Longitudes
Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.
Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival”
Thu, Dec 1 2022
The December 2022 monthly Cover Story “The Melt Goes On Forever. David Hammons and DART Festival” is now up on our homepage: www.lttds.org
“Latitudes has been collaborating with Dart, the documentary film festival that focuses exclusively on contemporary art, since its inception in 2017. Its sixth edition has just taken place in Barcelona at Sala Phenomena, Cinemes Girona, and MACBA (24-30 November).” Continue reading
After December 2022 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
- Premios de la 6a edición del Dart Festival de cine documental sobre arte contemporáneo 2022, 29 November 2022
- Cover Story, November 2022: Jorge Satorre’s Barcelona, nov 1 2022
- Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Premios de la 5a edición del Dart Festival de cine documental sobre arte contemporáneo 2021, 30 Nov 2021
- Nominator, XI Premio Lorenzo Bonaldi per l’Arte – EnterPrize, GAMeC - Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy, 2021
- Premios de la 4a edición del Dart Festival de cine documental sobre arte contemporáneo 2020, 3 dic 2020
- Premios de la 3a edición del Dart Festival de cine documental sobre arte contemporáneo 2019, 1 Dec 2019
- Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales, 1 Febrero 2018
- 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
- Otros jurados – véase sección "About"
Premios de la 6a edición del Dart Festival de cine documental sobre arte contemporáneo 2022
Tue, Nov 29 2022
Gráfica del DART 2022 por COURE.
La programación de la 6a edición del Festival de Cine Documental sobre Arte Contemporáneo 2022 (DART) se ha proyectado en la Sala Phenonena, los cinemes Girona y mañana finaliza en el auditori del MACBA Museu d'Art Contemporani de Barcelona, además de en la plataforma online Filmin donde continúa hasta el 11 de diciembre 2022.
Dart Festival es el primer festival de cine documental dedicado al arte contemporáneo cuyo principal objetivo es entrelazar la cultura y el conocimiento a través de documentales sobre fotografía, comisariado de arte, pintura, performance, arquitectura, movimientos artísticos y, en general, sobre arte contemporáneo, prestando especial atención a los artistas, sus procesos de creación y las historias que hay detrás de sus trabajos.
Una edición más, Latitudes ha tenido el placer de formar parte del jurado del festival junto al crítico de cine Quim Casas y el periodista cultural Ianko López, quienes han decidido premiar a los siguientes documentales:
Premio Laie DART 2022 a la Mejor Dirección: “J’ai retrouvé Christian B.” (Francia, 2020, 87 min.) dirigida por Alain Fleischer. El documental recorre la relación de estos dos creadores contemporáneos, el artista Christian Boltanski y el cineasta Alain Fleischer, que compartieron amistad a lo largo de medio siglo. A través de un nutrido material documental que empieza en 1969 en blanco y negro y en 16mm, el film recorre la vida y obra de Boltanski desde su primera exposición en 1984 en el Centro Pompidou, hasta su tercera y última monográfica en el mismo museo en el 2019, dos años antes de su fallecimiento.
Poster del documental “The Melt Goes On Forever: The Art and Times of David Hammons”.
Premio Laie DART 2022 de la Crítica: “The Melt Goes On Forever: The Art and Times of David Hammons” (EEUU, 2021, 101 min.) que se proyecta mañana en el Auditori del MACBA – ver teaser. Dirigida por el periodista cultural Judd Tully y el cineasta Harold Crooks, el documental se centra en la escurridiza figura del artista afroamericano David Hammons, cuya práctica artística se extiende a lo largo de seis décadas poniendo en primer plano una crítica social en los Estados Unidos. Rodada a lo largo de 9 años, el documental registra el testimonio de los artistas Lorna Simpson y Fred Wilson, el historiador Robert Farris Thompson, los curadores Kellie Jones, Franklin Sirmans y Robert Storr y la galerista Dominique Lévy, entre otros, y se acompaña de material de archivo y animaciones realizadas por Tynehsa Foreman.
