Longitudes

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

Cover Story–June 2020: Mataró Chauffeur Service, since 2010

Latitudes' homepage www.lttds.org

The June 2020 monthly Cover Story ‘Mataró Chauffeur Service, since 2010’ is now up, check our website www.lttds.org

“The premise was simple. Latitudes needed to get to Tate Modern and so Martí Anson was going to drive us to London and back. He would form a one-man one-car taxi company in his home town of Mataró, pick us up early in the morning in Barcelona and we’d head for the ferry. Mataró, Barcelona, Santander, Portsmouth, London, ‘No Soul for Sale’ festival, happy 10th birthday Tate Modern. Pim pam. His great-grandfather had been a taxi driver in Montevideo and his father-in-law a driver for the boss of Schweppes.”

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→ After June 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.



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Proyecto deslocalizado ‘La Ballena de El Prat a El Prat / Retorno: Vibraera’ de Consol Llupià


Consol Llupià
22 de mayo de 2020 a las 16 h

El próximo 22 de mayo a las 16 horas, coincidiendo con la luna nueva de primavera y el 37 aniversario del hallazgo de una ballena de diecinueve metros en la playa de El Prat de Llobregat, la artista Consol Llupià te invita a ‘Vibraera’ [1], una acción energética de sincronización colectiva de vibraciones en sintonía con la red de conciencia cetácea a partir de los principios de amor, alegría, unidad y cooperación.

En la web www.vibraera.net encontrarás algunas indicaciones de como iniciar tu participación, aunque cada cual es libre de formularla de una forma personal e íntima. Tu aportación será publicada en el web y progresivamente complementada con la contribución de colaboradores de la artista procedentes de instituciones y entidades multisectoriales del ámbito energético, medioambiental, científico, jurídico, social, deportivo, humanístico y artístico, así como una red afectiva de individuos vinculados a los cetáceos que han ido sumando su entusiasmo y compromiso a lo largo del proyecto, que empezó en mayo de 2018, cuando Llupià preguntó a la ballena si quería regresar al mar.

Comparte tu experiencia a través de las redes sociales usando las etiquetas #labalenadelpratalprat y #Vibraera

Consol Llupià (Barcelona, 1983) es licenciada en Bellas Artes por la Universidad de Barcelona (2001-2006) y obtuvo una beca Erasmus para estudiar en la Academia Nacional de Artes de Sofía (Bulgaria) en 2006. Entre 2015 y 2017, Llupià realizó el proyecto ‘Performance oficial’ al amparo del Centro de Arte Contemporáneo Wifredo Lam de La Habana (Cuba). En 2016, desarrolló la mediación artística para el ciclo ‘Xarxa Zande’ en el Centre d’Art Santa Mònica de Barcelona, y entre 2007 y 2017 organizó ‘Campo de desconcentración polivalente’, un proyecto artístico multidisciplinar colectivo y autogestionado en Alcóntar (Almería).

[1] ‘Vibraera’ es una expresión coloquial usada en la sierra de los Filabres (Almería) para describir una situación o acción que crea una gran cantidad de energía o que invita o alienta a la participación. A la artista le gusta el hecho de que, al separar los componentes del vocablo –‘vibra’ y ‘era’– y alterar su orden, surge otro posible significado: ‘era de vibraciones’.


→ CONTENIDO RELACIONADO:

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Cover Story—May 2020: Panama, back through the lens

Latitudes' homepage http://www.lttds.org/

The May 2020 monthly Cover Story ‘Panama, back through the lens’ is now up on our homepage: www.lttds.org

April 2020 marked 15 years of Latitudes’ curatorial practice. We’ve long been planning an update and redesign of our website, and with life and work on hold for the last few weeks, we’ve finally had the time to make it happen. The whole site has now been rebuilt: https://www.lttds.org/

The new widescreen home page features Donna Conlon, Jonathan Harker, and Sandino Scheidegger, the latest episode of ‘Incidents (of Travel)’, accompanied by Donna’s and Jonathan’s thoughts on how life has changed in recent weeks in Panama City. 

