrews. Read the review here. Also included in the January-February 2019, issue #200, page 242.

November 15, 2018: Fourth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) was interpreted by Manuel Segade.

Preparation of Manuel Segade’s outfit before the reenactment of the performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) by Joan Morey. Photo: Noemi Jariod. Courtesy the artist.

Portrait of Manuel Segade at the end of his performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) on Max Andrews’s Instagram.

November 18–22 Vienna Art Week; November 22-25 Amsterdam Art Weekend: This blog post documents the exhibitions and studios visited during our trip to Vienna, hosted by the Vienna Art Week. As part of the programme, Latitudes participated in a panel discussion on ‘Some Current Positions of Curating’ at das weisse haus.


(Above and below) Photos by eSeL.


November 22, 19:30h: Unfortunately due to our earlier engagement to attend the Vienna Art Week and a sudden change of dates, we were unable to attend the opening of Joan Morey’s ‘COS SOCIAL’ at Centre d’Art Tecla Sala, the second chapter of ‘COLLAPSE’. Below some install shots when the works arrived from Lleida’s La Panera.


Morey striking a pose on the façade of Tecla Sala. Photos: Latitudes.

November 22-25, 2018: Amsterdam Art Week. Visited De Appel, Rijksakademie OPEN Studios, Andriesse, Oude Kerk, RongWrong, Stedelijk museum, Ellen de Bruijne, Fons Welters, tegenboschvanvreden, andriesse eyck, a.o. Photo report here (with photos from the Vienna Art Week, too).November 29, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPO. Prologue] (2015–2016) was interpreted by Catalina Carrasco and Gaspar Morey.

The final shot of ‘IL LINGUAGGIO DEL CORPO’ published on Max Andrews' Instagram (later deleted by Instagram due "not following their community guidelines on nudity").

December 1, 2018: Following on our recent trip to Vienna’s Kunsthistorisches Museum to see their historic Brueghel exhibition, we decided to dedicate December’s cover story to another of their current shows: ‘Spitzmaus Mummy in a Coffin and Other Treasures’ conceived by filmmaker Wes Anderson and his partner Juman Malouf. 
December 2018 cover story on www.lttds.org

December 2–4, 2018: Short research trip to Madrid to visit exhibitions: group show ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo in Móstoles; Lúa Coderch’s ‘La vida de O.’ at CentroCentro; comprehensive solo shows by Luigi Ghirri, Luis Camnitzer, Dorothea Tanning, and Dierk Schmidt at Museo Reina Sofia; Lina Bo Bardi at Fundación March; works by Portuguese artists Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida; and a few solo exhibitions in commercial galleries such as David Goldblatt at Elba Benítez; Alejandro Cesarco in Parra & Romero; Eva Fàbregas at garcía galería; Enric Farrés Duran at NoguerasBlanchard and Daniel Jacoby at Maisterravalbuena. We also had time to squeeze in a visit to the Museo Geominero, a place we’ve long wanted to visit and never managed to find time for. And it didn’t disappoint. Highly recommended to everyone not only into minerals and stones but also nerds (as we are) on exhibition display and cabinets.

Lúa Coderch’s ‘La vida de O.’ at CentroCentro.
Alejandro Cesarco at ParraRomero, Madrid.

Above and below: Museo Geominero, Madrid.


Group exhibition ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo (CA2M) in Móstoles.


Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.

December 13, 2018: Sixth and final reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE. The Utopian Body] (2017) was interpreted by Eduard Escoffet.


Backstage makeup and application of fake tattoos – in the hurry the ‘Memento Mori’ tattoo on one on Escoffet’s arm was upside down. No big deal. 


December 20, 2018: frieze.com publishes Max’s review on the exhibition ‘Picture Industry: A Provisional History of the Technical Image’, a survey exhibition at LUMA Arlès captures the history of mechanically-reproduced imagery from the 19th century to the present. Read the review here.
January 7, 2019: art-agenda.com publishes Mariana’s review of the group exhibition ‘Te toca a tí [It's your turn]’ at Espai d'art contemporani de Castelló (EACC). Read the review here.
The review is also the focus of our January’s Monthly Cover Story on Latitudes home page (archived here).
January 8–10, 2019: Set up for the performance ‘Schizophrenic Machine’ by Joan Morey, the closing event of the three-part project ‘COLLAPSE’. Both exhibitions at the Centre d’art contemporani de Barcelona – Fabra i Coats and Centre d’art Tecla Sala close on January 13, 2019. 



January 10, 2019, at 7pm: Performance ‘COLLAPSE. Schizophrenic Machine’ by Joan Morey. Performance structured in a prologue and five acts inside Barcelona’s La Model prison. A group of people was driven by coach to the location from each of the two art centres that hosted the first two parts of ‘COLLAPSE’. The performance was integrated into the architecture and the memory of the building, creating an imposing immersive experience. Public restricted by capacity to 113 spectators. Attendance had to be requested in advance and was subject to prior selection and the acceptance of specific rules and a strict dress code. More here.

‘COLLAPSE. Schizophrenic Machine’ by Joan Morey.© 2019. All documentation photographs by Noemi Jariod. Courtesy of the artist.

January 14, 2019: frieze.com publishes’s' fan letter on ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’. Published in Issue 200, January - February 2019. Read the text here.
February 1, 2019: New cover story focusing on Morey’s closing performance ‘COLLAPSE. Schizophrenic Machine’ at La Model prison in Barcelona.
February 8, 2019: Launch of a new ‘Incidents (of Travel)’ dispatch from Reykjavík (and cover story on Latitudes’s home page between March-April 2019). In this new itinerary, 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.


‘Incidents (of Travel)’ is an editorial project that began in Spring 2016. It’s edited by Latitudes and produced by KADIST as part of their online projects. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia), Yerevan (Armenia) and Buenos Aires (Argentina).





February 20, 2019: After a few weeks facing the screen and months mining hard disks, we finally upload Latitudes’ redesigned portfolio, available to download for desktop/laptop/tablet view (83pp, 30.9 MB), for mobile (164pp,15.8 MB) or for print (164pp, 155.3 MB).




February 26–March 1, 2019: Three intensive days navigating ARCOmadrid events. We enjoyed Reina Sofía’s exhibitions dedicated to Chicago-based artist H. C. Westermann (later reviewed by Mariana for L’Officiel Art International) and Mapa Teatro’s site-specific installation as part of the Fisuras programme; David Bestué’s solo show at García Galería; Catalina Lozano’s exhibition ‘Winning by Losing’ at CentroCentro; Charlotte Moth’s subtle play with three works from CA2M’s collection in Móstoles, and Armando Andrade Tudela also at CA2M.



Above and below: David Bestué solo show at García Galería, Madrid.

(Above and below): Following on from Joao Laia’s earlier exhibition ‘Transmissions from the Etherspace’ in the same institution, his latest exhibition ‘Drowning in a sea of data’ —despite the ubiquity of the topic of the incessant presence of technology and algorithms in our daily lives — included great works such as Clemens von Wedemeyer’s film and Tomasz Kowalski’s small canvases


Downstairs the highlights of this year’s Generación 2019 were Susanna Inglada and Lucía P. Moreno.

 Catalina Lozano’s group exhibition ‘Winning by Losing’ at CentroCentro. Above: work by Patricia Esquivias. Below: Work by Asier Mendizábal and (next images) Jorge Satorre and Xavier Salaberría.
(Above and below) Bravo to Charlotte Moth’s subtle play with three pieces in CA2M’s collection in dialogue with some of her work. A highlight was the two-part theatre backdrop painted by Leonor Fini in the 1950s and commissioned by Antonio el Bailarín for the 1956 International Festival of Granada.


March 13, 2019: Max’s review on ‘Domènec. Y la tierra será el paraíso’ exhibition at adn galería, Barcelona, published on frieze.com (also included in frieze, issue 202, April 2019).
23 March–16 April 2019: Montevideo (family trip) and Buenos Aires (work trip). Read a fully documented report of our week in Buenos Aires here.

Max Andrews and Lara Marmor conversation ‘First Things First: Making Exhibitions for a General Audience’ covered the contradictions for curatorial and artistic strategies addressing larger audiences. Photo: Art Basel.



In ‘Beyond the Museum: New Institutional Frames for Art’ Mariana Cánepa Luna and Solana Molina Viamonte discussed some of the current transformations institutions undergo, as well as identifying forthcoming challenges. Photo: Art Basel.




April 2019: Two articles were published this month. Latitudes wrote a 14-page feature on Joan Morey for THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art, and Mariana wrote a review of H. C. Westermann’s retrospective ‘Goin’ Home’ (Volver a casa) exhibition at the Museo Reina Sofía in Madrid, published in L’Officiel Art International’s issue #29. More on our writing archive.


The first page of the 14-page feature on Joan Morey’s performative practice published on THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art.

Views of the H. C. Westermann's retrospective "Volver a casa" exhibition at the Museo Reina Sofía in Madrid. Photo: Latitudes.

Additionally, a third text appeared this month: the essay ‘Thinking like a drainage basin’ for the exhibition catalogue ‘Lara Almarcegui. Béton’ published by Silvana Editoriale, accompanying her solo exhibition at CAIRN centre d’art in Digne-les-Bains in southern France.


In 2011 Latitudes-edited the monograph ‘Lara Almarcegui. Projects 1995–2010’ published by Archive Books.


(Two above) IVAM’s new sculpture park under construction.



(Two above) Views from their current permanent collection display ‘TIEMPOS CONVULSOS. Historias y microhistorias en la colección del IVAM’.

