Longitudes

Conferencia ‘4.543 miles de millones y la naturaleza social abstracta’, Jornadas Eremuak, Azkuna Zentroa, Bilbao, 17–19 octubre 2019

Imagen gráfica de las jornadas. Cortesía eremuak.

Latitudes ha sido invitada a participar en las jornadas 2019 de eremuak, que tendrán lugar en la primera planta de Azkuna Zentroa, Bilbao, entre el 17 y el 19 de octubre del 2019. 

Tituladas ‘-K/-S naturak / naturalezas’, el comité de eremuak (formado por Maider Lopez, Aimar Arriola e Iñaki Imaz), pretende hacerse eco de los ‘variados aspectos de lo que tradicionalmente se ha denominado naturaleza. Desde el abandono de los espacios institucionales en busca de un afuera comprometido y renovador, hasta la inclusión de procesos u organismos vivos en esos mismos espacios, el deseo de exterioridad parece evidente.’

Evitando recurrentes simplificaciones o la reducción del eje temático a binomios humano/no- humano, los organizadores aportan al término el matiz de la pluralidad (la –k de naturak, o la –s de naturalezas) con la intención de ‘atender a una diversidad más acorde a la realidad del mundo del arte y todas las naturalezas que genera o con las que se enfrenta.’

El programa incluye la participación de una docena de conferenciantes, así como la presentación de la revista eremuak#6, Cuaderno de artista, y a modo de clausura, un concierto de Hidrogenesse (entrada libre con invitación, recoger en Azkuna Zentroa). Las jornadas son de libre acceso hasta completar aforo.


Sala de la exposición colectiva ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain, 2017–18. Photo: Latitudes/RK.

Tomando como referencia una de las diez salas de la exposición colectiva ‘4.543 billion. The matter of matter’ (CAPC musée d'art contemporain, 2017–18), Latitudes analizará la noción de "naturaleza social abstracta" acuñada por el historiador ambiental e historiador geógrafo Jason W. Moore (Universidad de Binghamton) mediante las obras de los artistas Lara Almarcegui, Pep Vidal, Lucas Ihlein y Amy Balkin.

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Helene Romakin interviews Latitudes for artfridge.de




Over the course of the Summer, Helene Romakin (PhD candidate at the Institute for the History and Theory of the Architecture, ETH Zurich) interviewed us for the Berlin-based online platform www.artfridge.de run by the art historian and curator Anna Lena Werner.

As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands. 


RELATED CONTENTS:
  • In conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
  • In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
  • Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
  • Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
  • "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013

In pictures: Latitudes' participation in the festival TODAY IS OUR TOMORROW initiated by PUBLICS, Helsinki

Poster announcing the festival in a street in central Helsinki. Photo: Latitudes.


As partner organisation in the transdisciplinary festival ‘Today Is Our Tomorrow’ initiated by PUBLICS, Latitudes participation consisted in inviting Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta, to perform at Club Kaiku on September 13, 2019.

Façade of Kaiku, Helsinki.

A day earlier, Latitudes and Mercedes maintained an open conversation introducing her artistic practice and, in particular advancing details of both her ‘Yegua-Yeta-Yuta’ performance taking place a day after, her forthcoming solo exhibition at CentroCentro, Madrid, opening October 3, 2019, and her solo presentation as part of Van Abbemuseum's Positions #5’ series, exhibiting the work of artists living and working in the Netherlands.

September 12, 2019, 5:30–6:30h: (Above and below) Mercedes, Mariana and Max (Latitudes) in conversation at Club Kaiku. Photo: Jonni Korhonen/PUBLICS.
Photo: Jonni Korhonen/PUBLICS.

Yegua-yeta-yuta’ (2015-ongoing) is an evolving solo performance by Azpilicueta that is part scripted, part improvised. Composed from a litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina, it transforms the everyday language of misogyny and harassment into a kind of tragicomic exorcism. Many of the words derive from the street slang of Buenos Aires, especially Lunfardo, a colloquial and cryptic dialect that first arose among working-class Italian-immigrant and tango communities in Argentina and Uruguay during the late 1800s. For example, yegua literally means a mare – a female horse, a slur for a “difficult” woman. A yeta is a person who brings bad luck, while a yuta is someone corrupt or unscrupulous, and slang for the police. Accompanied by a percussive beat, Azpilicueta reclaims the power to offend, distorting and distending the epithets into something powerful and playful rather than weak and degrading. Azpilicueta will perform to the beat of a new soundtrack produced for the occasion in collaboration with Chilean choreographer Rodrigo Sobarzo de Larraechea.



