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



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

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


Formulario de inscripción aquí.

Observaciones:



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

+ info

Comparte: #JoanMoreyColapso



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




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 




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:




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

Two recent texts reflect on the current Spanish art scene, both noting the damaging effects of not only the ongoing budget cuts, but on the deleterious political interference in the programming of numerous museums and art centres throughout the country – perhaps the most notorious of which saw the resignation of MUSAC's Eva González-Sancho after three months as director of the León museum, followed by the resignation of the museum's artistic committee

The texts are written by Manuel Segade, a Spanish-born independent curator based in Paris; and by British Barcelona-based curator Max Andrews of Latitudes, offering critical and analytical perspectives from both the inside and the outside of Spain.
 
"Art and Society in Spain on the Edge of Critical Emergency" by Manuel Segade written for the September 2013 issue of Artpress (see pages below), offers a brief genealogy from the 1990s until today, mapping the rise and the activities of art centres, museums, art fairs, commercial galleries and artists. (Click on the images below for a larger view of the text.)



"On a Shoestring – Institutions in Catalonia" written for the October 2013 issue (#158) of frieze magazine by Max Andrews of Latitudes, focuses on the art scene of the Catalan capital and the effects of its cultural policies towards the creative industries. Mentioning the documentary MACBA: The Right, the Left and the Rich (1h 27m, 2013) [watch it here – in Catalan with Spanish subtitles] as an example of a critical strategy, the text questions the direction of the city's politics with regards to art.  

 (Click on the image for a larger view of the text, or else you can read it here online.)



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
All photos: Latitudes (except when noted otherwise in the photo caption)




Barcelona inaugurates the 2013–14 season with a new art map

Asociación de Galerías
de Arte Contemporáneo
Art Barcelona - See more at: http://www.artbarcelona.es/es/directorios.html#sthash.iopEshqs.dpuf
Asociación de Galerías
de Arte Contemporáneo
Art Barcelona - See more at: http://www.artbarcelona.es/es/directorios.html#sthash.iopEshqs.dpu
Map with suggested route available on the Circuit de l'Art Contemporani website 

Habemus gallery listings!

Barcelona inaugurates the 2013–14 season with new signage and gallery map. The itinerary, presented yesterday to the media, suggests a route from west to east of the city, from Montjuïc's Fundació Miró to Sant Andreu's Fabra & Coats - Centre d'Art Contemporani de Barcelona, via most of the contemporary art galleries that concentrate in the city centre. Besides the online and physical map, visitors will find two-metre high poles crowned with a pill (galleries marked in pink; museums, foundations and art centers in blue) placed at the entrances of each venue offering additional information (via QR codes and contactless device) about the adjunct venue (exact address, opening hours, website). 

Promoted by Art Barcelona (Gallery Association of Contemporary Art) the 240,000 Euro initiative maps out 26 galleries and 11 art centre locations as well as a calendar of events and openings, both in English (30,000 copies have been printed) and Catalan (20,000 copies) updated quarterly. On a second phase there will be a mobile app with additional information on the artists and programming.


 Detail of the information given in one of the poles marking a gallery location.

Although the map is quite comprehensive, it is a shame that after years of waiting for an initiative of this kind that matches that of cities such London, Berlin, New York, Amsterdam or Glasgow, to only mention a few, other Barcelona galleries such as etHALL, production and studio facilities like Hangar, artist-run and independent spaces such as Halfhouse, Homesession or A*Desk amongst others, are not represented in the listings. Neither are city or government funded spaces such as Sala d'Art Jove, Can Felipa or Sant Andreu Contemporani. Adding them to the 'official' map (which is part funded by the city and the Catalan regional government) would not only help in offering a more textured panorama of the city locating private and public spaces, but would also instigate a much-needed generosity from top-down and show the city willingness to share its promotional tools.

On a final note, it is perhaps curious that Arts Santa Mònica [formerly the Centre d'Art Santa Mònica (CASM)] is missing. Yet as the new General Director of Creativity and Cultural Companies Jordi Sellas, recently announced the reorientation of its programming to become "a centre of activity more than an exhibition space" (...) "a radar for new cultural tendencies", it is perhaps a final confirmation that what used to be Barcelona's kunstverein is not longer recognisable as a venue of contemporary art (see this blog post). 

Downloadable map with suggested routes here.

Programming here. Includes addresses, listings and forthcoming openings and events.