(Above and below) Views from the exhibition ‘Ice and Earth: The Shimmering Abstractions’ by Anna-Eva Bergman at Bombas Gens, Valencia. Read here.


May 2–4, 2019: Trip to Valencia to research for an article on the Valencia art scene in the framework of IVAM’s 30th anniversary (to be published in October 2019 in frieze magazine).

May 6-31, 2019: Intense jury duty selecting Barcelona Producció awardees of the 2019-2020 season. Three long weeks reading 259 applications, debating with the rest of the jury, and interviewing 32 shortlisted candidates in order to award 15 production grants, an initiative of La Capella



On June 3, winners are announced. Latitudes will tutor three of the fifteen awarded projects: ‘Joc d'infants’ [Children’s game] by Lola Lasurt (solo exhibition, June-October 2020, dates TBC), the offsite project ‘La Balena del Prat al Prat’ [The El Prat Whale to El Prat] by Consol Llupià, and the research ‘Nombrar, poseer. Crítica de la práctica taxonómica’ [To name, to own. Critique of taxonomic practice] by Agustín Ortiz Herrera.
May 29, 2019: Frieze published Max’s review ‘Ice and Earth: The Shimmering Abstractions’ on Anna-Eva Bergman’s retrospective of the terrestrial geographies at Bombas Gens, Valencia.

Exhibition catalogue ‘Lara Almarcegui. Béton published by Silvana Editoriale.

June 4, 2019: We received copies of the publication ‘Lara Almarcegui. Beton’ (Silvana Editoriale, April 2019), which includes Latitudes' essay ‘Thinking like a drainage basin’. 


One of the cleverest interventions: (Theresa) ‘May you live in interesting times’, Venice Biennale 2019.

June 10–14, 2019: Visiting the Venice Biennale. Highlights: Jannis Kounellis at the Fondazione Prada; in the biennale enjoyed works by Khalil Joseph, Ed Atkins, Gabriel Rico, Hito Steyerl, Otobong Nkanga, Haris Epaminonda, Ulrike Müller, Michael Armitage, Gauri Gill (a highlight of Documenta14), Cyprien Gaillard, Jimmie Durham and Lara Favaretto, et. al. The group show at Punta della Dogana (always impeccably installed) had great pieces by Hicham Berrada, Charbel Joseph H. Boutros, Stéphane Saade, and Ari Benjamin; Christopher Kulendran Thomas at V-A-C; mixed feelings about Luc Tuymans at Palazzo Grassi; visited the empty Lithuanian (performances were only on Saturdays, Wednesdays has now been added to the schedule). In the Giardini, we enjoyed the presentations in France, Brazil, Belgium and Switzerland, and elsewhere Ghana, Cyprus, Wales, France, Madagascar, Dineo Seshee Bopape's work in the South African, the maze-like Italy and Hong Kong. Future Generations is always good to visit, though we'd be grateful if they could provide a leaflet or sheet with information on the exhibited works and artists. We enjoyed the presentations by Toyin Ojih Odutola, Jakob Kudsk Steensen, Daniel Turner and Gala Porras-Kim and had time to swing by Victoria Miro which presented great paintings by Njideka Akunyili Crosby. Others photographed below.


Detail from Cathy Wilkes’s work at the British Pavilion, Venice Biennale 2019.

Ingela Ihman’s work at the Nordic Pavilion, Venice Biennale 2019.

 Sergio Prego’s sculptures at the back of the Spanish Pavilion, Venice Biennale 2019.

Yu Ji sculptures in the Central Pavilion, Giardini, Venice Biennale 2019

Jimmie Durham’s ‘Black Serpentine’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Lara Favaretto's ‘Thinking Head’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Haris Epaminonda in the Arsenale, Venice Biennale 2019.

Joël Andrianomearisoa at the Madagascar Pavilion, CorderieVenice Biennale 2019.

Lynette Yiadom-Boakye’s paintings at the Ghana Pavilion, Corderie, Venice Biennale 2019.

 Irish pavilion with work by Eva Rothschild, Corderie, Venice Biennale 2019.

Welsh Pavilion presented work by Sean EdwardsVenice Biennale 2019.

July 1, 2019: New cover story rewinding 10 years to Francesc Ruiz's (visionary?) participation in the group show ‘Sequelism, part 3: Possible, Probable and Preferable Futures’ in Arnolfini, Bristol.
July 11, 2019: Conversation with Lara Almarcegui at the Institut Valencià d’Art Modern (IVAM) in the context of her new exhibition ‘Lara Almarcegui. Agras volcano. Mining rights

Photo © Institut Valencià d'Art Modern (IVAM).

July 16, 2019: Website update with a new page on our forthcoming participation in PUBLICS’s ‘Today Is Our Tomorrow’ art festival taking place in early September in Helsinki. Running parallel during the same week (9–15 September), Frame Contemporary Art Finland is organising ‘Gathering for Rehearsing Hospitalities’, a six-day gathering in which artists, curators, researchers and other critical minds ‘are invited to rehearse and debate hospitality towards diverse ways of knowing and challenging of dominant knowledges’.
July 19, 2019: As a board member of the Fundació Privada AAVC governing HANGAR since 2015, Mariana attends the last HANGAR board meeting before the Summer break. This is a longer than usual session as 2018 accounts have to be approved. Enjoying the blue sky and bright colours before entering spreadsheet world.



Nearby building to HANGAR on c. Marroc / Espronceda.


July 22, 2019: We learn Joan Morey is one of the eight beneficiaries of the 27th edition of the Botín Foundation’s International Visual Arts Grants. Yey! 

July 26-28, 2019: Trip to Madrid to catch a few exhibitions before they finished and the August exodus. Henrik Olesen, David Wojnarowicz, Miriam Cahn, Sara Ramo and Rogelio López Cuenca at the Museo Reina Sofía; Inéditos 2019 at La Casa Encendida; Eva Fàbregas and Aimée Zito Lema at CentroCentro; the recently inaugurated Paloma Polo at CA2M in Móstoles; Joël Andrianomearisoa (at Galería Sabrina Amrani) and Darío Villalba at Sala Alcalá 31, two shows ending this weekend.


 Joël Andrianomearisoa at Galería Sabrina Amrani.

 Above and below: Darío Villalba at Sala Alcalá 31

 Eva Fàbregas ‘Gut feeling’ at CentroCentro.

  Paloma Polo, ‘A Fleeting Moment of Dissidence Becomes Fossilised and Lifeless After The Moment Has Passed’ 2014, at CA2M in Móstoles.

 Henrik Olesen, ‘SOME GAY-LESBIAN ARTISTS AND/OR ARTISTS RELEVANT TO HOMO-SOCIAL CULTURE BORN BETWEEN C. 1300–1870’ (2007) at Museo Reina Sofía.

David Wojnarowicz's photograph ‘What Is This Little Guy’s Job in the World’ (1990) at the Museo Reina Sofía


The 2019–2020 season will kick off on 9–15 September. We'll be in Helsinki participating in two events. Firstly the art festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS presenting a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia, local and international organisations. Latitudes’ has invited Mercedes Azpilicueta to present the performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs. 


Skype conversation with the artist Mercedes Azpilicueta and Paul O'Neill from PUBLICS.

And secondly, we'll be part of Frame Contemporary Art Finland's ‘Gathering for Rehearsing Hospitalities’, a week composed of a series of talks, performative dialogues, interventions and screenings developed in collaboration with a number of local partners.

A few days later, we'll be participating in the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative visiting a range of institutions and artists in Chicago (17–21 September) and Detroit (21–23 September).





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:




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




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




December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey




Event: Reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey
Date and time: December 13, 2018, 7pm
Interpreter: Eduard Escoffet
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.


Joan Morey. ‘POSTMORTEM. Pour en finir avec le jugement de dieu’ (2006-2007). Performance, reenactment, 27 September 2018. Photo by Noemi Jariod. Courtesy of the artist.


Joan Morey. ‘LLETANIA APÒRIMA’ (2009). Performance, reenactment, 11 October 2018. Photo by Noemi Jariod. Courtesy of the artist.


Joan Morey. ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’ (2009). Performance, reenactment, 25 October 2018. Photo by Noemi Jariod. Courtesy of the artist.


Joan Morey. ‘‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion]’ (2010). Performance, reenactment, 15 November 2018. Photo by Noemi Jariod. Courtesy of the artist.


A dramatic extract from the fifth act of TOUR DE FORCE (2017), which has only previously been witnessed by an audience of six people in the setting of a white limousine driving on a route through Barcelona. The project as a whole puts together a conceptual history of the HIV/AIDS pandemic—from the fear and stigma surrounding diagnosis and infection in the 1980s and 1990s to the possibility today of its management and control via pharmaceutical compliance.

This performance corresponds to the latter historical context, addressing the complexities of understanding the disease in an epidemiological sense and as a symbolic phenomenon enmeshed with global governance, human rights, and civil liberties. A performer dressed in black leather garments makes a ritualistic reading from a mobile device, listing the dates on which new antiretroviral drugs have been approved for use in the US, beginning from 1987. The brand names of each of the medications join the litany of dates, and the pill trademarks are repeated as though they were figures worthy of veneration: Saint Genvoya, Saint Stribild, Saint Odefsey, etc.

The subtitle refers to a 1966 radio broadcast by the philosopher Michel Foucault, known for his histories of healthcare and sexuality, who in 1983 became the first public figure in France to die from an AIDS-related illness.

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.

RELATED CONTENT
  • 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





Cover Story–December 2018: "Treasures! exhibitionism! showmanship!"

