Longitudes

Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 29 enero–3 mayo 2020

Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

A partir del 29 de enero 2020, Casal Solleric en Palma de Mallorca acogerá la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. La exposición ‘COLAPSO. Máquina célibe’, que se podrá visitar hasta el 3 de mayo, es una adaptación del proyecto que el artista presentó simutáneamente en tres sedes de la ciudad condal entre septiembre 2018 y enero 2019 [1].

Las majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogerán una selección de seis proyectos producidos entre 2007 y 2017 desarrollados mediante el lenguaje artístico de la performance, así como un programa continuado de obras de audio: grabaciones de lecturas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.
 
Joan Morey ha producido un extenso conjunto de performances, vídeos, instalaciones y obras sonoras y gráficas que, desde finales de los años noventa, explora la intersección entre teatro, cine, filosofía, sexualidad y subjetividad. 

Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).

(Arriba y abajo) Joan Morey, COS SOCIAL. Lliçó d'anatomia (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

El recorrido se inicia con uno de sus más recientes trabajos: la “performance para pantalla” ‘COS SOCIAL. Lliçó d'anatomia’ (2017), que actúa como eje conceptual de la exposición, y que fue obtuvo 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. Ésta y la performance ‘TOUR DE FORCE’ (2017), también incluída en la exposición, le valieron el Premi Ciutat de Barcelona d'Arts Visuals 2017.

La exposición ‘COLAPSO. Máquina célibe’ está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.


[1] ‘COLAPSO. Máquina deseante, máquina de trabajo’, Centre d’Art Contemporani de Barcelona - Fabra i Coats (del 20 de septiembre de 2018 al 13 de enero de 2019); ‘COLAPSO. Cuerpo social’, Centro de Arte Tecla Sala (L’Hospitalet de Llobregat, del 15 de noviembre de 2018 al 13 de enero de 2019), y ‘COLAPSO. Máquina esquizofrénica’, en la antigua cárcel Modelo (Barcelona, 10 de enero de 2019).

CONTENIDOS RELACIONADOS:


Cover Story—January 2020: Safeguarding Gestures

Latitudes' homepage www.lttds.org

The January 2020 monthly Cover Story ‘Safeguarding Gestures’ homepage: www.lttds.org

‘‘‘Poems for Earthlings’, by Argentinian artist Adrián Villar Rojas, transforms the Oude Kerk, a monumental church in the heart of the Amsterdam’s Red-light District which dates back to 1306. Unveiled during the Amsterdam Art Weekend two months ago and continuing until April, Villar Rojas’s installation features in the recent art-agenda Roundup from the city by Latitudes' Mariana Cánepa Luna.”
 

Continue reading
→ After January 2020, this story 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 CONTENTS
  • Archive of Monthly Cover Stories
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
  • Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
  • Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
  • Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
  • Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
  • Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
  • Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
  • Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
  • Cover Story—January 2019: “Seesaw” (7 January 2019)

2019 in 10 monthly Cover Stories

Since our 10th anniversary in Spring 2015, Latitudes has published a monthly cover story on its website (www.lttds.org) featuring past, present or forthcoming projects, as well as research, texts, artworks, exhibitions, films, objects or travel related to our curatorial work.  

2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).

Happy holidays and a joyful 2020!

Cover Story—December 2019: Curating and the Web of Life.
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’.
Cover Story—October 2019: Mercedes Azpilicueta in Helsinki.
 Cover Story—September 2019: ‘Polperro to Detroit’
Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago.
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’.
Cover Story—May 2019: Buenos Aires in Parallel.
Cover StoryMarch-April 2019: Icelandic refraction.
Cover StoryFebruary 2019: Schizophrenic Machine.
Cover Story—January 2019: "Seesaw".


RELATED CONTENT:
  • 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
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018 
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018 
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018 
  • Cover Story – January 2018: I'll be there for you, 2 January 2018 

Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com

https://www.art-agenda.com/features/306593/amsterdam-roundup
“Many cities have adopted the gallery weekend format, and while there is a risk that this proliferation can lead to homogeneity, the particular strength and energy of Amsterdam Art Weekend lies in its steadfast commitment to art and artists, and to not limiting its remit to the commercial sector. Now in its eighth edition, the event grew out of the Rijksakademie Open, the yearly open studio presentations by the forty-plus artists in the institution’s two-year postgraduate residency program.”

Continue reading. 

Originally published in art-agenda on December 13, 2019.

Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz.

 (Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
  (Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
 Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
 Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
 Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York. 
  (Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.

(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time image consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists, yet it's also important to analyse the larger picture of female representation in the filmmaking industry.
 Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.

 Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
  Studio by Christopher Manon during the RijksakademieOPEN 2019.
  Studio by Jude Crilli during the RijksakademieOPEN 2019.
 Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
 Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019. 

Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Dan Zhu during the RijksakademieOPEN 2019.

Studio by Lotte van Geijn during the RijksakademieOPEN 2019.

Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
Studio by Arturo Kameya during the RijksakademieOPEN 2019.
  (Above and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a los árboles, se les reconoce por sus frutos’ [Revolutions, like trees, are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
Rozenstraat – a rose is a rose is a rose presented the multichannel video-installation “Beyond Index” (2017) by Dutch artist Gerald van der Kaap.

LA-artist Matthew Monahan at Fons Welters, Amsterdam.

Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).


(Above) Alejandro Cesarco and Cecilia Vicuña (below)


(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.


(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.


Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.

Tahmina Negmat at Althuis Hofland.
Charbel-joseph H Boutros and Stéphanie Saadé at rongwrong.


Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).

And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.

→ RELATED CONTENT:


‘6 Hours Tide Object with Correction of Perspective’ by Jan Dibbets screened in Barcelona

Production of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets. Photo: Paloma Polo / SKOR.

The 8-minute film ‘6 Hours Tide Object with Correction of Perspective’ by Dutch artists Jan Dibbets is currently exhibited as part of "Fingers Crossed" (pdf, Spanish), a group exhibition opening December 14, 2019, curated by Blanca de la Torre and Sue Spaid, at ADN Platform in Sant Cugat (Barcelona), on view until April 4, 2020. 

The film was produced in 2009 for ‘Portscapes’, the year-long programme producing ten new commissions in and around the Port of Rotterdam, The Netherlands, curated by Latitudes


Gerry Schum's 1969 'Land Art' series of films screened on German public TV.

Jan Dibbets’ (1941) film was ‘Portscapes’ inaugural project and was filmed on February 8, 2009. Originally filmed 40 years earlier, in February 1969, in black and white and in 16 mm, it was titled ‘12 Hours Tide Object...’. The film was originally presented in 1969 as part of Gerry Schum's seminal 'Land Art' series of artists' films screened that same year on German public TV (this programme was included in Latitudes-curated touring film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ which began at the Museo Tamayo in April 2008.)

The film presents the drawing of an isosceles trapezoid in the sand using a bulldozer – the shape consequently appears as a rectangle in the resultant film due to the angle of perspective. The new 2009 realisation was filmed 40 years later to the month on the beach of the Maasvlakte, an area that was soon after forever transformed with the construction of Maasvlakte 2 – a land reclamation project, realised between 2008 and 2013, that extended Europe's largest seaport and industrial area by 2,000 hectares. 


The resulting 8 minute-long film was premiered at the FutureLand Information Centre of the Port of Rotterdam in June 2009 and during Latitudes’ participation in the New York festival NO SOUL FOR SALE – A Festival of Independents (24–28 June 2009). 


Dibbets’ film presented as part of Latitudes’ participation in the festival NO SOUL FOR SALE – A Festival of Independents, New York, 24–28 June 2009. Photo: Latitudes.

Projection of Dibbets' 1969 film as part of the itinerant film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ on July 11, 2008, at the barn Hongersdijk Farmstead, Wilhelminapolder, Zeeland, The Netherlands, a programme hosted by SKOR (Foundation Art and Public Space, Amsterdam). Photo: Latitudes.

‘6 Hours Tide Object with Correction of Perspective’ was produced in collaboration with SKOR | Foundation Art and Public Space (1999–2012), an organisation which initiated, curated and developed art projects in relation to the public domain that no longer exists, realising over a thousand projects in public space in the Netherlands for over a decade. Portscapes was curated by Latitudes, culminating in a display of the projects at the Museum Boijmans van Beuningen in Rotterdam in 2010.

RELATED CONTENT:

  • Portscapes commissions
  • Portscapes exhibition at the Museum Boijmans van Beuningen
  • Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 1 here.
  • Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 2 here.

Video of Latitudes' lecture "Curating in the Web of Life" at Garage Museum of Contemporary Art, Moscow


Curating in the Web of Lifeis in a 1-hour-long lecture presented on November 7, 2019, at Garage Museum of Contemporary Art in Moscow, in the context of their group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100. It is in English and a Q+A follows. You can also watch it with Russian translation (voice-over). 

 Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.

In the lecture, Latitudes discuss how Modern art and modernist art history largely assented to the ontological and epistemological lie which imagined humanity and the humanities making their own history by themselves, while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes. The increasing violence by which the limits of the planet, its feedback loops and tipping points, are forcing themselves into world events has profound consequences for how we narrate (art) history and curate exhibitions in the web of life.