Mercedes Azpilicueta during her performance ‘Yegua-Yeta-Yuta’ (2015-ongoing) for TODAY IS OUR TOMORROW festival, organised by PUBLICS, Helsinki. Photo: Latitudes.
Photo: Jonni Korhonen/PUBLICS.
Photo: Jonni Korhonen/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Latitudes.

Mercedes Azpilicueta is an Argentinian visual and performance artist based in Amsterdam. Her practice has spanned theatrical mises-en-scènes and video installations, textile sculptures and drawing, sound works and 3D animation. With a particular interest in notions of the vulnerable or collective body, and the primal or dissident voice, her works have drawn inspiration from sources as diverse as Baroque painting, text messaging, medieval tapestries, street slang, and literary fiction, as well as singular figures including the Italian art critic and feminist activist Carla Lonzi (1931–1982), the Argentine-French performance artist Lea Lublin (1929–1999), the French futurist Valentine de Saint-Point (1875–1953), and the Costa Rican-born Mexican ranchera singer Chavela Vargas (1919–2012). A major survey of Azpilicueta’s work to date, ‘Cuerpos Pájaros’ (Body-birds) was recently staged by the Buenos Aires Museum of Modern Art (November 2018–April 2019). On October 3, 2019, she presents ‘Bestiario de Lengüitas’ (Bestiaire of Tonguelets), curated by Virginie Bobin, at CentroCentro, Madrid, an exhibition which will then tour to Museion, Bozen, and CAC Brétigny in 2020. Later in 2019, she will have a solo presentation as part of ‘Positions #5’ at Van Abbemuseum, Eindhoven.


(Above) Mercedes during her performance ‘Oh, Eduarda!’ on April 14, 2019, presented at the Museo de Arte Moderno in Buenos Aires. Photo: Latitudes.


→ RELATED CONTENTS

Cover Story—October 2019: Mercedes Azpilicueta in Helsinki

Latitudes' homepage www.lttds.org

The October 2019 monthly Cover Story ‘Mercedes Azpilicueta in Helsinki’ is now up on Latitudes' homepage: www.lttds.org

“Buitre! burra! cabeza! cabezona! cabrona! cachivache! cachucha! cachufleta! cagada! cagadora! cagona! cajeta!…” Mercedes Azpilicueta’s performance ‘Yegua-yeta-yuta’ (2015–ongoing) is a part scripted, part improvised litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina. Performed on the inauspicious date of Friday 13th September, it was Latitudes’s contribution to the collectively-curated and inaugural Today is Our Tomorrow festival initiated by PUBLICS at Club Kaiku and neighbouring venues in Helsinki, Finland.”


Continue reading
→ After this month 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:


PUBLICS' Library in Helsinki incorporates Latitudes-edited publications


We are glad to announce that PUBLICS in Helsinki now has all Latitudes publications available for consultation in their library (with the exception of the monograph "Lara Almarcegui, Projects 1995–2010" which is out of print). Our first publication, "LAND, ART: A Cultural Ecology Handbook" (RSA/Arts Council England, 2006, also out of print), was already in their library

PUBLICS library is the third location where the whole set of Latitudes' publications reside, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.

We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).



PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.

Latitudes' publications available at PUBLICS Library (bibliography online):

Joan Morey: COLLAPSE
Various locations, Barcelona
September 2018–January 2019
Exhibition guide/programme guide, opuscule, poster


4.543 billion. The matter of matter
CAPC musée d'art contemporain, Bordeaux
June 2017–January 2018
Exhibition guide & symposium guide

Amikejo
Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
April 2012

United Alternative Energies
Christina Hemauer & Roman Keller
Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
January 2012

Campus
Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
July 2011

Also available online.

Portscapes
Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
February 2010

Martí Anson, Mataró Chauffeur Service
Catalogue of the project, 'No Soul For Sale', Tate Modern, London
January 2011

The Last Newspaper
Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
October–December 2010

Lawrence Weiner: THE CREST OF A WAVE
Booklet of the exhibition, Fundació Suñol, Barcelona
October 2008

Simon Fujiwara: The Incest Museum–A Guide
Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
May 2009

Ignasi Aballí: 没有,有 Nothing, or Something
Catalogue of the exhibition, Suitcase Art Projects, Beijing
July 2009

Ecology, Luxury & Degradation
UOVO #14
Summer 2007

Greenwashing. Ambiente: Pericoli, Promesse e Perplessità 

(Greenwashing. Environment: Perils, Promises and Perplexities)
Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
February 2008



→ RELATED CONTENT

Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden


Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.

Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.

‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’

—Max Andrews


The exhibition is on view until November 24, 2019.

Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.


RELATED CONTENTS:

Participants of the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative, Chicago and Detroit, 18–23 September 2019


Photo: Latitudes. 

Latitudes has been invited to join EXPO CHICAGO’s Curatorial Exchange programme. This year their visitor programme has been expanded with the introduction of the Red Bull Arts Global Curatorial Initiative, taking place surrounding the eighth annual exposition between September 18–23, 2019. 


The 2019 Curatorial Exchange will bring ten curators working in countries including Brazil (supported by Red Bull Arts Detroit), Canada (supported by the Consulate General of Canada in Chicago), Denmark (supported by the Ministry of Culture of Denmark and the Ministry of Foreign Affairs of Denmark), Italy (supported by the Italian Cultural Institute in Chicago), the Netherlands (supported by the Dutch Culture USA program by the Consulate General of the Netherlands in New York) and Spain (supported by Red Bull Arts Detroit).

Participants:

Iben Bach Elmstrøm, independent curator, Copenhagen (Denmark).
Marcella Beccaria, Chief Curator and Curator of Collections Castello di Rivoli Museo d'Arte Contemporanea Rivoli, Torino (Italy)
Zippora Elders, Curator and Artistic Director, Kunstfort Vijfhuizen (the Netherlands)
Bas Hendrikx, Artistic Director, Kunsthalle Amsterdam, Amsterdam (the Netherlands)
Jaimie Isaac, Curator of Indigenous and Contemporary Art, Winnipeg Art Gallery (Canada)
Sarah Robayo Sheridan, Curator, Art Museum at University of Toronto (Canada)
María Inés Rodríguez, Curator-at-Large, Museu de Arte de São Paulo (MASP) (Brazil)
Julia Paoli, Director of Exhibitions & Programs, Mercer Union, Toronto (Canada)
Roberta Tenconi, PirelliHangarBicocca Curator (Italy)
Max Andrews and Mariana Cánepa Luna, Latitudes Co-Founders, Barcelona (Spain).

Conceived as a two-part professionalisation and cultural immersion programme, the Red Bull Arts Global Curatorial Initiative provides 2–4 of the invited curators the opportunity to participate in EXPO CHICAGO’s 2019 Curatorial Exchange programme, followed by the opportunity to visit Detroit (September 21-23) and engage the city’s artists, galleries and institutions in an effort to foster dialogue between global cultures and the greater Midwest.

→ RELATED CONTENT: 


Cover Story—September 2019: ‘Polperro to Detroit’

Latitudes' homepage www.lttds.org

The September 2019 monthly Cover Story ‘Polperro to Detroit’ is now up on Latitudes' homepage: www.lttds.org

“In 1937 the retired sailor Samuel Puckey began transforming Peace Haven, his 19th-century fisherman’s cottage, into what would become known as The Shell House. Over the years Puckey used his collection of cowries, limpets, clams and other shells from around the world to embellished the façade with his maritime memories, including a depiction of the eminent Eddystone lighthouse. The Shell House is effectively a public artwork (as well as being holiday cottage) in Polperro, an idyllic seaside village in Cornwall, England. Polperro once revolved around the vast shoals of pilchards that used to come into Cornish waters in late summer. The thriving fishing industry was the mainstay of the community, and the seine-netted and salted pilchards exported in their millions to Italy.”


Continue reading
→ After September 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:



Partner organisation in ‘Today Is Our Tomorrow’, participation with Mercedes Azpilicueta, PUBLICS – club Kaiku, Helsinki, 12–14 September 2019

Graphic identity of the art festival. Design: julia.studio.


Today Is Our Tomorrow’ is a collaborative, collective, and transdisciplinary festival initiated by Helsinki-based curatorial agency PUBLICS, produced in partnership with local and international organisations, initiatives and institutions. The programme will include a co-commissioned and collaboratively curated programme of temporary public art commissions, live performance, music, dance, theatre, literature and symposia, and will pilot in Club Kaiku complex in Kallio, an underground music venue renowned for hosting an innovative lineup of DJs, and the neighbouring spaces Kieku and Stidilä.