Latitudes' home page www.lttds.org

The December 2018 Monthly Cover Story "Treasures! exhibitionism! showmanship!" is now up on Latitudes' homepage: www.lttds.org


"A clutch of shows in Vienna (where Latitudes was recently a guest of Art Week) and Amsterdam (which just held its Art Weekend) offer a distinctive take on curatorial liberty and creative exhibition display.

—> 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
  • 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 




November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey


Event: Reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015–16) by Joan MoreyDate and timeNovember 29, 2018, 5–8pm
Interpreter: Catalina Carrasco and Gaspar Morey
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.


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


Preparatory study of the project THE LANGUAGE OF THE BODY (2015), in which the human body is considered as an ambiguous channel of communication. It is a tableau vivant that bridges Greco-Roman sculpture and minimalist dance, following dancer and choreographer Yvonne Rainer’s No Manifesto (1965), a set of rules that pare down dance to its essential elements. A nude male dancer adopts a dynamic, sinuous pose from classical statuary, described by the term contrapposto [counterpoise], while adhering to the apparently incompatible decrees from No Manifesto, which requires embodying a “No to spectacle... No to style. No to camp”. At the same time, a female choreographer dressed in black repeatedly reads a transcription of a radio broadcast entitled The utopian body given in 1966 by the French philosopher Michel Foucault. Foucault notes that the ancient Greeks had no real word for body except to designate a corpse, and he draws on a first-person account of sensory experience to suggest that the body has its special “placeless places” that are even more potent than all the myths about trapped souls.

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.

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

RELATED CONTENT:
  • 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




November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey


Event: Reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey
Date and time: November 15, 2018, 7 pm
Interpreter: Manuel Segade

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.


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

This reading was originally conceived as the closing performance of BAREBACK: Power and death (2010), which took place at the former chapel of La Casa de la Misericòrdia in Palma de Mallorca. The speaker, dressed in the clerical attire of a priest, delivers a personal and theoretical address, a form of self-reflective homily or sermon, accompanied by an image of a billboard showing an unmade double bed with the hollows left by two heads in the pillows. This image documents artist Félix González-Torres’s Untitled (1991), a public art project about private loss, a memorial to the artist’s partner who had recently died of an AIDS-related illness. 

The text begins as a reflection on the experience of the act of lending authority to the voice and announces itself as a series of digressions around its ostensible topic: the practice of unprotected sex and the homosexual “barebacking” subculture, in which the risk of HIV infection is considered irrelevant or even desirable. The speech hinges on the elision of the words community—in particular, the gay community—and communion. While acknowledging the Christian ceremonial connotations of the latter, the text more abstractly deals with communion as the intimate union of feelings and bodies, and the compounding of the private, political, and philosophical spheres in the life and work of individuals such as Michel Foucault, Roland Barthes, and the speaker himself.

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.

Share: #JoanMoreyColapso

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


RELATED CONTENT:
  • Wakelet social media archive.
  • October 25, 7 pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7 pm: 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




Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment"

Latitudes' home page www.lttds.org

The November 2018 Monthly Cover Story "Joan Morey—postmortem judgement reenactment" is now up on Latitudes' homepage: www.lttds.org


"Joan Morey’s COLLAPSE is a three-part project curated by Latitudes. Six one-off performances are integral to the first, a survey exhibition at the Fabra i Coats. Centre d'Art Contemporani. Comprising reenactments of scenes excerpted from a selection of Morey’s projects from the last fifteen years exploring the use and misuse of control, these live-action fragments encompass dramatic orations, tableaux vivants, and ritualistic exercises following the artist’s rules."

—> Continue reading
—> After November 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–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 




"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 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey


Event: Reenactment of "GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l'obra d'art)" (2009) by Joan Morey
Date and time: October 25, 2018, 7pm
Interpreter: Carme Callol y Tatin Revenga
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.


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

This dramatisation consists of a fragment of the last performance panel of the five that comprised CRIES & WHISPERS: Conversations with Radicals (2009). A female interpreter wears religious garments of a Catholic religious order and a black leather orthopedic boot with spurs. The artist directs the performer’s reading of a Catalan script based on excerpts from Éperons : Les styles de Nietzsche [Spurs: Nietzsche’s Styles] (1978), Jacques Derrida’s analysis of fellow philosopher Friedrich Nietzsche’s discordant conception of women in his work. The performer receives abrupt indications when the oration must be commenced or continued, and her body is summarily moved into various positions without warning, forcing the register of her voice and her delivery of the words to compensate differently each time. In the final position, the nun character is made captive, shrouded in a black sack, merely a detached head. 

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.


Share: #JoanMoreyColapso

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


RELATED CONTENT:
  • 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




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:




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

Joan Morey, ‘POSTMORTEM. Projet en sept tableaux’ (2006–2007). Courtesy of the artist. Documentation photography: Noemi Jariod.

Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, exploring the intersection of theatre, cinema, philosophy, sexuality and subjectivity. Most recently, in 2017 Morey was awarded the Ciutat de Barcelona Award for Visual Arts given by Barcelona City Council in recognition of excellence in creativity, research and artistic production.

COLLAPSE encompasses three parts. The first, opening on September 19 at 7pm, will be presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, working machine’ is a survey of ten major projects from the last fifteen years of the artist’s work and it will be on view until January 13, 2019.

The second part will open on November 22 at 7:30pm at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (also on view until January 13, 2019) and is the definitive version of the touring exhibition Social Body, the winning project of the third edition of the Video Production Prize launched by the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica and LOOP Barcelona.

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, where live action will be integrated within the longer narrative of the site’s physical and discursive 
past.

Share: #JoanMoreyColapso

Joan Morey, ‘IL LINGUAGGIO DEL CORPO’ (2015). Courtesy of the artist. 


PERFORMANCE PROGRAMME

27 September 2018, 7pm
‘POSTMORTEM. Pour en finir avec le jugement de Dieu [POSTMORTEM. To have done with the judgment of God], 2006–2007
Interpreted by Sònia Gómez.

11 October 2018, 7pm 

LLETANÍA APÒRIMA [APORIC LITANY], 2009
Interpreted by Jordi Vall-lamora.

25 October 2018, 7pm

GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art) [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009
Interpreted by Carme Callol and Tatin Revenga.

15 November 2018, 7pm

BAREBACK. Fenomenología de la comunión [BAREBACK. Phenomenology of Communion], 2010
Interpreted by Manuel Segade.

29 November 2018, 5pm

IL LINGUAGGIO DEL CORPO. Prólogo [IL LINGUAGGIO DEL CORPONGUAGE. Prologue], 2015–2016
Interpreted by Catalina Carrasco and Gaspar Morey.

13 December 2018, 7pm

TOUR DE FORCE. El cos utòpic [TOUR DE FORCE. The Utopian Body], 2017
Interpreted by Eduard Escoffet.

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

Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.

[ES]

Desde finales de la década de 1990, Joan Morey (Mallorca, 1972) ha producido un amplio número de eventos en vivo, videos, instalaciones, sonido y obra gráfica, explorando la intersección del teatro, el cine, la filosofía, la sexualidad y la subjetividad. En 2017 Morey fue galardonado con el Premi Ciutat de Barcelona de Artes Visuales otorgado por el Ayuntamiento de Barcelona en reconocimiento a la excelencia en creatividad, investigación y producción artística.

COLAPSO consta de tres partes. La primera se presenta en dos plantas del Centro de Arte Contemporáneo de Barcelona - Fabra i Coats: Máquina deseante, máquina de trabajo revisa diez proyectos del artista realizados en los últimos quince años.


La segunda parte de COLAPSO inaugurará el 22 de noviembre a las 19:30h en el Centre d'Art Tecla Sala, en L'Hospitalet de Llobregat, y podrá visitarse entre el 23 de noviembre de 2018 y el 13 de enero de 2019Esta consiste en una presentación en evolución de la videoperformance COS SOCIAL. Lección de anatomía, que en 2017 contó para su producción con el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona.

La tercera parte, que lleva por título Máquina esquizofrénica, consiste en una performance inédita que tendrá lugar el 10 de enero de 2019 en una localización de Barcelona muy relevante pero que, por el momento, se mantiene deliberadamente en secreto. La acción en vivo se integrará en la narrativa, más extensa, del pasado físico y discursivo de dicho espacio.

Comparte: #JoanMoreyColapso


Joan Morey, ‘TOUR DE FORCE’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.

PROGRAMA DE PERFORMANCE

27 septiembre 2018, 19 h
‘POSTMORTEM. Pour en finir avec le jugement de Dieu’, 2006–2007
Intérprete: Sònia Gómez.

11 octubre 2018, 19 h
‘LLETANÍA APÒRIMA’, 2009
Intérprete: Jordi Vall-lamora.

25 octubre 2018, 19 h
‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’, 2009
Intérpretes: Carme Callol y Tatin Revenga.

15 noviembre 2018, 19 h
‘BAREBACK. Fenomenología de la comunión’, 2010
Intérprete: Manuel Segade.

29 noviembre 2018, 17 h
‘IL LINGUAGGIO DEL CORPO. Prólogo’, 2015–2016
Intérpretes: Catalina Carrasco y Gaspar Morey.

13 diciembre 2018, 19 h
‘TOUR DE FORCE. El cos utòpic’, 2017
Intérprete: Eduard Escoffet.

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



RELATED CONTENT:




Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition for art-agenda.com


Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018. 

Jennifer Allora and Guillermo Calzadilla’s “Allora & Calzadilla
Fundació Antoni Tàpies, Barcelona
February 6—May 20, 2018

by Mariana Cánepa Luna


"A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center. Leaning over the rim of the piano to strike the keys, the performer energetically interprets the fourth movement of Ludwig van Beethoven’s Symphony No. 9 (1824), while slowly pushing the wheeled instrument around the space. The building has become a musical box, the exhibition orchestrated such that one movement flows into the other, spilling through the gallery’s spaces to create a dissonant soundscape."