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
All photos: Latitudes (except when noted otherwise in the photo caption)




Pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona

Selección de artículos recientes entorno al pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona:

"Fontcuberta dice que cancelar el Canòdrom es un paso hacia un sistema artístico "totalitario", La Vanguardia, 6 Febrero 2012 (incluye video acción reivindicativa)

Roberta Bosco, "Los artistas visuales consideran pedir la dimisión de Ciurana", El País, 6 Febrero 2012

Bea Espejo, "El Canódromo en blanco", El Cultural, 6 Febrero 2012

(...) A las 16h, una manifestación convocada por la Asociación de Artistas Visuales de Catalunya pretende presionar a los políticos y hacerlos cambiar de opinión. Se leerá un manifesto y se pintarán de blanco los cristales del Canódromo, como se hace con los escaparates de los establecimientos cerrados. – Bea Espejo



Se empiezan a pintar los cristales del Canòdrom...

 
Lectura del manifiesto (leer aquí, en catalán) por Joan Fontcuberta, Presidente de l'Associació d'Artistes Visuals de Catalunya (AAVC):

 

Los medios entrevistan a Francesca Llopis, Vocal de l'Associació d'Artistes Visuals de Catalunya (AAVC):


...y una hora después...llegan los camiones de BCN neta

 


Elena Vozmediano, El día después, blog 'Y que tú lo veas', 3 febrero 2012

Acció en defensa del Canòdrom com a Centre d’Art Contemporani, blog Associació d’Artistes Visuals de Catalunya

Roberta Bosco, "Moritz Küng, el director amordazado", El País, 1 Febrero 2012


"El arte en Barcelona", Cartas al director, La Vanguardia, 23 Enero 2012

Elena Vozmediano, El neodirigismo catalán, blog 'Y que tú lo veas', 21 Noviembre 2011
  
Fotos: Latitudes | www.lttds.org




Notas presentación de Latitudes expuestas durante las "Jornadas internacionales de debate para El Canòdrom, el nuevo Centro de Arte en Barcelona", 6–7 Julio 2009

In reference to "Artists should be at the centre of the centre, at every step and in all aspects." Nordic and Danish Pavilion Press Conference seating set up, Venice Biennale 2009. Photo: Latitudes | www.lttds.org


Notas de la presentación de Latitudes (en español e inglés)

'Jornadas internacionales de debate para un nuevo Centro de Arte en Barcelona' (6–7 Julio 2009)
. Mesa: 'El Canòdrom, un nuevo equipamiento en Barcelona visto por artistas, críticos y comisarios'.


(Español)

– Anunciar lo antes posible la convocatoria pública para el puesto de dirección. Definir un programa artístico de relevancia local e internacional para el nuevo centro, un centro con personalidad jurídica propia, autónomo e independiente de cambios políticos;

– Elección de un equipo de trabajo (desde técnicos o becarios hasta encargados de producción, seleccionados por sus cualidades profesionales a través de convocatorias públicas y entrevistas personales). Definir conjuntamente un programa artístico, campaña de inauguración, programa de actividades post-inauguración y el uso de los espacios del Canòdrom junto con los arquitectos encargados de la remodelación;

– Conceptualizar una nueva identidad gráfica que respete la fuerte presencia arquitectónica y la historia del edificio – ej. mantener la tipografía, carteles galgos, etc.;

– Programación previa a la inauguración – el Canòdrom debe existir desde ya. Iniciar una presencia mediática local, nacional e internacional. Organizar visitas del edificio para prensa, galeristas, coleccionistas, gente del barrio, etc. pre-inauguración. Dar a conocer el nuevo centro desde dentro y su programación. Fomentar la transparencia. Crear una nueva audiencia para el Canòdrom, una comunidad – por ej. programación previa a apertura edificio: Bòlit, Girona o el MUSAC en León.

– Programar dentro y fuera del edificio – pensar de modo expansivo e innovador y no limitar la creatividad al espacio de físico del edificio. No olvidar el poder de la web;

– El Canòdrom debe ser un espacio de producción y co-producción (es primordial colaborar con otros centros), experimentación y discusión. Saber tomar riesgos, ser creativo con las posibilidades que ofrece a nivel local e internacional;

– Estimular y nutrir relaciones otros centros de producción local e internacional. Formar parte de un contexto artístico y crear y reforzar la escena cultural;

– Establecer una comisión de expertos / comité asesor independiente (‘Advisory Board’) para dar solidez al programa y estabilidad e independencia a la dirección. El comité ayuda a establecer y a consolidar relaciones con otros centros de igual o similar perfil;

– Crear un equipamiento donde la escena artística se vea representada, donde se cree complicidad con los agentes locales y donde los recursos y facilidades disponibles sean de calidad, con garantías profesionales. Potenciar la profesionalización del sector.