→ CONTENIDO RELACIONADO:
- Premios de la 5a edición del Dart Festival de cine documental sobre arte contemporáneo 2021, 30 Nov 2021
- Nominator, XI Premio Lorenzo Bonaldi per l’Arte – EnterPrize, GAMeC - Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy, 2021
- Premios de la 4a edición del Dart Festival de cine documental sobre arte contemporáneo 2020, 3 dic 2020
- Premios de la 3a edición del Dart Festival de cine documental sobre arte contemporáneo 2019, 1 Dec 2019
- Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales, 1 Febrero 2018
- 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"
Cover Story, November 2022: Jorge Satorre’s Barcelona
Tue, Nov 1 2022
November 2022 cover story on www.lttds.org
The November 2022 monthly Cover Story “Jorge Satorre’s Barcelona” is now up on our homepage: www.lttds.org
“Below the Tibidabo Amusement Park, just where the BV-1418 and BP-1417 roads meet, there are some stairs that go up into the forest. Climbing them, a few meters up on the right, we will find a large stone hidden among the trees.” Continue reading
After November 2022 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
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre publ 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten's small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
20th and concluding dispatch of “Incidents (of Travel)” from Barcelona, Spain
Wed, Oct 26 2022
📲 TAP, SCROLL, SWIPE and 📖 READ on incidents.kadist.org
In the twentieth and concluding dispatch of Incidents (of Travel), Latitudes, the curators and editors of the project, are led by Mexican-born, Bilbao-based artist Jorge Satorre in something of a “voyage around our room”. Manifested itself all over the world since 2016 through the perspectives of other invited curators and artists, Incidents (of Travel) now takes place in our own home: Barcelona, latitude 41° 23' 19.64" N.
Satorre’s itinerary follows a route from the north to the south of the city – from Collserola to Montjuïc – tracing wild boars, two mysterious dolmens, and the devil’s hoof prints along the way.
By chance, this episode takes place on September 19, 2022, exactly ten years later to the day of the first tour commissioned for the first phase of Incidents (of Travel), a day we spent with Minerva Cuevas around Mexico City’s city centre on the 27th anniversary of the deadly 1985 earthquake.
Episode #20 culminates Latitudes’ collaboration with KADIST, producers of 20 wonderful episodes published online between 2016 and 2022 as part of their online projects. In 2015, KADIST hosted another three tours during Latitudes’ residency at their San Francisco hub. In 2013, Spring Workshop in Hong Kong produced four itineraries within the frame of the long-term multi-part project “Moderation(s)” in partnership with (then known as) Witte de With Center for Contemporary Art in Rotterdam, and in 2012, at the invitation of UNAM’s Casa del Lago, Latitudes commissioned the first five itineraries around Mexico City.
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 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, the 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.”
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.
In the 11th episode, Swiss curator Sandino Scheidegger (Random Institute) visits Panama City in preparation for a solo exhibition by Donna Conlon and Jonathan Harker at Casa Santa Ana in 2021.
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 12th episode from Tbilisi, Georgia, set a different tone in the online series as it was programmed to take place in late May 2020, during the Covid-19 pandemic.
The 12th episode from Tbilisi, Georgia, set a different tone in the online series as it was programmed to take place in late May 2020, during the Covid-19 pandemic.
The itinerary set by Tbilisi-based artist Nino Kvrivishvili to lead Melbourne-based Associate Professor Tara McDowell became a WhatsApp video tour/conversation around Nino's artistic practice and the Georgian silk industry — a production that began in Tbilisi in the 5th century and continued until the collapse of the Soviet Union in the 1990s.
In the 13th dispatch, and on week 23 of lockdown, Sofía Gallisá and Marina Reyes begin their day together driving to the Cabo Rojo Salt Flats where Sofía researched her 2018 film ‘Assimilate & Destroy I’. They later end up in Poblado de Boquerón, the queer capital of Puerto Rico's south where a large public beach and a usually busy street still show traces of 2017’s devastating Hurricane Maria.
In the 14th dispatch, Singapore-based curator Kathleen Ditzig joins artists Fyerool Darma and Nurul Huda Rashid nearby ‘Safe Entry‘ (2020), a mural presented at the Singapore Art Museum (SAM) by the artist Heman Chong that repeats a single, enlarged QR code, “the new digital skin of the city”, as Nurul points out. From there, they head towards the boardwalk connecting Harbourfront with Sentosa Island, the pleasure island home to many tourist attractions. Fyerool and Nurul weave in stories of past pirates and deities against the backdrop of the glass-green waters that stage the “blue aesthetics against the imported sands [from Indonesia] of reclaimed lands.”