‘‘Panama is a country of many contrasts, bruised by a variety of social, political, and cultural crises”, writes curator Sandino Scheidegger in the latest edition of ‘Incidents (of Travel)’, in which he spent a day in January with the artists Donna Conlon & Jonathan Harker. “These tensions grow even stronger in its capital, Panama City, where an impressive skyline rises over an often struggling population below it.” Here high on a hill above the urban bustle, Jonathan, Donna, and Sandino clamber along railings and among branches in the Parque Metropolitano near where the duo shot the video ‘Capapults (Tapitapultas)’ (2012) – a slyly humorous take on military history, national identity, consumerism, and waste.”

Continue reading
→ After May 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 projects and activities.


RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Latitudes’ 15th anniversary and rebuilt and redesigned website 2 May 2020
  • Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City 9 April 2020
  • Cover Story—March-April 2020: The Bolós Cabinet 3 March 2020
  • Cover Story—February 2020: Carioca Incidents 3 February 2020
  • Cover Story—January 2020: Safeguarding Gestures 2 January 2020
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December 2019
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
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Latitudes’s 15th anniversary and rebuilt and redesigned website


April marked 15 years of Latitudes’s curatorial practice. We’ve long been planning an update and redesign of our website, and with life and work on hold for the last few weeks, we’ve finally had the time to make it happen. 



The whole site has been rebuilt from the ground up using the Foundation 6 framework. It is now faster, more accessible, and more responsive (it better adapts to whether you’re viewing on a mobile, or whatever size screen). Many of the changes are under the hood, although you’ll notice the larger type size and improved navigation elementsMost importantly, you can now more easily toggle between languages throughout (Spanish ‘ES’ and English ‘EN’). Many of the images will already look much crisper, especially on retina devices, and we’ll gradually be upgrading the rest of the galleries.
Our home page https://www.lttds.org will continue to feature a Cover Story: a monthly focus on a current project, an artwork, artist, or a glimpse from our archive, accompanied by a short caption or narrative. This month the new widescreen image format features Donna Conlon, Jonathan Harker, and Sandino Scheidegger, and the latest episode of ‘Incidents (of Travel)’, accompanied by Donna’s and Jonathan’s thoughts on how life has changed in recent weeks in Panama City.


We’ve eliminated the drop down menu organising our projects by year. Instead the ‘Projects’ page becomes the main hub where tags enable you to filter by year as well as by categories such as ‘Editions’, ‘Editorial’, ‘Exhibitions’, ‘Pedagogy’, ‘Performance’, ‘Public Realm’, ‘Research’, ‘Residencies’, ‘Screenings’ ‘Talks’.


Each individual project page includes a full-width sliding photo gallery, and has clearer access to further photos (from our Flickr), publications, social media archive – accessing posts on twitter or facebook, as well as videos.


Each project now its own ‘Archive’ section reconfigured as an ‘off-canvas’ panel which swoops in to show all the relevant press reviews, as well as posts published on Longitudes, a section which cuts across Latitudes’ projects and research with news, updates, and reportage going back to 2006.



We have revised the ‘About’ page and broken it down into three further categories: ‘People’, ‘Activities’, ‘Press’.



Under ‘Activities’ there is a submenu listing ‘Writing’, ‘Lectures’, ‘Pedagogy’, ‘Awards & Affiliations’, ‘Juries’, ‘Residencies’, ‘Visitor Programmes’. And ‘Press’ is divided into ‘Press Coverage’ and ‘Latitudes in the Media’.



Newsletters is the place to sign-up for our email updates, and continues to archive our past mailings, also offering the possibility of filtering by year.


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Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City

Browser view of episode 11 of Incidents (of Travel) from Panama.

http://incidents.kadist.org

A new episode of ‘Incidents (of Travel)’ from Panama City is now live. This is part of the online projects produced by KADIST and edited by Latitudes exploring the chartered itinerary as a format of artistic encounter, an extended offline conversation between curator/s and artist/s. 