(English)

– Barcelona should be a city that can support its artists within an international context and the new art centre should publicly perform a leading role in this respect. It needs to create a space of dialogue and encounter between Catalan, Spanish and international artists and focus on the active development of practice as well as new audiences.

– In a move symptomatic of and responding to a certain lack of stimulus and critical discussion in the city, the artists Marc Vives, Rubén Grilo, Alex Reynolds created 'Vena (por la)', an incisive and ongoing series of artist and curator talks which take place in the La Central bookshop. Artists are taking the matters into their own hands and starting their own initiatives seemingly because institutions are not providing enough throughput of public talks, or at least not at the most valued level.

– Canòdrom should be an opportunity to link up different constituencies and audiences (from collectors, art students, to graphic designers, galleries, art writers, art historians...)

– One art centre cannot fully substitute for the shortcomings of the Spanish art academy system – what would be the most valuable long-term parallel goal would be to invest in an international post-graduate studio programme on the model of the Stadelschule in Frankfurt or the Rijksakademie in Amsterdam. Canòdrom should neverthless have a strong element of professional development and advocacy, critical exchange and debate as part of its programme not as a bolted on education bonus – it need to be more than an exhibition space.

– Canòdrom should stimulate, support and create professional artists and curators and lead by example. In the same way the one cannot assume the abstract presence of an audience, but need to actively produce different audiences, a new institution needs to take a lead in the actual formation and conditions of stimulus for the work of artists in society. Artists should be at the centre of the centre, at every step and in all aspects.

Latitudes, July 2009.




Jornadas entorno al Canòdrom, el futuro Centro de Arte en Barcelona, 6–7 Julio 2009


Los próximos 6 y 7 de julio tendrá lugar en el Auditorio del MACBA (Plaça Joan Coromines, s/n) las 'Jornadas Internacionales de Debate para un Nuevo Centro de Arte en Barcelona' - programa a continuación.

Latitudes participará en la mesa redonda 'El Canòdrom, un nuevo equipamiento en Barcelona visto por artistas, críticos y comisarios' que tendrá lugar el Lunes 6 Julio, 18–20h, seguido por un debate de 20–21h –
véanse notas de nuestra presentación.


Entrada gratuita – Plazas limitadas – Inscripción previa (hasta el 4 Julio) a [email protected] o llamando al 676 135 250

Organiza: Consell Nacional de la Cultura i de les Arts, Departament de Cultura i Mitjans de Comunicació, Ajuntament de Barcelona, Consell de la Cultura de Barcelona.



Programa CANÒDROM’09. Jornadas internacionales de debate para un nuevo Centro de Arte en Barcelona


Desde la proliferación de centros de arte en Europa a principios de los años 80 hasta la actualidad, el concepto de centro de arte se ha modificado y ha evolucionado, siguiendo patrones distintos adaptados a cada contexto y a la evolución de la tecnología y de la comunicación, así como a la convivencia con la industria cultural, al carácter multidisciplinar del arte, a las nuevas prácticas curatoriales, al ejercicio de la mediación social y a la labor educativa y de formación en el marco de una sociedad global.

Con el fin de dar impulso al nuevo proyecto del futuro Centro de Arte Contemporáneo de Barcelona, con sede en el edificio del Canòdrom de la Meridiana de Barcelona, se organizan unas jornadas internacionales de debate y discusión que cuentan con la participación de los directores de varios centros de arte europeos ejemplos de diversos de los modelos existentes. Asimismo se hace un llamamiento al sector de las artes visuales —artistas, críticos, comisarios, galeristas, estudiantes de arte, gestores culturales y demás agentes y emprendedores artísticos— para que formen parte de este debate.

Lunes, 6 de julio
Mañana 10.00 h – 10.30 h
Apertura de las jornadas a cargo de Pilar Parcerisas, Vicepresidenta Primera del Consejo Nacional de la Cultura y de las Artes, y Daniel Giralt-Miracle, miembro del Comité Ejecutivo del Consejo de la Cultura de Barcelona.