The 2019 edition of ‘Today Is Our Tomorrow’ is curated, commissioned, organised in collaboration with the Finnish partners: Academy of Fine Arts, Baltic Circle, Globe Art Point, IHME Helsinki, Kohta Gallery, Live Art and Performance Studies (LAPS), and Museum of Impossible Forms, and the international partners Index Foundation from Stockholm, osloBIENNALEN from Oslo, the Latvian Centre for Contemporary Art from Riga, and Latitudes from Barcelona.

The programme looks at ‘other’ versions of the present already being lived in Finland and globally: from Alternative futures to Indigenous-futures, to Afro-futures, to Asian-futures, to Eco-futures, to Bio-futures, to Queer and Feminist futures, and to non-hegemonic futures.

Graphic identity of the art festival.


At the invitation of PUBLICS to participate in the festival, Latitudes has invited Buenos Aires-born, Amsterdam-based artist Mercedes Azpilicueta to present her performance ‘Yegua-yeta-yuta’ at Kieku (ground loor, next to Stidilä) on Friday 13 September, 11–11:30pm. A day earlier, on Thursday 12 September, Latitudes will be in conversation with the artist at 5:30h also at Kieku.

Yegua-yeta-yuta’ (2015-ongoing) is an evolving solo performance by Azpilicueta that is part scripted, part improvised. Composed from a litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina, it transforms the everyday language of misogyny and harassment into a kind of tragicomic exorcism. Many of the words derive from the street slang of Buenos Aires, especially Lunfardo, a colloquial and cryptic dialect that first arose among working-class Italian-immigrant and tango communities in Argentina and Uruguay during the late 1800s. For example, yegua literally means a mare – a female horse, a slur for a “difficult” woman. A yeta is a person who brings bad luck, while a yuta is someone corrupt or unscrupulous, and slang for the police. Accompanied by a percussive beat, Azpilicueta reclaims the power to offend, distorting and distending the epithets into something powerful and playful rather than weak and degrading. Azpilicueta will perform to the beat of a new soundtrack produced for the occasion in collaboration with Chilean choreographer Rodrigo Sobarzo de Larraechea


Mercedes Azpilicueta performing ‘Yegua-yeta-yuta’ during the 2017 CA2M Picnic Sessions, Móstoles (Madrid). Photo: Arantxa Boyero.


Mercedes Azpilicueta is an Argentine visual and performance artist based in Amsterdam. Her practice has spanned theatrical mises-en-scènes and video installations, textile sculptures and drawing, sound works and 3D animation. With a particular interest in notions of the vulnerable or collective body, and the primal or dissident voice, her works have drawn inspiration from sources as diverse as Baroque painting, text messaging, medieval tapestries, street slang, and literary fiction, as well as singular figures including the Italian art critic and feminist activist Carla Lonzi (1931–1982), the Argentine-French performance artist Lea Lublin (1929–1999), the French futurist Valentine de Saint-Point (1875–1953), and the Costa Rican-born Mexican ranchera singer Chavela Vargas (1919–2012). A major survey of Azpilicueta’s work to date, ‘Cuerpos Pájaros’ (Body-birds) was recently staged by the Buenos Aires Museum of Modern Art (November 2018–April 2019). In October 2019 she will present ‘Bestiario de Lengüitas’ (Bestiaire of Tonguelets), curated by Virginie Bobin, at CentroCentro, Madrid, an exhibition which will then tour to Museion, Bozen, and CAC Brétigny in 2020. Later in 2019, she will have a solo presentation as part of ‘Positions #5’ at Van Abbemuseum, Eindhoven.



(Above) ‘Bestiario de lengüitas’ (2017-ongoing) pieces included in Mercedes Azpilicueta's solo show ‘Cuerpo pájaros’ recently programmed at the Museo de Arte Moderno in Buenos Aires. Photo: Latitudes.

Running parallel during the same week (9–14 September), Latitudes will attend the ‘Gathering for Rehearsing Hospitalities’, a six-day event organised by Frame Contemporary Art Finland in which artists, curators, researchers, and audiences in the field of contemporary art ‘are invited to rehearse and debate hospitality towards diverse ways of knowing and challenging of dominant knowledges’. Alongside the public programme, Frame will arrange studio visits, one-on-one meetings and networking situations.

(Two Above) Moments from the performance ‘Oh, Eduarda!’ on April 14, 2019, also presented at the Museo de Arte Moderno in Buenos Aires. Photos: Latitudes.