In the 15th dispatch curator Àngels Miralda (current participant of de Appel's Curatorial Programme 2020-21) and artist Salim Bayri (current resident at Rijksakademie van beeldende kunsten 2019–21) follow a tour created during the winter 2021 Covid-19 restrictions in the Netherlands.
Their day in Amsterdam together features public sports locations as social meeting spaces, as well as urban architecture, a visit to a supermarket chain, and a food takeaway.
In the 16th dispatch, curator Marie-Nour Hechaime navigates Beirut with artist-filmmaker Panos Aprahamian a year after the August 2020 explosion, when hundreds of tons of ammonium nitrate stored for six years without safekeeping in the port of the Lebanese capital were set on fire and exploded. The blast killed more than 200 deaths, 6,500 wounded, 300,000 displaced and great destruction in the city [1]. “I say that I am living with ghosts—of people, places, memories, stories”, she reflects. “He answers that Beirut is disintegrating in front of our very eyes.”
In the 17th dispatch, curator Inga Lāce and artist Linda Boļšakova forage for environmental histories in Riga. The day that takes them from manicured park lawns to a thicket of sea buckthorn bushes near a “post-apocalyptic” sauna, and from a housing project allotment to the laboratories of the National Botanic Garden of Latvia.
In the 18th dispatch, curator Xenia Kalpaktsoglou and artist Pegy Zali conceive an itinerary and a screenplay-like commentary that takes us through the Attica peninsula, from a mysterious inscription sprayed at the site of a railway sabotage that transpired near Piraeus Port in 2010, to the vestiges of an enormous wildfire that consumed the forest around Alepochori in 2021. Formed through their long-standing friendship and shared research interests, this episode flows around Greece’s links with the emerging infrastructure of China’s New Silk Road, and the “cyber-eco-feminist” traces of the goddess Gaia.
In the 19th episode of Incidents (of Travel), curator Sooyoung Leam reports on a day exploring Yongsan-gu, a district at the heart of Seoul, and the neighbourhood of artist Jeong Yeoreum. Documented by photographer and videographer Swan Park, Sooyoung and Jeong explore this conflicted territory that served as the headquarters of the Imperial Japanese Army between 1910 and 1945, and subsequently as a US military base.
Episode #19 of ‘Incidents (of Travel)’ – Dispatch by curator Sooyoung Leam and artist Jeong Yeoreum from Seoul, 22 June 2022
Episode #18 of ‘Incidents (of Travel)’ – Dispatch by curator Xenia Kalpaktsoglou and artist Pegy Zali from Attica, 18 April 2022
Episode #17 of ‘Incidents (of Travel)’ – Dispatch by curator Inga Lāce and artist Linda Boļšakova from Riga, 28 December 2021
Episode #16 of ‘Incidents (of Travel)’ – Dispatch by Marie-Nour Hechaime and Panos Aprahamian from Beirut, 3 October 2021
Episode #15 of ‘Incidents (of Travel)’ – Dispatch by Àngels Miralda and Salim Bayri from Amsterdam, 13 May 2021
Episode #14 of ‘Incidents (of Travel)’ – Dispatch by Kathleen Ditzig and artists Fyerool Darma and Nurul Huda Rashid from Singapore, 21 December 2020
Episode #12 of ‘Incidents (of Travel)’ – Dispatch by Nino Kvrivishvili and Tara McDowell from Tbilisi, 25 Jun 2020
https://www.lttds.org/longitudes/index.php?id=7159211982397983135/episode-12-of-incidents-of-travel
Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City, 9 April 2020
https://www.lttds.org/longitudes/index.php?id=4425215029591365006/11-episode-of-incidents-of-travel
Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro,
29 January 2020
https://www.lttds.org/longitudes/index.php?id=144735152408473327/tenth-episode-of-incidents-of-travel
The ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir, 8 February 2019
https://www.lttds.org/longitudes/index.php?id=6371927610418460689
The eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi, 6 September 2019
https://www.lttds.org/longitudes/index.php?id=8721104601538735691
The seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania, 28 June 2018
https://www.lttds.org/longitudes/index.php?id=1055853895543348027
The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia, 1 March 2018
http://www.lttds.org/blog/blog.php?id=5887133486742947361