—> Continue reading...

Originally published in art-agenda.com on March 19, 2018.



Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Hope Hippo’ (2005). © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla. ‘Lifespan’ (2014) © Foto: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

Allora & Calzadilla, ‘Sweat Glands, Sweat Lands’ (2006). Video SD, color, sound. Duration: 2 minutes, 21 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018.

Allora & Calzadilla, ‘A Man Screaming is Not a Dancing Bear’ (2008). 16 mm film, color, sound. Duration: 11 minutes, 15 seconds. Courtesy Thyssen-Bornemisza Art Contemporary (TBA21). Photo: Roberto Ruiz. © Fundació Antoni Tàpies. 

Allora & Calzadilla, ‘Apotomē’ (2013). 16 mm film transferred to HD, colour, sound. Duration: 23 minutes, 9 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018. 

RELATED CONTENT





Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales


El Ayuntamiento de Barcelona convoca anualmente los Premios Ciudad de Barcelona con el objetivo de premiar la creación, la investigación y la producción de calidad realizada en Barcelona por creadores o colectivos, instituciones y organizaciones barcelonesas. 

El Instituto de cultura de Barcelona (ICUB), encargado de la organización de los Premios, profundiza en la dimensión ciudadana de estos galardones al reconocer el talento de otros ciudadanos -los ganadores.
Los miembros del jurado son propuestos por el Consejo de la Cultura de Barcelona y nombrados por la Alcaldesa Ada Colau.

Este año el jurado en la categoría de artes visuales compuesto por el director del Museu d'art contemporani de Barcelona, Ferran Barenblit Scheinin (Presidente) y formado por las vocales Violant Porcel Roqué (hasta hace poco directora de la Galería Marlborough), Martina Millà Bernard (Jefa de Exposiciones y proyectos, Fundació Joan Miró), Teresa Sesé Monclús (crítica de arte, La Vanguardia) y Mariana Cánepa Luna (co-directora de la oficina curatorial Latitudes) ha decidido por unanimidad otorgar el premio al artista Joan Morey: 

‘Por un año de excepcional calidad que ha resultado en el proyecto de vídeo «Cos Social [Lliçó d’anatomia]» presentado por LOOP Barcelona en el Arts Santa Mònica, en una coproducción con la Xarxa de Centres d’Arts Visuals de Catalunya, y en la performance «Tour de Force», una coproducción del CCCB y la Fundació Han Nefkens, en el marco de la exposición «1000 m2 de desig. Arquitectura i sexualitat»’. 


Joan Morey fotografiado por Marc Medina.

CONTENIDOS RELACIONADOS
:

  • Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 1 February 2017
  • Jurado y tutores de Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018 25 Mayo 2017
  • Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona. 2 Febrero 2016
  • Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove 7 Diciembre 2011
  • Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h 16 junio 2008
  • Otros jurados – véase sección "About"




Cover Story—January 2018: I'll be there for you

Latitudes' home page www.lttds.org

The January 2018 Monthly Cover Story "I'll be there for you" is now up on www.lttds.org – after this month it will be archived here.
 

"Camille Orny and Magda Vaz’s exhibition for the Sala Petita of Barcelona’s La Capella will open on 23 January—it is the last of three projects that Latitudes is mentoring during the current season of the Barcelona Producció grants." Continue reading  

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


(Above and below) View from "Artengo2000", exhibition by Camille Orny and Magda Vaz at the Sala Petita in La Capella. Photo: Pep Herrero / La Capella.

Below the text written by Latitudes, mentors of the project:

"Bringing the format of the miniseries into the Sala Petita, Camille Orny & Magda Vaz have created a drama-documentary for six screens premised on the story of a group of five flatmates—including semi-fictionalized versions of themselves—who have struck a sponsorship deal with a corporation known as Artengo. In one reality Artengo is a sub-brand of the sporting goods retailer Decathlon dedicated to racket sports, yet in another reality, it is an arcane Russian-American multinational corporation. The series begins with a dream in which a flatmate is haunted by the Artengo-branded socks that the flatmates have agreed to wear at all times as part of the sponsorship deal that in return sees them receive occasional deliveries of unbranded food and a discount on their gas bill. Artengo2000 is a cumulative narrative: each installment is comprehensive and distinct, while each is grafted onto the body of the series, with certain elements and plot lines that link across.

Artengo2000 hinges on possible spiritual advancements and psychic disorders caused by shared living and by being obedient brand ambassadors. We witness the transformation of a communal flat into a laboratory-like space governed by the unwritten transactions entailed in lifestyle sponsorship and company patronage. Although the drama takes us to Montjuïc, the W Barcelona hotel, and to the Arenas shopping centre, and other branded flats, the Artengo apartment itself is the core psychological location. Yet in contrast to the breezy comedic and romantic adventures of the flat-sharing television series Friends (1994–2004), the Artengo apartment fills with irrational drama, distrust, deranged dreams, and doppelgängers. The flatmates become more like guinea pigs in a pioneering space station, afloat in a void at the limits of corporate ethics, loyalties and interpersonal relations. Characters include Camille and Magda’s flatmates Manu and Laura, a washed-up professional tennis player, and a supposed Danish-Catalan man named Borja with an academic interest in the introduction to Barcelona of novel and more covert forms of whole-life sponsorship.


Artengo2000 takes place in a familiar but twisted world in which gig economies, collaborative work and service sharing appear to have developed in even more perverse ways. A brand called Little Bits makes an appearance—a sort of mutant Deliveroo based on micro-tapas. As Orny and Vaz have suggested, their shared flat drama imagines the bizarre incompatibility of a kommunalka (kommunalki were multi-family communal apartments encouraged by Lenin as a response to the housing crisis after the Russian revolution of 1917) set in a near-future where neoliberal and Silicon-Valley logic wields even greater power. Here the so-called ‘sharing economy’ of coworking, or online platforms such as BlaBlaCar and Airbnb, is evidently not representative of an altruistic fantasy of entrepreneurship or dynamic community cohesion, but is a symptom of evermore precarious socioeconomic circumstances. Giving up some personal space is part of the experience of sharing a flat, yet it allows a lower cost of living. However, the sponsorship deal that the flatmates are signed up to exacerbates their sacrifices to extremes. The work-life balance has not been blurred, but completely collapsed, as the flatmates renounce their intimacy and subjectivity in commodifying themselves for the Artengo brand.

Where the vast majority of television narrators strive for neutrality and self-effacement, as if viewers are supposed to ignore the fact that the story is coming through a mediator, Orny and Vaz’s storytelling, and the Artengo2000 world of homemade myth-making, is far from straightforward. It incorporates numerous doubtful narratives, both onscreen and offscreen. Film genres such as the Western, or the film noir, routinely passed through a kind of four-stage metamorphosis, media scholars have suggested.1 In the first stage, conventions were established and isolated. In the second ‘classic’ stage these conventions reached equilibrium and were mutually understood by makers and audiences; the third stage saw formal and stylistic embellishments. Finally in a ‘baroque’ stage, the embellishments were accented to the point where they themselves became the substance of the work. Yet whether television series have followed the same logic is moot, particularly in an age where gathering in the living room to watch the latest hit show at the scheduled time has long been a thing of the past, usurped by viewers binge-streaming multiple episodes. Moreover, is it not the case that Artengo2000, much like David Lynch’s surreal crime drama Twin Peaks (1990–91), was already born congenitally baroque?

While Artengo2000 is steeped in cinematic theory and the study of genre, more plausible still is that it comes at us not only through a filter of American television, and series that have experimented with the medium of the episodic drama in often darkly-comic and self-referential ways, such as Seinfeld (1989–1998), Curb Your Enthusiasm (2000–present), and Louie (2010–15). Artengo2000 has also filtered through many diverse influences related to what critic Jordi Costa has identified as ‘post-humor’ in Spain, including YouTube channels and self-made web series from the likes of Canódromo Abandonado, Pioneros Siglo XXI, and Venga Monjas.2 Yet why does a series ‘happen’ when it does? Was the fanatical following that built around the supernatural detective series The X-Files (1993–2002), for example, in some way a Bill-Clinton-era phenomenon, a result of psychohistorical factors at work in 1990s America? And why do we now see a return of Twin Peaks (2017–) just at the same time as we see Artengo2000 emerge in Barcelona? Appropriately, asking more questions that providing answers, we offer no more closure than a typical episode of either." 

Latitudes 

Mentors of the project. Text written for the exhibition and available in English, Catalan and Spanish.


1 See Thomas Schatz, ‘Hollywood Genres: Formulas, Filmmaking, and The Studio System’, McGraw-Hill, 1981.

2 See Miguel Iríbar, ‘El posthumor, la tortilla deconstruida de la risa’, http://www.jotdown.es/2014/12/el-posthumor-la-tortilla-deconstruida-de-la-risa/



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  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
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  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017
  • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
  • Cover Story February 2017: The Dutch Assembly, five years on 1 February 2017
  • Cover Story January 2017: How open are open calls? 4 January 2017

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1 Diciembre, 20:30h: Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016)


El 1 de diciembre 2017 a las 20:30h Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016, 61 minutos) antes de su proyección. El documental, que se estrena en España, se aproxima a la figura del conocido comisario suizo fallecido en el 2005, que a lo largo de cinco décadas de actividad profesional organizó más de 150 exposiciones.