→ RELATED CONTENTS:

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

Seen in Malasaña, Madrid. Photo: @marianacanepaluna

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

September 1, 2018: New season, new month, and new cover story on the Harald Szeemann exhibition in Bern (cover story archive here).
September 5, 2018: Launch of a new dispatch of ‘Incidents (of Travel)’ from Buenos Aires, Argentina. In this eighth episode, Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around the self-regulated community Velatropa, the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi’s interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images. 

‘Incidents (of Travel)’ is an ongoing editorial project edited by Latitudes and produced by KADIST. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia) and Yerevan (Armenia).


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

But before that, works like those by Eulàlia Rovira and Adrian Schindler were carefully crated and traveled to Vienna from their studio in Barcelona.


Photo: Eulàlia Rovira and Adrian Schindler.

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

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

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

(Left) Eulàlia Rovira and Adrian Schindler’s ‘Els peus fixats al terra delatant cap impaciència’ [THE FEET FIXED TO THE GROUND BETRAY NO IMPATIENCE] (2016) and (right) photograph series by Sean Lynch, part of the installation ‘A BLOW BY BLOW ACCOUNT OF STONE CARVING IN OXFORD’, (2013-14).


Eulàlia and Adrian holding their print. Where shall we hang it?

With Sean, Eulàlia and Adrian. Unanimously decided Adrian’s arm was the longest and therefore would perform better as a ‘we-fie’ stick. 


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

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


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

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

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


 Opening photos: Eva Carasol. 

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

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

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


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

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

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

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

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


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



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

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

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

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

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

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

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

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

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


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

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

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

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

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

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


(Above and below) Photos by eSeL.


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


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

November 22-25, 2018: Amsterdam Art Week. Visited De Appel, Rijksakademie OPEN Studios, Andriesse, Oude Kerk, RongWrong, Stedelijk museum, Ellen de Bruijne, Fons Welters, tegenboschvanvreden, andriesse eyck, a.o. Photo report here (with photos from the Vienna Art Week, too).

November 29, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPO. Prologue] (2015–2016) was interpreted by Catalina Carrasco and Gaspar Morey.

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

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

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

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

Above and below: Museo Geominero, Madrid.


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


Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.

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


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


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



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

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

January 14, 2019: frieze.com publishes Max’s fan letter on ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’. Published in Issue 200, January - February 2019. Read the text here.
February 1, 2019: New cover story focusing on Morey’s closing performance ‘COLLAPSE. Schizophrenic Machine’ at La Model prison in Barcelona.
February 8, 2019: Launch of a new ‘Incidents (of Travel)’ dispatch from Reykjavík (and cover story on Latitudes’s home page between March-April 2019). In this new itinerary, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík’s surroundings considering Þorgerður’s “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites, collecting moments and considering the ways in which geologic time surfaces in the context of human time.”

Each of the 27 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.


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





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




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


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

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


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

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


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

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

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

Pizza and fugazza at El Cuartito with Alejandra Aguado.

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


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

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

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

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

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



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

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


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

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


On June 3, winners are announced. Latitudes will tutor three of the fifteen awarded projects: ‘Joc d'infants’ [Children’s game] by Lola Lasurt (solo exhibition, June-October 2020, dates TBC), the offsite project ‘La Balena del Prat al Prat’ [The El Prat Whale to El Prat] by Consol Llupià, and the research ‘Nombrar, poseer. Crítica de la práctica taxonómica’ [To name, to own. Critique of taxonomic practice] by Agustín Ortiz Herrera.
May 29, 2019: Frieze published Max’s review ‘Ice and Earth: The Shimmering Abstractions’ on Anna-Eva Bergman’s retrospective of the terrestrial geographies at Bombas Gens, Valencia. Printed in the September 2019 issue of frieze (#205). 

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

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


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

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


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

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

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

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

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

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

Haris Epaminonda in the Arsenale, Venice Biennale 2019.

Joël Andrianomearisoa at the Madagascar Pavilion, CorderieVenice Biennale 2019.

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

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

Welsh Pavilion presented work by Sean EdwardsVenice Biennale 2019.

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

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

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


Nearby building to HANGAR on c. Marroc / Espronceda.



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

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


 Joël Andrianomearisoa at Galería Sabrina Amrani.

 Above and below: Darío Villalba at Sala Alcalá 31

 Eva Fàbregas ‘Gut feeling’ at CentroCentro.

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

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

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


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


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

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

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


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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Latitudes
2005—2019