The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia, 26 April 2017
http://www.lttds.org/blog/blog.php?id=4083951540089486920
The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal, 2 March 2017
http://www.lttds.org/blog/blog.php?id=4185860148466062617
The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China, 6 September 2016
http://www.lttds.org/blog/blog.php?id=1437935620149738144
Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda, 30 June 2016
https://www.lttds.org/longitudes/index.php?id=2504250800654900933
Kadist and Latitudes present 'Incidents (Of Travel)' online, 31 May 2016
http://www.lttds.org/blog/blog.php?id=1076947282278624159
Episode #13 of ‘Incidents (of Travel)’ – Dispatch by Marina Reyes and Sofía Gallisá from Cabo Rojo, Puerto Rico, 27 Sep 2020
https://www.lttds.org/longitudes/index.php?id=7159211982397983135/episode-12-of-incidents-of-travel
Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City, 9 April 2020
https://www.lttds.org/longitudes/index.php?id=4425215029591365006/11-episode-of-incidents-of-travel
Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro,
29 January 2020
https://www.lttds.org/longitudes/index.php?id=144735152408473327/tenth-episode-of-incidents-of-travel
The ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir, 8 February 2019
https://www.lttds.org/longitudes/index.php?id=6371927610418460689
The eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi, 6 September 2019
https://www.lttds.org/longitudes/index.php?id=8721104601538735691
The seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania, 28 June 2018
https://www.lttds.org/longitudes/index.php?id=1055853895543348027
The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia, 1 March 2018
http://www.lttds.org/blog/blog.php?id=5887133486742947361
The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia, 26 April 2017
http://www.lttds.org/blog/blog.php?id=4083951540089486920
The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal, 2 March 2017
http://www.lttds.org/blog/blog.php?id=4185860148466062617
The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China, 6 September 2016
http://www.lttds.org/blog/blog.php?id=1437935620149738144
Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda, 30 June 2016
https://www.lttds.org/longitudes/index.php?id=2504250800654900933
Kadist and Latitudes present 'Incidents (Of Travel)' online, 31 May 2016
http://www.lttds.org/blog/blog.php?id=1076947282278624159
Panorama traces, a year on
Fri, Oct 21 2022Following on our earlier post on recent exhibitions by participating artists in MACBA’s exhibition “Panorama 21. Apunts per a un incendi dels ulls”, and coinciding with its first anniversary, we highlight four iterations of works produced or derived from their original presentation in the 2021 exhibition.
(Above photo by Roberto Ruiz, and two below by Eva Carasol) Antoni Hervàs, “La Meiers” (The Meiers), 2021, view in the exhibition “Panorama 21. Notes for an Eye Fire’ at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Courtesy: the artist.
Antoni Hervàs presents “Under the firelight, the ash shines like glitter” (2021-2022), a work that grows from its earlier iteration “La Mellers” (2021, see images above), a sculpture-becoming-exhibition entrance commissioned for “Panorama 21. Apunts per a un incendi dels ulls”, which now has become an “archive of its own making” in the words of the artist. “Under the firelight...” incorporates new papier-mâché parts allowing Hervàs to continue his research on the Barcelona underground varieté and drag scenes.
(Above and three below) Antoni Hervàs, “Under the firelight, the ash shines like glitter”, 2021-2022, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artist.
El Palomar is presenting their acclaimed film “Schreber is a Woman” (2020) in Frankfurt, which was originally commissioned for the 11th Berlin Biennale in 2020, and premiered in Spain during MACBA’s “Panorama 21. Apunts per a un incendi dels ulls”. Since it was screened in Barcelona last October, El Palomar has presented the film in New York this past July (at the Leslie-Lohman Museum of Art) and this month as part of “To be Seen. Queer Life 1900-1950” at the NS-Dokuzentrum München.
(Above and below) El Palomar, Schreber is a Woman, 2020, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artists.