La proyección es parte de la primera edición del Dart Festival 2017, el Festival de Cine Documental sobre Arte Contemporáneo que proyectará 10 documentales entre el 30 de noviembre y el 3 de diciembre en los Cinemes Girona (c/ Girona 175, 08037 Barcelona).


Toda la programación del Dart Festival 2017 en www.dart-festival.com

Szeemann definió y perpetuó la figura del “comisario freelance permanente”, aunque como ha comentado en varias ocasiones el también comisario Hans Ulrich Obrist, la particularidad de Szeemann es que dió continuidad al legado de Alexander Dorner, director del Museo de Hannover en los años veinte, quien definió el museo como una central eléctrica, un “museo en movimiento” en el que:
  • La exposición es un estado de transformación permanente. 
  • La exposición como algo oscilante entre el objeto y el proceso, afirmando que “la noción de proceso ha penetrado en nuestro sistema de certidumbres”.
  • La exposición de identidades múltiples.
  • La exposición como algo pionero, activo y que no se guarda nada.
  • La exposición como verdad relativa.
  • La exposición basada en una concepción dinámica de la historia del arte.
  • La exposición “elástica”: presentaciones flexibles en un edificio adaptable.
  • La exposición como puente entre los artistas y las diversas disciplinas científicas.
El Getty Research Institute adquirió el archivo que Szeemann acumuló a lo largo de su vida en la Fabbrica Rossa, en Maggia, una pequeña localidad en su Suiza natal. El Harald Szeemann Archive and Library es una de las adquisiciones más completas jamás realizadas por el museo de Los Ángeles y lo ha convirtido en una de las fuentes más importantes para entender el arte producido a partir de 1950. 

CONTENIDO RELACIONADO:




22 de noviembre, 19h: Presentación de la publicació “The Drowned Giant” a cargo de Anna Moreno y Lluís A. Casanovas Blanco

Póster del evento. Cortesía: Anna Moreno.

22 de noviembre, 19h:
Presentación de la publicación “The Drowned Giant” de Anna Moreno
A cargo de la artista Anna Moreno y el arquitecto e investigador Lluís A. Casanovas

Col·legi d’Arquitectes de Catalunya (COAC)
Sala de actos, 1r piso
Plaça Nova 5, 08002 Barcelona
 
En 1970 se organizó un happening en Moratalaz (Madrid) para promocionar el proyecto de vivienda utópica La Ciudad en el Espacio, del arquitecto Ricardo Bofill. Un evento que nunca se llegó a documentar, un proyecto que nunca se llegó a construir. El pasado 7 de junio, la artista
Anna Moreno repitió aquel happening en el mismo lugar.

El 22 de noviembre, en la Sala de Actos del
Col·legi d’Arquitectes de Catalunya (COAC), se presentará un LP con el registro sonoro del proceso de restitución, la única documentación existente del evento. 

El disco contiene los testimonios de Gila Dohle, The Downton Alligators, Enrique Doza, Peter Hodgkinson, Anna Moreno, JC Ramone, Toti Soler y Ramón Del Solo, entre otros. La edición incluye un libreto con relatos de ficción escritos por los arquitectos Paula Currás & Havi Navarro, la comisaria María Montero, el experto en blues Ramón del Solo y la artista Anna Moreno.

Lluís A. Casanovas Blanco es arquitecto y comisario afincado entre Nueva York y Barcelona. Actualmente es investigador en Princeton University (NY, EEUU). Junto con la agencia After Belonging fue uno de los comisarios en jefe de la Trienal de Arquitectura de Oslo (2016).


Anna Moreno (Barcelona, 1984) vive y trabaja entre Barcelona y La Haya (Países Bajos). Su práctica artística se desarrolla a través de acontecimientos expandidos y exposiciones individuales, como ‘D’ahir d’abans d’ahir de l’altre abans d’ahir i més d’abans encara’ (Blueproject Foundation, Barcelona, 2016), ‘The Whole World Was Singing¸ (HIAP Project Space, Helsinki, 2016) o ‘An Awkward Game’ (1646, La Haya, 2015). Entre las exposiciones colectivas en las que ha participado cabe destacar: ‘En los cantos nos diluimos’ (Sala de Arte Joven, Madrid, 2017), ‘Distopía General’ (Reales Atarazanas, Valencia, 2017), ‘CAPITALOCEAN’ (W139, ÁmBerdam, 2016), ‘Lo que ha de venir ya ha llegado’ (CAAC, Sevilla; MUSAC, León, y Koldo Mitxelena, Sebastián, todas en 2015) y ‘Generaciones’ (La Casa Encendida, Madrid, 2014). Su obra se ha incluido en el marco de simposios como ‘Visual Activism’¸ (SFMOMA, San Francisco, 2014) o ‘United We Organize’ (Stroom Den Haag, La Haya, 2013). Ha participado en residencias como ‘Artistas en residencia’ (CA2M y La Casa Encendida, MóBoles y Madrid, 2017), Seoul Art Space Geumcheon (Seúl, 2012) o Atelierhaus Salzamt (Linz, 2011), entre otros. Es profesora de investigación artística en la Royal Academy of Art de La Haya, donde es miembro fundador de Helicopter, una iniciativa dirigida por artistas enfocada a la experimentación y al intercambio de conocimientos. 

Fotos: Laura San Segundo. Cortesía: Anna Moreno.

Publicación producida con el apoyo de Barcelona Producció 2017, La Capella / Institut de Cultura de Barcelona. 

Proyecto tutorizado por Latitudes.

CONTENIDO RELACIONADO:

  • Cover Story—August 2017: Walden 7; or, life in Sant Just Desvern (web archive);
  • Tutores: Barcelona Producció, La Capella, Barcelona, julio 2017–junio 2018 (web);
  • Web de La Capella;
  • Jurado y tutores de Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018 (25 Mayo 2017).

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Jurado y tutores de Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018

Fotos de Pep Herrero para Barcelona Producció/La Capella.

Después de una intensísima semana de lectura de las 230 solicitudes recibidas, otra semana de debate entre los miembros del jurado y una tercera semana entrevistando a los 31 candidatos pre-seleccionados, el jurado de la temporada 2017–2018 de Barcelona Producció formado por David Armengol, Alexandra Laudo, Mónica Bello, Joan Caselles, Mireia Sallarès y Latitudes junto a Oriol Gual, director de La Capella (con voz, sin voto), ha decidido seleccionar los siguientes 17 proyectos para su producción y presentación a lo largo de la temporada:

Sala Grande – Exposición individual

  • "Synthesis" de David Mutiloa
  • "Talk trouble" de Claudia Pagès
  • "El Gafe i la Revolució" de Dani Montlleó
Sala pequeña – Exposición individual
  • "Remover con una vara de madera" de Matteo Guidi
  • "ARTENGO2000" de Camille Orny y Magda Vaz
  • "SSSSSSSilex" de Paco Chanivet
Sala Gran – Comisariado
  • "A break can be what we are aiming for" de Irina Mutt
Sala pequeña – Comisariado
(Modalidad desierta)

Proyectos deslocalizados

  • "Són els microorganismes els que tindran l’última paraula" de la Associació Cultural Nyamnyam
  • "En frontera" de Marco Noris
Investigación
  • "El Peso de mis Vecinas - La Poesía y el Cante como Dispositivos Estratégicos" de Christina Schultz
  • "El mal alumne. Pedagogia crítica per a intel·ligències artificials" de Taller Estampa
Publicación
  • "The Drowned Giant" de Anna Moreno
Acción en vivo
  • "Chroma" de Quim Pujol
  • "The Reading Room #3 presenta: Aparatos del habla – Materialismo histórico" de Eliana Beltrán
  • "Fine Cherry" de Victoria Macarte
Entornos digitales
  • "Eixams" de Alex Muñoz
  • "Notes on a novel (that I am not going to write), or the swimming pool, or the hair, the herb and the bread or the tomato plant" de Irene Solà
Latitudes tutorizará los proyectos de David Mutiloa (Sala Grande, 18 julio– 25 septiembre 2017), Anna Moreno (Proyecto de publicación, noviembre 2017) y Magda Vaz y Camille Orny (Sala pequeña, 23 enero–1 abril 2018).

La undécima convocatoria introduce varias novedades: se han doblado el número de categorías pasando de nueve a dieciocho y se suman tres nuevos tutores (las comisarias Alexandra Laudo y Mónica Bello, y el artista Joan Casellas). La otra novedad es que el "Espai Cub" desaparece para transformarse en una sala más amplia con paredes blancas de 4×8m situado a la entrada de La Capella ("sala pequeña").

Las nuevas líneas que se han introducido se destinan a la producción de un proyecto curatorial para la sala pequeña para formatos reducidos o de archivo (1 proyecto), edición de una publicación (1 proyecto), proyectos en entornos digitales (2 proyectos), proyectos en vivo (3 proyectos), y se ha recuperado la añorada beca de investigación (2 proyectos).

El calendario preliminar de exhibición será en siguiente:

18 de julio–25 de septiembre 2017
Sala Gran (individual 1) + Sala Petita (individual 1)

11 de octubre–7 de enero 2017
Sala Gran (individual 2) + Sala Petita (individual 2)

23 de enero 2017–1 de abril 2018
Sala Gran (individual 3) + Sala Petita (individual 3)

27 de abril–24 de junio 2018
Sala Gran (comisariado) + Sala Petita (comisariado)

Los proyectos deslocalizados, de edición, de acción en vivo, digitales y de investigación se producirán y presentarán a lo largo de la temporada.



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:





Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h



Conversación entre Haegue Yang y Latitudes
Miércoles 3 de mayo, 19:30h. 
Actividad gratuita. Aforo limitado. 
Reservas: [email protected] 
c/ Aragó 255, 08007 Barcelona
 
El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?

Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo. 


Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.




Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.

 
(Arriba y abajo) Instalación 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion' (2012) de Haegue Yang, comisariada por Julienne Lorz en Haus der Kunst, Munich. Foto: Latitudes.


Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol. 

(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.


Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.

Cover of The Last Star-Ledger, issue 4 of 10 edited by Latitudes during ‘The Last Newspaper’ exhibition at the New Museum, New York, 2010.

Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013. 


Fotografiando el tote bag realizado por Haegue Yang realizado en colaboración con OK-RM, que conmemora el 10º aniversario de Latitudes. Foto: Latitudes.


Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.

 
'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.


CONTENIDO RELACIONADO:




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.

RELATED CONTENT:




25 de enero 2017, 19h: Presentación de la publicación "El misterio de caviria" de Antoni Hervàs en el Antic Teatre

Fotos: Latitudes.

El miércoles 25 de enero a las 19h se presentará la publicación resultante de la exposición "El misterio de caviria" de Antoni Hervàs coincidiendo con el espectáculo cabaretesco "El desplume!" evento mensual que organiza Eduardo Gión en el Antic Teatre (Carrer Verdaguer i Callis 12, 08003),
conducido por Víctor Guerrero y concebido como un homenaje a Pierrot y a la escena cabaretesca barcelonesa.   

El libro se presentará a las 19h precediendo al espectáculo que empieza a las 21h (y cuya entrada cuesta 10 Euroscompra online o en taquilla). Durante la presentación Hervàs y Latitudes tutores del proyecto – reflexionarán sobre la ejecución del proyecto, la transformación del color, la condición mutante del dibujo, la red de afectos, de acciones y escenarios que ha activado "El misterio de caviria”. 

 Instalación en La Capella. Foto: Pep Herrero /La Capella BCN Producció'16.

Detalle de los ojos de Gilda Love. Foto: Pep Herrero /La Capella BCN Producció'16.

La publicación [en catalán, castellano e inglés] incluye una entrevista entre Antoni Hervàs y Latitudesartista y tutores del proyecto respectivamente – con grandes saltos en la historia así como fotografías documentando la exposición. La edición corre a cargo del Ajuntament de Barcelona y The Flames y se puede comprar por 5 Euros.

Después del evento se podrá adquirir la publicación en la librería Múltiplos o a través de la web de Folch studio, diseñadores de la publicación y de la imagen gráfica del ciclo BCN Producció'16.

Aquí podéis ver un vídeo de la exposición (7'54'', catalán con subtítulos en castellano. Here with English subtitles) realizado por Hugo Barbosa.

Actuación de Juan de la Cruz “el Rosillo” (aka El Castañuelas) en lo que fue en el antiguo local de espectáculos Copacabana (en la actualidad el aparcamiento del departamento de cultura de Barcelona). Foto: @brillobox.

Actuación de Gerard López en el Frontón Colón, 18 de Septiembre 2016. Foto: Latitudes.
 Desfile de trajes de Víctor Guerrero en La Capella. Foto: Latitudes

BCN producció es una convocatoria anual dirigida a la comunidad artística de Barcelona y su área de influencia con el fin de apoyar 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. BCN producció es una iniciativa del Institut de Cultura de Barcelona (ICUB) del Ajuntament de Barcelona. 

Latitudes es parte del equipo tutorial de BCN Producció'16 junto al comisario David Armengol y la artista Mireia Sallarès. A lo largo del 2016 Latitudes ha tutorizado los proyectos de Pau Magrané/PLOM (Espai Cub, 27 abril–12 junio 2016) y Antoni Hervàs (Sala Gran, 16 septiembre–13 noviembre 2016), y la exposición de la comisaria Joana Hurtado Matheu (Sala Gran, 2 marzo–30 abril 2017) a lo largo de la conceptualización, formalización y producción de sus respectivos proyectos. 

CONTENIDO RELACIONADO:





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.

RELATED CONTENT:





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)




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.




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)




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 a long text on Frederic Montornés popular blog and by Jörg Heiser in 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 renewed 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.





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
  
Related content:




Curators: 'I Will Fear No Evil', José Antonio Hernández-Díez, Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), 18 March–26 June 2016

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

Latitudes is curating the solo exhibition 'I will fear no evil' of Venezuelan-born Barcelona-based artist José Antonio Hernández-Díez (Caracas, 1964), which will open at the Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), on March 17.
 
'I will fear no evil' presents works from the beginning of Hernández-Díez’s career in the late 1980s and early nineties – several of which have not been seen since they were first exhibited – in dialogue with Filamentos (2016), a new series developed especially for the occasion.

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

The present exhibition looks back to Hernández-Díez’s first experimental works with video alongside early iconic screen- and vitrine-based works, including three of those presented at the time of his landmark first monographic exhibition 'San Guinefort y otras devociones', held in 1991 at Sala RG in Caracas. This exhibition heralded what the artist termed as a ‘New Christian Iconography’, offering – as artist-colleague Meyer Vaisman described – ‘a techno-pop view of Catholicism’s most beloved symbols’. 

An newly text by Latitudes will be published in Spanish as No. 32 of the Quaderns portàtils (Portable Notebooks) series. This MACBA-produced collection is freely distributed and downloadable from the museum website in PDF and ePUB format. An English translation will also be available as a separate PDF.

Exhibition runs between 18 March–26 June 2016 and is organised and produced by the Museu d'Art Contemporani de Barcelona (MACBA).




Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona.


Photo: La Capella.

El jurado de BCN Producció 2016 formado por los artistas Francesc Ruiz y Mireia Sallarès, y los comisarios Glòria Picazo, David Armengol y Latitudes junto con el director de La Capella, Oriol Gual (con voz y sin voto), ha seleccionado nueve proyectos de entre las 240 solicitudes recibidas para su producción y presentación a lo largo de la temporada 2016 en el espacio de La Capella – a excepción de los dos proyectos deslocalizados. 

Proyectos individuales (abril / junio / septiembre 2016)
• 'Background Immunity' de Ricardo Trigo
• 'No es homosexual simplemente el homófilo sino el cegado por el falo perdido' de Equipo Palomar (Rafael Marcos Mota / Mario Páez Sanchez)
• 'El misterio de Caviria' de Antoni Hervàs
 

Espai Cub (abril / junio / septiembre 2016)
• 'Demo' de Pau Magrané / PLOM
• 'Until I am no longer able to stand' de Anna Dot

• 'Cartas desde el bosque' de Bárbara Sánchez B.
 

Proyectos deslocalizado (a lo largo del 2016)
• ' Teatre amador' de Oriol Nogués
• 'La materia como forma' de Ariadna Parreu
 

Proyecto de comisariado (Noviembre 2016–Enero 2017)
• 'La dissidència nostàlgica' de Joana Hurtado Matheu


Iniciamos nuestra tarea como parte del equipo tutorial junto a David Armengol y Mireia Sallarès. ¡Ganas de trabajar y de celebrar el 10º aniversario de BCN producció!
 
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.


RELATED CONTENT:

  • 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




Photodocumentation of the five commissions 'Composiciones' now on flickr

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

We just uploaded photos of the five new commissions "Composiciones" on Latitudes' flickr. These projects by artists active in the Barcelona art scene complemented the first Barcelona Gallery Weekend (1–4 October 2015) programme of exhibitions and events

Each intervention responded to site and context-specific private and public location outside the contemporary art circuit – a private psychoanalytic library, the former home of the director of a ceramics factory, a public botanical collection, the home of a former priest and an invertebrate fossile collection.

Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Composiciones offered moments of interruption, intimacy and immersion throughout the weekend.


 Map of the five locations for the temporary projects. 

Also on our website (highlighted in yellow where to locate it) you'll find the links to the audio and video documentation of the three talks led by Dora García as part of her intervention at the Biblioteca del Campo Freudiano. We recommend you read a nicely written account of these three sessions (in Spanish) by two of its participants.



On the same page and under 'Related content' you will find links to the press coverage related to 'Composiciones'. The most extensive and in depth review so far has been this considered and detailed blog entry by Barcelona-based art critic and curator Fede Montornés, which of course made us really happy

And last but not least, we gathered the many tweets, instagram, press links, etc. that appeared in the last few weeks in Storify.






#BarcelonaGalleryWeekend
#Composiciones

Related content:


Storify – Social media archive 

Details of the Barcelona Gallery Weekend programme

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



This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption).

Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




'Compositions' a programme of five artists' interventions for the first Barcelona Gallery Weekend, 1–4 October 2015

'Save the date' cards of the Barcelona Gallery Weekend. Graphic design: Hey Studio.

Latitudes is curating Compositions a programme of five newly commissioned temporary interventions specially produced for the first Barcelona Gallery Weekend (1–4 October 2015).

With the aim of distinguishing the Barcelona gallery weekend from similar initiatives, Latitudes' project Compositions compliments the existing calendar of exhibitions in galleries and museums by commissioning six artists active in the Barcelona art scene, to develop a series of public interventions responding to singular locations – sites significant for their architecture or their history. Here's a map of the five locations.

Latitudes has invited artists David Bestué (Barcelona, 1980. Lives in Barcelona); Dora García (Valladolid, 1965. Lives in Barcelona), Jordi Mitjà (Figueres, 1970. Lives between Lladó and Banyoles); Rasmus Nilausen (Copenhagen, 1980. Lives in Barcelona) & Pere Llobera (Barcelona, 1970. Lives in Barcelona) and Daniel Steegmann Mangrané (Barcelona, 1977. Lives in Rio de Janeiro, Brazil) to produce site-specific temporary installations and one-off performances. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Compositions offers moments of interruption, intimacy and immersion throughout the weekend. 