10.30 h – 12.00 h
El Canòdrom, un edificio para el arte contemporáneo Xavier Monteys y Josep M. de Lecea, arquitectos. Autores de la restauración y remodelación del Canòdrom

12.00 h – 12.30 h Pausa

12.30 h - 14.00 h
Los centros de arte en Europa, hoy. Especificidad y límites frente a los museos.
Dirk Snauwaert, Director del Centro de Arte Contemporáneo Wiels, Bruselas
Nicolaus Schafhausen, Director de Witte de With, Rotterdam
Modera: Roberta Bosco, periodista de arte de El País, Barcelona

14.00 h - 14.30 h Debate

16.00 h - 17.30 h
El modelo inglés y su relación con los consejos de las artes. La tradición de la Cornerhouse.
Dave Moutrey, Director de la Cornerhouse, Manchester

17.30 h - 18.00 h Pausa

18.00 h - 20.00 h
El Canòdrom, un nuevo equipamiento en Barcelona visto por artistas, críticos y comisarios.
Carles Guerra, Director de La Virreina. Centro de la imagen, Barcelona
Amanda Cuesta, crítica de arte y curadora de exposiciones
Jorge Luis Marzo, miembro del grupo de debate Centro de Arte Barcelona
Latitudes (Max Andrews y Mariana Cánepa), curadores independientes
Joan Fontcuberta, artista y Presidente de la Asociación de Artistas Visuales de Cataluña (AAVC)
Daniel García Andújar, artista y presidente de la Asociación de Artistas Visuales de Cataluña (AAVC)
Modera: Mercè Alsina, crítica de arte y curadora de exposiciones, Secretaria de la Asociación Catalana de Críticos de Arte (ACCA)

20.00 h – 21.00 h Debate


Martes, 7 de julio
10.00 h - 11.30 h
El flujo del arte contemporáneo en los centros de arte: producción, presentación, difusión
Bartomeu Marí, ex Director de Witte de With y actualmente Director del Macba, Barcelona

11.30 h - 12.00 h Pausa

12.00 - 14.00 h
En red. El Canòdrom desde el territorio.
Oriol Gual, Director del espacio La Capella, Barcelona
David Santaeulària, Director del espacio Zero 1, Olot
Glòria Picazo, Directora del Centro de Arte La Panera, Lleida.
Rosa Pera, Directora de Bòlit, Centro de Arte, Girona
Anna Capella, Directora del Museo del Ampurdán, Figueres
Jordi Abelló, Coordinador de los espacios de arte del Ayuntamiento de Tarragona
Víctor Sunyol, Presidente de H. Asociación para las Artes Contemporáneas, Vic
Clara Garí, Directora de la Nau Côclea, Camallera
Modera: Oriol Picas, Subdirector General de Equipamientos del Departamento de Cultura y Medios de Comunicación de la Generalidad de Cataluña.

14.00 h - 14.30 h Debate 16.00 h - 17.30 h
Los retos de futuro de los centros de arte
Susanne Pfeffer, Curadora del KW Instituto de Arte Contemporáneo, Berlín
Kestutis Kuizinas, Director del Centro de Arte Contemporáneo (CCA), Vilnius, Lituania
Francis McKee, Director del Centro de Arte Contemporáneo, Glasgow
Laurence Rassel, Directora de proyectos de la Fundación Antoni Tàpies, Barcelona
Modera: Rosario Fontova, periodista de arte independiente, Barcelona

17.30 h - 18.00 h Pausa

18.00 h - 20.00 h
Espacios de producción y creación con relación al Canòdrom
Víctor Lobo, co-director de Experimentem amb l’art, Barcelona
Pep Dardanyà, director de Can Xalant, Mataró
Tere Badia, investigadora y coordinadora de Xarxaprod
Pedro Soler, director de Hangar, Barcelona
Sergi Díaz, coordinador de Fabra i Coats, Barcelona
Modera: Ramon Parramon, director de Idensitat y jefe de estudios de posgrado de Elisava

Cierre de las jornadas a cargo de Lluís Noguera, Secretario General del Departamento de Cultura y Medios de Comunicación de la Generalidad de Cataluña, y Jordi Martí, Delegado de Cultura del Ayuntamiento de Barcelona.