Following on Claudia Pagès solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER in Madrid earlier this past summer, her 360º video installation “Gerundi Circular” (2021) is now on view at Tabakalera in Donostia, Basque Country, until 15th January 2023. The 14-minute film was commissioned for “Panorama 21. Apunts per a un incendi dels ulls” and co-produced with ELAMOR. In 2022 “Gerundi Circular” has joint MACBA Collection through the funds of the National Collection of Contemporary Art of the Generalitat de Catalunya.
(Above photo by Miquel Coll/MACBA, by Roberto Ruiz/MACBA below) View of Claudia Pagès’s “Gerundi Circular” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022.
Installation views of Claudia Pagès’s exhibition “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER, Madrid, 9 June–30 July 2022. Photo: Pablo Gomez-Ogando.
At the end of this long hot summer, Bombon Projects’ participated in Marseille’s Art-O-Rama art fair presenting Rosa Tharrats’ “Akaal / Selene \ Uluru” (2021), specially commissioned for MACBA’s exhibition, in dialogue with paintings by Mari Eastman.
(Above and below) Installation view of “Akaal / Selene \ Uluru” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz / MACBA.
(Above and below) Installation view of “Akaal / Selene \ Uluru” (2021) in Bombon Projects’ stand in Art-O-Rama, Marseille, August 2022. Photos: © Aurélien Meimaris.
RELATED CONTENT:
- Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA, 21 Feb 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Programa público de “Apuntes para un incendio de los ojos”, MACBA, hasta el 27 febrero 2022, 15 Nov 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Latitudes’ "out of office" 2020-21 season, 2 August 2021
- Cover Story–July 2021: a wide view from a fixed point, 2 Jul 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021
Latitudes’ "out of office" 2021–22 season
Mon, Aug 1 2022
Frozen facemask, Helsinki, March 2022.
As the summer break creeps up on us with a weary smile in the already sweltering heat-and-humidity of Barcelona, it’s once again time for our annual looking-back post wrapping up the last twelve months of Latitudes’ activities, a period of time which includes the most extensive exhibition we’ve made to date in Spain: MACBA’s “Panorama 21. Notes for an Eye Fire”.
In thinking of how to pen this little introduction to a compilation that’s an ending of sorts, our thoughts turned back to a request we received in February from Shimmer, the exhibition space in Rotterdam, The Netherlands. The artist Jo-ey Tang was creating a new version of a project which would comprise an endless loop of the favourite endings of films suggested by friends of Shimmer. Our contributions: Mariana chose Giuseppe Tornatore’s Cinema Paradiso (1988) and Max, the Coen Brothers’ The Big Lebowski (1998).
In the ending of Cinema Paradiso, Salvatore watches a final bittersweet gift from Alfredo: a reel with all the romantic scenes that had been censored from the cinema. Looking back brings happy nostalgia and a chance to make peace with the past.
And to paraphrase the Coens’ Stranger... well, that about does her, wraps her all up. Things seem to have worked out pretty good. Parts, anyway. Aw, look at me, I’m ramblin’ again. Well, I hope you folks enjoyed yourselves. Catch ya later on down the trail...
This end-of-the-season post is the fourteenth in the “out of the office” series published every end of July to mark the beginning of our holidays (or the desire of having one). Check earlier posts from 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20 and 2020–21 seasons. All photos are by Latitudes unless stated otherwise in the photo caption.
x
The September 2021 issue of frieze magazine includes a review of David Bestué's exhibition at Centre d'art La Panera, published online last May.
via @marcnavarro facebook.
Above photo by Hiuwai Chu. Below are co-curator Hiuwai Chu and Rasmus Nilausen under Felix Gonzalez-Torres’s “Untitled (Perfect Lovers)” (1987–1990).
13 September 2021: Boules of oak (Quercus canariensis), cedar (Cedrus sp.) and pine (Pinus pinea) arrive at TMDC in La Verneda, the material for a new iteration of Nyamnyam and Pedro Pineda’s project ‘A quatre potes’ (2014–ongoing) that will be presented in MACBA's exhibition “Panorama 21. Notes for an Eye Fire”.