Cosme Toda factory complex. 
Home of the former director of the ceramic factory Cosme Toda. c/Enric Prat de la Riba 60, L'Hospitalet de Llobregat.
Opening hours: Thursday 1 October, 5–9pm;  
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

David Bestué is primarily a sculptor who is fascinated by architecture – not with its hubristic icons or celebrity heroism, but by the very normality with which architectonic tropes underpin an emotional understanding of form.

For Compositions Bestué is producing a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Sited in the domestic setting of the Director’s house within the former Cosme Toda ceramics and tile factory, the installation is companioned by a sculptural intervention recuperating pieces found in the factory, linking to Bestué's ongoing interest in the evolution of architectural materials and building techniques.



Freudian Field Library in Barcelona located at Avinguda Diagonal 333, 3º 1ª. Opening hours: Thursday 1 and Friday 2 October 5–9pm; Saturday 3 October 10am–2pm. Sunday 4 October closed.

Dora García's collaborations and performances engage with radicalism, inadequacy and the marginal. Her contribution to Compositions consists in pointing out the wealth of information and the activites programmed by the Freudian Field Library in Barcelona, an organisation founded in 1977 by Argentinean Oscar Masotta (1930–1979). García's intervention considers the library as a knot which ties together art, psychoanalysis and literature.

A display of publications drawn from the library shelves and three conversations will activate the space over consecutive days. The first talk (1 October, 7pm), a "solo" by García, will focus on the library's holdings of literary fiction. The second talk on October 2nd, at 7pm will be a group conversation moderated by García, amongst Miquel Bassols, Enric Berenguer, Rosa Calvet, Estela Paskvan and Montserrat Rodríguez, who will discuss the founding of the library and its ongoing role in Barcelona, and the final event on October 3 at 10am will be a conversation around the work of Irish novelist James Joyce and French psychiatrist and psichologist Jacques Lacan, between García and psychoanalyst Xavier Esqué and Patrick Bohan, who has worked at the James Joyce Center in Dublin. 


Former priest house, Gardens of La Central del Raval, located at Carrer d'Elisabets 8. Opening hours: Thursday 1 October, 5–9pm; Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

Rasmus Nilausen and Pere Llobera are painters that approach painting with a respect – at times melancholic, sometimes parodic – for its traditional genres and its ancient integrity as a craft. Nilausen’s canvases have often taken on ‘minor’ or anecdotal subjects such as candles or vegetables. Llobera frequently addresses the perils virtuosity and painterly heroism in his paradoxical, restless works. Nilausen and Llobera share a workspace in the Salamina studios in L’Hospitalet de Llobregat – which they cofounded – yet the invitation to collaborate in a presentation for Compositions is the first time they are exhibiting together.

In the Gardens of La Central del Raval their works occupy a former priest's house and explore "acheiropoietic" images – those that have supposedly come into being not by human hand, but miraculously. The Veil of Veronica, for example, refers to various Catholic relics and icons which tell of a piece of cloth said to have been imprinted with the image of the face of Jesus.


 

 Geological Museum of the Seminary of Barcelona is in Carrer de la Diputació, 231.
Opening hours: Thursday 1 October, 5–9pm; 
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

Jordi Mitjà’s recent “povera” approach to sculpture, has comprised works utilizing discarded wood, metal, burned paper and clay. His contribution to Compositions takes place in the Geological Museum of the Seminary of Barcelona – an institution dedicated to paleontology and the study of fossils since 1874.


Mitjà considers the borders between evolutionary biology and the ancient geology of Catalonia in an installation which focusses on a primitive relationship between materials and morphology. A series of overheard projectors illuminate the central space of the museum with a panoply of images, shadows and geometries – layers that are unearthed by Mitjà’s exploration of the geospatial taxonomy of this unique collection of 70,000 specimens.


 
Opening hours: Thursday 1 October, 5–9pm;
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

The art of Daniel Steegmann Mangrané hinges on the natural and the geometric, often splicing the unfathomable dimension of the forests of his adopted home Brazil with the clear lines of abstraction and man-made order.

His contribution to Compositions takes place amongst the subtropical plants of the 1887 Umbracle (shade house) in the Parc de la Ciutadella and centres on the acoustic installation “Surucuá, Teque-teque, Arara” (2012). We hear sounds that were recorded along a 60 metre transect through a section of the Atlantic Rainforest of Brazil, the tropical forest that Portuguese colonists would have encountered on their arrival in the year 1500. The sound loop reproduces the disembodied calls of colourful birds such as trogons and macaws which merge with the ambient sounds of the city. As if a 1:1 scale collage, the artifice of an urban botanical collection becomes intertwined with an acoustic slice of the authentically wild.

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Calendar of Related Events and Guided Visits

Thursday 1 October, 5pm:
Guided tour of the intervention by Jordi Mitjà at the Museu Geològic del Seminari de Barcelona by the artist and Latitudes.
c/ Diputació, 231

Thursday 1 October, 7pm:
Guided tour of the intervention and talk by Dora García on the library holdings of literary fiction, Biblioteca del Campo Freudiano de Barcelona (Library of the Freudian Field).
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations: [email protected]

Friday 2 October, noon:
Guided tour of the intervention by Daniel Steegmann Mangrané at the Umbracle del Parc de la Ciutadella by the artist and Latitudes.
Passeig Picasso, 13

Friday 2 October, 7pm:
Conversation moderated by Dora García with Miquel Bassols, Enric Berenguer, Rosa Calvet, Estela Paskvan and Montserrat Rodríguez, on the origins of the Biblioteca del Campo Freudiano de Barcelona, its founder Óscar Masotta and the Barcelona of 1977.
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations:
[email protected]

Friday 2 October, 7:30pm:
Guided tour of the intervention by David Bestué at the house of the former director of the Cosme Toda factory by the artist and Latitudes.
c/ Enric Prat de la Riba, 60
L’Hospitalet de Llobregat

Saturday 3 October, 10am:
Conversation between Dora García and the psychoanalyst and psychologist Xavier Esqué at the Biblioteca del Campo Freudiano around James Joyce and Jacques Lacan.
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations:
[email protected]

Sunday 4 October, noon:
Guided tour of the intervention by Rasmus Nilausen and Pere Llobera at the Jardines de La Central del Raval by the artists and Latitudes.
c/ Elisabets, 8

Additionally, ARCO Foundation offers ARCO Gallery Walks, five free guided tours around the galleries throughout the weekend. Limited places. Pre-registration required: [email protected]

Thursday 1 October
Route Eixample South
Meeting place: Galería Joan Prats at 5pm

Friday 2 October
Route Ciutat Vella – Born
Meeting place: Galería Senda at 11am

Route Montjuïc – L’Hospitalet
Meeting place: Galería Carles Taché at 5pm

Saturday 3 October
Route Ciutat Vella – Raval
Meeting place: etHALL at 11am

Route Eixample North
Meeting place: ADN Galería at 5pm

The Barcelona Gallery Weekend is an initiative of the Asociación de Galerías de Arte Contemporáneo Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ministerio de Educación, Cultura y Deporte; and the Ajuntament de L’Hospitalet de Llobregat.

http://www.barcelonagalleryweekend.com/




Symposium participation, "The Shock of Victory", Glasgow, 25 September 2015


Symposium participants: In the Shadow of the Hand, Sacha Kahir, Caleb Waldorf, Max Andrews of Latitudes, Angeliki Roussou, WHW (What, How and For Whom?). 

9.30am | Arrival and coffee
10am - 10.15am | Introduction by CCA Curator Remco de Blaaij and Dr Deborah Jackson
10.15am - 11am | In the Shadow of the Hand
11am - 11.45am | Angelika Roussou
11.45am - 12.30pm | Caleb Waldorf
1pm - 2pm | Lunch (provided)
2pm - 2.45pm | Sacha Kahir
3pm - 3.45pm | Sabina Sabolovic, WHW
3.45pm - 4.15pm | Break
4.15pm - 5pm | Max Andrews, Latitudes

The Shock of Victory is a programme consisting of an exhibition, a symposium organised in partnership with the University of Edinburgh and digital publication. Taking place exactly one year after the Scottish Independence Referendum of 18 September 2014, the programme proposes artistic approaches, techniques, provocations and motivations in a post-referendum reality departing from Scotland, but certainly not constrained by it.

The programme takes its title from the pivotal essay ‘The Shock of Victory’ from 2007, by anarchist and scholar David Graeber, in which he argues that protesters often have difficulty in recognising their moments of success. Accompanying the exhibition the symposium allows for a timely re-consideration of the complexities of the relations between alternative and established (art) institutions that might have been sparked by political moments such as the Scottish Independence Referendum of 2014.

The underpinning emphasis is on the ‘organisational turn’, a shift from hierarchical to self-organised models of organisation. In particular the focus is on the potency of radical (artistic) practices and ideas, which propose imaginative ways of organising – collectivism, anarchism, activism, networks, and self-organising. Can we think of a new artistic landscape that might have been formed? How do we organise ourselves in such times?


 Article by Max Andrews published in Frieze, October 2013.

Max Andrews from Latitudes will offer a perspective on recent cultural politics in Barcelona. Looking in particular at visual art institutions, the 'open submission' format has become a pervasive tool. As an extraction of a democratic process, such an apparently accountable mechansim can nevertheless be complicit in a neo-liberal agenda, undermining institutional robustness and advocating continual 'present-ness'.