Swiss curator Sandino Scheidegger (Random Institute) recently visited Panama City in preparation for a solo exhibition by Donna Conlon and Jonathan Harker at Casa Santa Ana in 2021. Conlon and Harker collaboration since 2006 (while also pursuing their own individual art practices) has resulted in seventeen video works to date, “often focus(ing) on the beautiful things that don’t seek out our attention: falling mangoes, upturned bricks, floating bottles, all calling out to us to discover their overlooked beauty”, as the his report continues, with “a sharp eye for pointing out the anomalies of an ever-consuming society, one driven by an economy that isn’t far from consuming itself”.

The places Sandino, Donna and Jonathan visited together pointed to the origin of some of their video works, the ideas behind them, or simply served as stages in their pieces, turning into “an exercise in sneaking through fences to reach former recycling plants, imagining how things looked before the skyscrapers took over, and navigating the complex social fabric of Panama City — all while getting a taste of local food between every stop.”

The Incidents (of Travel) site was recently redesigned to present one continuous immersive read interwoven with vertical videos and images in a new mobile-friendly format. Tap and swipe!



In 2016 Kadist and Latitudes partnered in a new ‘distributed’ phase of ‘Incidents (of Travel)’ extending the invitation to curators and artists working around the world, and publishing their dispatches as an Online Project.

Conversations have taken place in Rio de Janeiro (Brazil), Reykjavík (Iceland), Buenos Aires (Argentina), Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

Incidents (of Travel)’ was conceived by Latitudes in 2012 with 5 day-long artist-led tours around Mexico City presented as part of a short residency and exhibition on Latitudes’ practice at Casa del Lago. The project had sequels in 2013 in Hong Kong with online dispatches published live via social media, including soundscapes (archived on Soundcloud), and in 2015 in San Francisco with daily posts as part of Kadist's Instagram take over “Artist Not In The Studio Curator Not At The Office”.


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


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


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


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


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


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


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


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

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

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

The tenth dispatch begins with an itinerary proposed by Barcelona-born, Rio de Janeiro-based artist Daniel Steegmann Mangrané and is followed by images and videos recording a day roaming Rio's natural and artistic landscapes with Bogotá-born, Mexico City-based curator Catalina Lozano, who narrates their day spent together. 


RELATED CONTENT:
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Cover Story—March-April 2020: The Bolós Cabinet

Latitudes' homepage www.lttds.org

The March-April 2020 monthly Cover Story ‘The Bolós Cabinet’ is now live on our homepage: www.lttds.org 

‘‘To name, to own. Critique of taxonomic practice’: Agustín Ortiz Herrera’s current project focuses on the modern system of naming and classifying organisms which was first superimposed onto the natural world in 1735 with the advent of Carl Linnaeus’s "Systema Naturae". Tutored by Latitudes as part of Barcelona Producció 2019–2020, Agustín’s research has to date involved visits to study centres in Uppsala and London, alongside investigations around the notion of ‘queering nature’.”

Continue reading
→ After April 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
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Latitudes's Mariana Cánepa Luna concludes her role as Secretary of the Board of Hangar


Hangar Centre de Producció i Recerca d'Arts Visuals, Barcelona

Between the end of 2015 and the end of 2019, Mariana Cánepa Luna of Latitudes has served as Secretary and Board member of the Fundació Privada AAVC, the entity governing Hangar Centre de Producció i Recerca d'Arts Visuals in Barcelona

The members of HANGAR’s Board represent a range of professionals from the fields of contemporary visual arts and research and serve for periods of 4 years. They meet twice a year in ordinary sessions and in extraordinary circumstances whenever necessary. An Executive Committee meets on a monthly basis. The members of the Board do not receive any remuneration for the performance of their duties.

Besides the responsibility of overseeing the governance of the institution, during these past four years, the (initially 17 and in the last year 9) members have been responsible for the renewing two terms of the Programme Committee and in 2017 resolving the open call for a director position, selecting Lluís Nacenta as the new head of the institution (2018–22). 