Max Andrews of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
Mariana Cánepa Luna of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
 
New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna presented a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” ( CAPC musée d'art contemporain de Bordeaux 2017–18), ‘Hemauer Keller: United Alternative Energies’ (Kunsthal Aarhus, 2011), “Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008) and related projects such as the residency programme “Geologic Time” (Banff Centre for Arts and Creativity, 2017).

[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.


Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art

→ RELATED CONTENTS:

Cover Story—December 2019: Curating in the Web of Life

Latitudes' homepage www.lttds.org

The December 2019 monthly Cover Story ‘Curating in the Web of Life' homepage: www.lttds.org
 

‘Last month Latitudes gave a lecture entitled “Curating in the web of life” at Garage Museum of Contemporary Art, Moscow, as part of the public program for the exhibition The Coming World: Ecology as the New Politics 2030–2100. The presentation argued that modern art and modernist art history largely imagined humanity and the humanities making their own history by themselves while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes.’

→ Continue reading
→ After December 2019, this story 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 CONTENTS


Premios de la 3a edición del Dart Festival de cine documental sobre arte contemporáneo 2019


Latitudes tenido el placer de formar parte del jurado de la tercera edición del Festival de Cine Documental sobre Arte Contemporáneo 2019 junto al crítico de cine Quim Casas y la artista visual Núria Güell.

Los ganadores de la Sección Explora by Laie Llibreria! de la 3a edición del Dart Festival 2019 son el documental ‘Elliott Erwitt - Silence Sounds Good’, de Adriana López Sanfeliu como mejor producción nacional, y ‘Barbara Rubin & The Exploding NY Underground’ de Chuck Smith, como mejor producción internacional. 


Elliott Erwitt ha pasado toda su vida adulta haciendo fotografías de presidentes, papas y estrellas de cine, así como de personas an´ y también de sus mascotas. Mientras que su trabajo es icónico en la cultura mundial,  su vida es en gran parte desconocida. Elliott Erwitt - Silence Sounds Good es un retrato amable e íntimo de un artista en su trabajo, mostrando ser alguien que valora la compañía de todo tipo por encima de la conversación ociosa. Su trabajo vital es un importante testimonio del poder de la imagen. Con su primera película, Adriana López Sanfeliu logra crear un retrato íntimo de un fotógrafo de primer nivel.



El documental “Christmas on Earth” (1963) conmocionó la escena del cine experimental de Nueva York. Su autora, la cineasta experimental Barbara Rubin, realizó la película cuando solo tenía 18 años. Durante su trayectoria, trabajó con el cineasta Jonas Mekas en la Filmmaker’s Coop, colaboró con Andy Warhol y fue fundamental en la creación de la próspera comunidad de cine underground de Nueva York. Durante años Mekas, que en la película tenía 94 años (falleció con 96), guardó todas las cartas de Barbara y atesoró su memoria. Trabajando con las imágenes de Mekas y los extraños clips de los archivos de Warhol, ‘Barbara Rubin & The Exploding NY Underground’ nos transporta dentro del mundo y la mente de Barbara Rubin, una cineasta que realmente creyó que el cine podría cambiar el mundo.

Proyección en el Cinema Girona. Cortesía: DART Festival 2019.

CONTENIDO RELACIONADO:
  • Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales 1 Febrero 2018
  • 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 equipo tutorial de Barcelona Producció 2017 – Anuncio de los proyectos ganadores 25 Mayo 2017
  • Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona. 2 Febrero 2016
  • Latitudes-nominee artist Annette Kelm shortlisted for the Aimia | AGO Photography Prize 2015 24 June 2015
    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"

Max Andrews' Valencia Feature in frieze magazine, November-December 2019

Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.

Max Andrews of Latitudes has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia for the November–December 2019 (issue 207) of frieze magazine

The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.

Fermín Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.

"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art." 

→ Continue reading here.


View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
(Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019. 


RELATED CONTENT:

      Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’

      Latitudes' homepage www.lttds.org

      The November 2019 monthly Cover Story ‘Fighting fires in Valencia: the 30-year story of the IVAM’ on Latitudes' homepage: www.lttds.org
       

      "How does a museum recover from scandal? What imperatives exist for regional institutions outside of capitals? When, in 1989, the IVAM (Institut Valencià d’Art Modern) opened the doors to its imposing, new, slab-like building on the edge of what was once Valencia’s medieval walled core, it became the first public museum in Spain dedicated to collecting and exhibiting 20th-century art. Discussing IVAM’s rise, fall and reinvention, an article in the current frieze (issue 207, November–December) by Latitudes' Max Andrews (also a frieze Contributing Editor) is a case study on how right-wing politics impacted an entire city art ecology."


      → Continue reading
      → After November 2019, this story 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 CONTENTS: 


      Longitudes cuts across Latitudes’s projects and research with news, updates, and reportage.

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      Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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