Other independent and self-organised realities do of course exist, and following recent municipal elections the political tide offers the promise of change. With reference to art practices that have connected with specific moments of Catalan social history, some contemporary case studies show a thinking around site, scale, longevity and depth – and perhaps reveal a connection with Scotland.
 

Organised in partnership with the University of Edinburgh.
Co-convened by Dr Deborah Jackson.
Funded by The University of Edinburgh’s Innovation Initiative Grant.


CCA, 350 Sauchiehall Street, Glasgow G2 3JD, UK


Related content:

Two texts by Manuel Segade and Max Andrews analyse the current Spanish art scene 16 October 2013

This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos:
Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




Latitudes' "out of office" 2014–2015 season

It's that end-of-the-season time of the year again. It has become a tradition for Latitudes (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14 posts) to mark the summer break, not by presenting a written memo of activities or a financial statement, but with a 'behind the scenes' post filled with photos revisiting moments from the year gone by. So here are some glimpses from September 2014 to August 2015.

Slowing down is rather relative this Summer, as at the end of July we embarked on a two-week trip to The Banff Centre in Canada to be Guest Faculty of one of its thematic residencies, 'Blueprint for Happiness' led by British artists Heather & Ivan Morison. At the end of August, we will be in residency at Kadist Art Foundation in San Francisco for another two weeks. 

Milestones during the first part of 2015 were two-fold: after months of technical tweaking and editorial wrangling, we launched our newly designed website in February and secondly, this Spring Latitudes celebrated its 10th anniversary.

Have a great holiday, más en septiembre! 

7 October 2014: Latitudes hosted the second year students of the MA Curating Contemporary Art at the Royal College of Art, London, and took the opportunity of presenting and reflecting on our collaborations with three Catalan artists – Martí Anson, Ignasi Aballí and Francesc Ruiz
 Francesc Ruiz presenting his work to the RCA students.

Trip reporting: We reported from the field including at Madrid's Apertura in September, London's Frieze week in October, David Jablonowski's "Hype Cycle" at Fons Welters during Amsterdam's Art Weekend in November, and from Bordeaux in January, to Bari in May.

Writing: This year Max Andrews has joined Frieze as Contributing Editor – where he has been writing since 2004. His writing has been more visible in recent months as Frieze have published reviews on Maria Thereza Alves at CAAC in Sevilla, the group show "What cannot be used is forgotten" at CAPC Bordeaux, a profile of Nicholas Mangan and a review of the Spanish and Latin American Pavilions at the Venice Biennale. Mariana Cánepa Luna also published an interview with Mangan in Mousse Magazine last February.

New website: Our homemade website finally saw the light of day in February. As explained in this post, the website features new elements such as the 'Cover Story' (more on that in the next paragraph), sliding photo galleries, a tidied-up sidebar with a calendar of events, tags to filter projects by 'year' or 'exhibition', etc.

'Cover Story': More writing has emerged through the new monthly section "Cover Story" on our home page (check out the archive of this section):

March 2015: Focused on a single artwork: Wilfredo Prieto's ‘Grasa, jabón y plátano’ (2006); 

April 2015: Revisited a peculiar site: the Connaught Road West flyover, in Hong Kong;


April 2015 Cover Story.

May 2015: Honoured two artistazos: Lawrence Weiner and Sergi Aguilar and a whisky-enhanced chat on the Barcelona shore in October 2008; 


June 2015: Visited Ignasi Aballí at his Raval studio.

Summer 2015: Orbited around Australian artist Nicholas Mangan, an artist with whom Latitudes just did an in conversation in the context of his solo exhibition "Ancient Lights" at Chisenhale, London and whose work has been the focus in Max Andrews' Frieze text as well as in Mariana Cánepa Luna's interview in the February-March issue of Mousse Magazine


 Summer 2015 Cover Story (plus the archive here).

26 February, ARCOmadrid: On jury duty visiting the galleries participating in the #Opening section of the art fair, in order to select its best stand. The award was given to Barcelona-based gallery etHALL which presented works by Martin Vitaliti and Sergio Prego.

 

Spring, celebration time! Later in May we celebrated our 10th anniversary (well, officially it was in April!) launching a series of limited editions in the form of tote bags by four artists that have a special place in our hearts and with whom we have collaborated with in the past: Lawrence Weiner (New York, 1942), Haegue Yang (Seoul, 1971), Ignasi Aballí (Barcelona, 1958) and Mariana Castillo Deball (Mexico City, 1975). Below is a glimpse from the making of the tote bags at Print Workers Barcelona, and here's where you can place your order.
 Photolith design for the tote bag by Haegue Yang – realised in collaboration with OK-RM. 
 Silkscreen process of Lawrence Weiner's design. Photo: Print Workers.
 Silkscreening Ignasi Aballí's tote. Photo: Print Workers.
 Silkscreening Mariana Castillo Deball tote. Photo: Print Workers.
 Silkscreening the credit for each bag in the inside pocket. Photo: Print Workers.
Homemade photo studio documenting the totes. Results of the photo shoot here.

9–13 May 2015: After an intense week of Biennale overdose in Venice, we traveled to Bari to join Vessel and MADA's 2015 International Curatorial Retreat as two of its tutors. The week was far from being a retreat, it was more like an "intensive" – though it certainly was a "treat". Highly interesting debates and conversations on-and-off the scheduled activities of lectures and break-out sessions emerged in places such as a cave or in the nearby town Monopoli – no direct link to the property trading board game. Here a report from fellow tutor Dr. Alexandra Ross
  
 Visiting the market. Photo: Piero Percoco.
Market stall selling tomatoes of all kinds and origins.
 Chef Boris Portnoy doing some dinner prep at Doppelgaenger gallery/home.
 Due to a fire in Rome's airport, our flight was cancelled and we had to rearrange our travel, spending another day in Bari. We therefore visited (we were in fact their only visitors) the Palazzo dell'Acquedotto Pugliese di Bari, decorated by roman designer Duilio Cambellotti
A food detour to purchase delightful spicy rucola in the Mercato ex Manifattura Bari, in the Quartiere Libertà.


3–5 June 2015: Max Andrews participated in the annual 'Invest Conference 2015' organised by Stroom den Haag, in The Hague, consisting of "an incentive for the artistic development of recently graduated artists who have received the PRO Invest subsidy in the year before. A group of ten international curators is asked to visit these artists in their studios and meet with the art scene of The Hague." 
  Above (visiting Machteld Rullens) and following photographs by Myung Feyen. Courtesy Stroom den Haag.

7 July 2015: For our last public event of the year we joined Melbourne artist Nicholas Mangan for an in conversation in the context of his solo show 'Ancient Lights' that opened a few days earlier at Chisenhale Gallery in London. Mint and Lime Films video documented the talk – watch it from Chisenhale's website / Vimeo.

Vinyl listing the exhibition events.
 (Above) Photos by Manuela Barczewski.


27 July–7 August 2015: Guest Faculty of the Thematic Residency 'Blueprint for Happiness' at The Banff Centre, Canada. We joined the group in the middle two weeks of the six week programme led by British artists Heather and Ivan Morison

View of The Banff Centre from our bedroom in Lloyd Hall.
Banff TV announcing Latitudes' talk on 28 July, 4pm. 

 Blueprint for Happiness' participants.
 Views from Latitudes' studio in the Jeanne & Peter Lougheed Building.
 Studio visit with "Blueprint for Happiness" participant Vanessa Kwan.
 Studio visit with "Blueprint for Happiness" participant Robert Cram.
Inevitable photo of a deer walking around Banff.
Stunning evening sunset over the Bow River after a storm with a double rainbow.

While in Banff, Latitudes led three seminars bringing forward a series of case studies as well as focussing on a number of artists whose practice has dealt with public space in different geographical contexts. We also undertook studio visits with each of the 11 resident artists, and participated in a field trip to Calgary to visit the HQ of art construction company Heavy Industries and the Esker Foundation Contemporary Art Gallery


 (School) Field trip to Calgary to visit Heavy Industries fabricators and the Esker Foundation. 
 Even though the school bus seats were no longer in scale to our adult bodies, interesting chats happened over the 2 hours of each trajectory.

On Sunday 2 August, Latitudes hosted a closed-door evening film programme screening works by Spanish artist Emilio Moreno, Irish artist Sean Lynch and Australian artist Nicholas Mangan. The three films share a focus on public sculptures, monuments or buildings that have been displaced from their original context. 

 Flicking through some of the 4,000 artist books at Banff library.

Most of this past months' activity has been invested in preparing for 2015–16 projects: Firstly, 'Compositions' a series of five artistic interventions by six artists active in the Barcelona art scene: David Bestué (Barcelona, 1980. Lives in Barcelona); Dora García (Valladolid, 1965. Lives in Barcelona), Jordi Mitjà (Figueres, 1970. Lives between Lladó and Banyoles); Rasmus Nilausen (Copenhagen, 1980. Lives in Barcelona) & Pere Llobera (Barcelona, 1970. Lives in Barcelona) and Daniel Steegmann Mangrané (Barcelona, 1977. Lives in Rio de Janeiro, Brazil), which will take place in the context of the first Barcelona Gallery Weekend (1–4 October 2015). 

Façade of Cosme Toda in L'Hospitalet municipality (Barcelona) part of a 1920s factory complex where David Bestué will present his intervention in the context of the first Barcelona Gallery Weekend, 1–4 October 2015.
Site visit to the Umbracle with Daniel Steegmann Mangrané.


Secondly, we've been working on the forthcoming solo exhibition of Venezuelan-born, Barcelona-based artist José Antonio Hernández-Díez which will be on view at La Capella MACBA from March 2016. Onwards!