In early 2019, the board decided to exceptionally extended its mandate another year and met on a monthly basis in order to define the election process for the new board starting February 2020An initial pool of twenty-eight candidates (artists and art professionals) was put forward for consideration to the Plataforma Assambleària d'Artistes de Catalunya (PAAC) and in their December 2019 assembly, the members voted for nine candidates following criteria of parity and a majority of artists. 

The newly elected board for the 2020–2024 term is: Pilar Bonet, Fito Conesa, Jordi Ferreiro, Dora García, Ingrid Guardiola, Hiuwai Chu, Mafe Moscoso, Laura Llevadot and Anna Pahissa.



Kudos to each of the board colleagues for their strong sense of fellowship throughout these past four years: president Martí Anson; vice-presidents Josep Manuel Berenguer, Álex Nogueras, Sonia Fernández Pan; members Pau Alsina, Mar Arza, Roger Bernat, Luz Broto, Jorge Luis Marzo, Martina Millà, Julia Montilla, Quim Packard, Joan Maria Soler, Alicia Vela, Marc Vives, Rubèn Verdú. Extended thanks to the legal advisors of the foundation, Jaume and Guillem Nadal, and of course to the two directors of the Foundation, Tere Badia (2009–17) and Lluís Nacenta (since 2018). 

Between June 2010 and December 2013, and together with Max Andrews, Latitudes was part of the Programme Committee alongside the artists Dora García, Jordi Mitjà and Joan Vilapuig and the curator Alex Mitrani. This group was responsible for selecting applicants via open calls for production grants and residencies abroad, as well as in selecting foreign artists to come to Hangar, and ultimately, followed up the work of the artists during their long or short-term residencies.







RELATED CONTENT
  • Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes 24 April 2013
  • Performance 'The Museum of Incest' de Simon Fujiwara, 19 Septiembre, 19h en Hangar 15 Septiembre 2009
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Vistas de la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en el Casal Solleric, Palma de Mallorca


La exposición individual ‘COLAPSO. Máquina célibe’ de Joan Morey que puede verse en el Casal Solleric, Palma de Mallorca, hasta el 3 de mayo 2020. Fotos: Latitudes.
Panel introductorio de la exposición y créditos, abajo panel y cartelas del programa de audio.


COLAPSO. Máquina célibe’ es la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. Consiste en una revisión de seis grandes proyectos, cuya documentación y otros objetos se expone junto con ocho piezas sonoras. Las doce majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogen este conjunto de materiales, voces y cuerpos que, con su colapso, ofrecen una panorámica de los últimos diez años de la carrera artística de Morey. 

La exposición es una adaptación de ‘COLAPSO’, un proyecto en tres partes que tuvo lugar simultáneamente en el Centre d’Art Contemporani de Barcelona - Fabra i Coats, el Centro de Arte Tecla Sala de L’Hospitalet de Llobregat y la antigua cárcel Modelo de Barcelona entre 2018 y 2019.

 Entrada a la exposición en la planta noble. Acceso a la exposición en orden cronológico.

Entrada al proyecto COS SOCIAL en la planta noble. Acceso a la exposición por orden cronológico inverso.

Poster del proyecto ‘COS SOCIAL. Lección de anatomía’ (2017).

Performance para pantalla ‘COS SOCIAL. Lección de anatomía’ (2017). 

(Arriba y abajo) Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017). Al fondo sala dedicada a ‘TOUR DE FORCE’ (2017).

Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017).

En la sala vermella (sala roja) se exhibe la mesa de disección utilizada en la película ‘COS SOCIAL. Lección de anatomía’ (2017) y la vestimenta de la única actriz.


La muestra de este nuevo capítulo, ‘COLAPSO. Máquina célibe’, se organiza en torno a vitrinas y pantallas de vídeo dispuestas a modo de sarcófagos o relicarios. Ocupa un lugar destacado la performance para la pantalla ‘CUERPO SOCIAL. Lección de anatomía’ (2017), así como una selección de cinco proyectos anteriores, producidos entre 2007 y 2017 y desarrollados mediante el lenguaje artístico de la performance. Además, el patio del Casal Solleric alberga 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.