Süddeutsche Zeitung reports the "malaise" of Spanish contemporary art

Last weekend an article on the Spanish art landscape appeared in the German newspaper Süddeutsche Zeitung (pdf 248KB), which was later reported and summarised in English by Jennifer Allen in Artforum.com's International News Digest (week 12 January 2008).

According to the writer, Merten Worthmann, the Spanish art scene lacks experimentation and this is effecting Spanish galleries as well as ARCO, the country's main art fair. The whole discussion as to why Spanish contemporary art is not where it should be on the international map is not an easy one to tackle. The truth is, there is not one reason – there are as many as there are challenges. Although a lot has been achieved in the last 30 years of democracy and today we have many museums and art centres, the question is now not just about more, but about improving and investing in the existing quality.

Here is a 'shopping list' for starters: renewed focus on debate and theory with productive confrontations; targeted resources for medium-scale institutions; engaged art magazines and cultural supplements with less 'press release-y' or purely descriptive writing; simplification and modernisation of the 'cultural-export' model of funding and bureaucracy to reflect contemporary practice; wider transparency in selection processes for key curatorial positions; pragmatic vocational teaching at graduate level (and a life for post-Picasso art history); a competitive postgraduate art practice programme that meets the international standards of Amsterdam's Rijksakademie or Frankfurt's Städelschule; improved teaching of foreign languages; fiscal benefits to autónomos (self-employed) on a par with other EU countries...

The list continues. Without trying to sound profound or political, changes have to be made from within through sheer initiative, and that, alongside rabid generosity, is surely the way forward. It is certainly not all doom and gloom (we would not be here otherwise!), but the current economic climate will certainly focus the minds as well on the 'values that we value'. Onwards 2009!
Here is Artforum's summary...

REPORT FROM SPAIN (Artforum.com, International News Digest)
 
In anticipation of ARCO, the Süddeutsche Zeitung’s Merten Worthmann delivers a mixed report from Spain. According to Worthmann, the young Spanish arts scene is missing some experimentation—a deficiency that has had a negative impact on both galleries and the Madrid-based fair. Moreover, the Centre d’Art Santa Mónica—which has featured exhibitions by younger artists—will be closing at the end of January, according to a directive from the Catalan minister of culture. “Barcelona is a kind of anti-Berlin,” says Bartomeu Marí, head of Barcelona’s MACBA. “A city that doesn’t know how to attract any artists.” For Worthmann, the closure of Santa Mónica is a sign of a larger malaise. “The Spanish arts scene suffers from its weak connection to central Europe, the center of the market, and of discourses,” writes Worthmann, who cites the lack of both an international public and a national network. “To be an artist in Spain is a handicap, both inside and outside the country,” artist Jorge Galindo told the newspaper.

Ferran Barenblit, who was until recently the director of Santa Mónica, and who now heads the art center Dos de Mayo outside Madrid, believes that Spain doesn’t have enough international pull and has lost its “exotic” status in the ever-expanding European community. “Barenblit can be very critical with respect to the homegrown arts scene,” writes Worthmann. “But he holds the unclear reception from outside the country responsible for the lack of resonance.” Chus Martínez, who headed the Frankfurt Kunstverein before recently heading to Barcelona to direct the MACBA collection, adds some “geopolitical” arguments. “Germans, for example, orient themselves above all toward the United States and, since reunification, strongly toward the east,” Martínez told the newspaper. “Spain long existed on the outside. We were never a stop on the Grand Tour, nor could we profit later from the Marshall Plan.” The Franco dictatorship, which ended just over thirty years ago, also played a major role in the isolation of the country’s artists. Despite the end of the dictatorship, many artists still leave the country. And despite the rise of several spectacular exhibition sites—MUSAC in León, MACBA in Barcelona, Herzog and de Meuron’s Caixaforum in Madrid, Gehry’s Guggenheim in Bilbao, and Madrid’s Matadero, a multidisciplinary center that will be fully complete in 2011—few institutions have managed to create a “solid profile.” “For regional politicians, often the architectural gesture was more important than the ongoing maintenance of an ambitious program,” writes Worthmann, who adds that museum directors are often at the mercy of changing ruling parties of the government. Despite new directives for running museums from the minister of culture, the sudden closure of Santa Mónica as an art center is a case in point.