Inicio cronológico de la muestra: sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7).

Sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7) y conexión a la derecha con la sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
 
Detalle de los contenidos presentados en la vitrina del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9).

Sala dedicada a ‘GRITOS Y SUSURROS. Converses amb els radicals’ (2009) y al fondo proyección del mismo proyecto (abajo).

Video proyeccion del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9). 

Sala dedicada al proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).
Detalle de la vitrina del proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Contenidos de una de las dos vitrinas dedicadas a ‘TOUR DE FORCE’ (2017).


Video teaser del proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘COS SOCIAL’ (2017).

CONTENIDO RELACIONADO:
  • Documentación fotográfica de COLAPSO;
  • Archivo Wakelet redes sociales;
  • Joan Morey awarded the Botín Foundation's International Visual Arts Grant, 22 July 2019
  • Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113. 
  • Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2019 
  • Performance ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 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)
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
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Reduce Art Flights website refreshed

https://reduceartflights.lttds.org/

The Reduce Art Flights website has had a long-overdue refresh (the first version is from 2008 and originally at reduceartflights.com): it now features a new exhibition history, bibliography and a transcription of the interview with RAF's instigator, the late artist Gustav Metzger (1926–2017).

RAF / Reduce Art Flights is a campaign which upholds that the art world—artists, curators, critics, gallerists, collectors, museum directors, etc.—could or should diminish its use of aeroplanes.

“...it’s a nudge in the ribs as it were to remind people there is a problem and let’s talk about this problem of endless flights here and there. What particularly annoyed me originally was the statement by the organisers of the [2006] Basel art fair that when it comes to taking the fair to Miami, which was planned, everybody could get a 50% reduction on the aeroplane flight. I thought that is just over the top, pumping up the possibility of aeroplane use. So for me, this has very much to do with a rejection of mass transport through the air of course, and through cars and buses, and also a criticism of the art world where everything is out for maximizing everything and in every direction.” — Gustav Metzger

The site is maintained by Latitudes as a resource for the initiative and as a location for future elaborations of its aims.


The website in 2008.
Pages of the exhibition catalogue ‘Greenwashing. Environment: Perils, Promises and Perplexities’, Fondazione Sandretto Re Rebaudengo, edited by Latitudes & Ilaria Bonacossa, published by The Bookmakers Ed., Turin, 2008, ISBN: 978-88-95702-01-8.

RELATED CONTENT:
  • 'THE LAST MONITOR' AVAILABLE NOW! #5 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum 30 October 2010 
  • Reduce Art Flights leafleting campaign by Gustav Metzger at the Serpentine Gallery, London 21 October 2009
  • Gustav Metzger's RAF / Reduce Art Flights campaign initiative changes URL to www.reduceartflights.lttds.org 28 January 2009
  • “Greenwashing update: RAF / Reduce Art Flights. Gustav Metzger interview”, Latitudes blog post, 6 March 2008 
  • Exhibition ‘Greenwashing. Environment: Perils, Promises and Perplexities’, Fondazione Sandretto Re Rebaudengo, 2008. 
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Cover Story—February 2020: Carioca Incidents

Latitudes' homepage www.lttds.org

The February 2020 monthly Cover Story ‘Carioca Incidents’ homepage: www.lttds.org 

“My idea is to take a stroll around the natural wonders of the city, its colonial past, imperial Brazil … and end on the beach.” Artist Daniel Steegmann Mangrané’s succinct recipe for the latest instalment of Incidents (of Travel), narrated by curator Catalina Lozano, led to a startlingly heady stew of a day in and around Rio de Janeiro.”

→ Continue reading
→ After
February 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—January 2020: Safeguarding Gestures 2 January 2020
  • 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)
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Latitudes is a curatorial office based in Barcelona that works internationally across contemporary art practices. It was initiated in 2005 by Max Andrews and Mariana Cánepa Luna. +info

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