As for ARCO, a public initiative dating from the 1980s, the new director Lourdes Fernández will be decreasing the number of Spanish galleries in order to increase international participation at the fair. Last year, the fair dedicated more space to curatorial projects featuring artworks with an experimental edge. “And the display window has long functioned in both directions,” writes Worthmann. International collectors acquire Spanish art while Spanish collectors are increasingly acquiring works by international artists. In 2009, all purchases may well be welcome, whatever the artist’s origin.

On another note, Matt Elmore from the The Art Newspaper has also written about the Barcelona art scene, though giving a much more simplistic and superficial account - including mistakes such as the "Santa Monica space as a visual arts centre devoted to Catalan artists...", when only one of the three exhibition spaces it had was penciled for Catalan or Spanish artists. See archive of previous shows to see exhibition history between 2003-9.




Gone with the wind: on the 'art crunch' and the Centre d'Art de Barcelona, the saga continues...



Happy Christmas.

The dark cloud looming over the artworld in recent months is how the worldwide economic recession is going to hit. We're already seen some of its consequences (from the dire situation of MoCA LA's finances to the apparent 'return to painting' in the art market), but what about daily practicalities? How is the lack of cash flow or
collapse of the British pound, for instance, going to affect programming in art centres and museums? Is waning support for new productions, residencies, research and travel obvious already?

In the Nov–Dec. Frieze, Dan Fox wrote around the last recession in the 1990s, when "
newspapers and television talked about art rather than the art market and how dynamic or corrupt it might be" and when there were "fewer of everything: fewer artists, curators, galleries, magazines, art consultants, private foundations." As Fox states, the credit crunch is also a "content crunch". Having exchanged "crunchy" opinions with a few artists and curators recently, one senses that the relentless rhythm of e-fluxes and the like, and the constant proliferation of and aspiration to travel to and from biennials/triennials/quadrannials, art fairs, symposiums, gala dinners, discussion platforms, art auctions, etc. is feeling increasingly, well, just too much. Maybe a downsizing will have its benefits?


Bringing in some examples close to home, one wonders how are the many Spanish museums that have appeared in the last decade facing up to the new economic year. In Catalunya alone there has been a flourishing of art centres (Lleida, Granollers, Girona (with temporary venues)), and soon there will be further venues in Vic and Tarragona. On the other side of the coin, in Barcelona already a few key art spaces, which offered invalubale support for new commissions, have already 'gone with the wind' and there is a clear lack of infrastructure and of competitive study programmes (La Vanguardia, 30/11/08). Sala Montcada, for instance, has gone. Operating since 1981, it has just had its two final seasons at Caixaforum after much revolt within the artistic community when, in 2005, 'La Caixa' foundation announced its closure and then stayed its execution – at least until now.
After two lacklustre seasons with works produced by Le Fresnoy, Espai 13 in Fundació Miró, began to show signs of life again last October with a programme curated by Jorge Díez. But most notably there was the sudden closure (or 'reconversion'/new orientation in the words of the politicians) of the Centre d'Art Santa Mònica (CASM), whose programme limps on until early 2009. The pre-Christmas news (El País, 10.12.08) was that the announcement of the new venue for the long-awaited replacement kunsthalle space (renamed as Centre d'Art de Barcelona - see post 17.07.08) will be located in a 1,200m2 space in the newly-opened 'Imagina' building. Built in the former site of a textile factory, Ca l'Aranyó in the new-technology branded district called [email protected], east of the city, the site is near the future Disseny Hub Barcelona, the Auditori, the Teatre Nacional de Catalunya, and Hangar, Barcelona's only surviving production and residency center, in Poblenou. According to councellor Joan Manuel Tresseras, the new art centre will be a joint force of the Ajuntament de Barcelona (Barcelona City Council) and the Conselleria de Cultura (Art Department of the Catalan Government). But, two days later the Ajuntament said they knew nothing about this new venture (El País, 12.12.08) becoming clear that Tresseras wanted to close the 'open wound' that began with the 'reconversion' of CASM, before its new director, Vicenç Altaió, announces the new exhibition programme.

Dejà vu? How can Tresseras insist on providing a transparent procedure of selection for a new director for the art centre, when there is a clear and alarming lack of transparency, dialogue and set of priorities amongst the cultural agents operating within the same city? How can an independent management and operational funding be secured to attract a competitive bunch of professionals to apply following an open-call selection process? Ideally it should also establish an open call not only for its head figure, but for its whole team, from organisers to restaurant caterers. Find the best, by offering the best.




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