As the exhibition wall text pointed out, the project is “founded on the principle that in order to share a meal or have a discussion you first have to build a table to sit at. Leading up to and during the exhibition, a group of people with diverse roles within the MACBA are participating in a series of co-design and collaborative making workshops that began with the purchase of several tree trunks from a sustainable forestry initiative in the nearby Montnegre massif.”
During the next week, the trees would be “transformed into planks and laths at the shared machine shop TMDC, this locally sourced wood is being adapted in the gallery by the museum workers into a range of tables, benches, and other structures. This furniture acts as a mediator between natural and human resources, creating different social settings throughout the course of the exhibition and becoming the scenography and motive for a series of discussions around practices of collectivity and cultures of sustainability within and beyond the institutional walls.”
Photo: TMDC
22 September 2021: Conversation with Jorge Satorre as part of the series “Dialogues with artists from the Contemporary Art Collection” and within the framework of “El tiempo en las cosas”, an exhibition curated by Tatiana Cuevas at the Museo Amparo in Puebla, Mexico.
Due to work and time differences, the talk was recorded a few days earlier. The conversation revolved around the production process of "The Erratic. Measuring Compensation", a work included in Satorre's exhibition and commissioned by Latitudes as one of the ten projects produced throughout 2009 in the public space of the Port of Rotterdam, The Netherlands.
‘The Erratic’ is also featured as the September 2021 Cover Story on our homepage.
27 September–19 October 2021: Three weeks installing the first edition of MACBA’s Panorama triennial, “a new series of transdisciplinary projects that reflects the museum’s desire to deepen its collaboration and dialogue with local artists and cultural agents”. The inaugural project of Panorama is the group exhibition “Notes for an Eye Fire” which occupies MACBA's top floor. During this first install week, efforts centred on shipping, registering, and installing Rasmus Nilausen’s “Theatre of Doubts” (2021) at one end of the museum and Stella Rahola Matutes’ “Fig Juice” (2020) at the other end, while walls were being painted, final sound checks were done and artworks were finally arriving at the museum.
Stella Rahola Matutes and Alex Castro (Conservator, MACBA) photo-documenting Stella's work before installation.
Xavi (install crew of Coolturart) installed one of Stella's glass figures.
Stella Rahola Matutes and Xavi (install crew of Coolturart) carefully installed Stella’s “Fig Juice”.
Lluis Roqué (Conservator at MACBA) documented Rasmus Nilausen’s paintings.
Rasmus Nilausen’s paintings (walls) and Stella Rahola Matutes glass pieces and chains (tables) are analysed and registered by the conservation team before installation.
While Rasmus's wooden supports are being assembled, the improvised office at the museum landing is busy checking the “final-final-final” version of the wall labels, intro text and the leaflet.
First of Rasmus Nilausen’s large paintings (1 of 49) is finally up, supervised by Eva Font (left, space coordinator of the exhibition, MACBA), Alex Castro and Lluís Roqué (centre, Conservators, MACBA), ARAM staff (the carpenters that produced the wood supports) and the install crew of Coolturart.
Nilausen's “Wax Cabinet” (2021, 300 x 205 x 6cm, oil on linen) being moved and hung (below).
Ongoing metamorphosis in the largest exhibition space on the second floor.
Last sound checks with Pablo Miranda and Laia Estruch.
R. Marcos Mota of El Palomar doing a mock-up of the archival material to be presented in vitrines.
Meanwhile, nyamnyam and Pedro Pineda’s tree is sent to Lleida to be fireproofed.
To end the first week, Antoni Hervàs’s “La Meiers” (above) arrives at the museum from La Escocesa, as well as Claudia Pagès’s silkscreened and fireproofed cardboard from Capellades (two below), alongside the structure manufactured by Tallers Soteras to hold the LED panels shipped from Shenzhen that forms her new commissioned video installation “Gerundi Circular” (2021) – soundtrack here.
Week 2 begins with the exciting placement of Antoni Hervàs’s “La Meiers” becoming the entrance to the exhibition.
Meanwhile, Arash Fayez’s wall is almost fully painted in the nearby gallery...
...and Claudia Pagès starts installing the LEDs around the circular metal structure.
Claudia amidst the cable maze.
Coolturart team fixing the circular screen to the ceiling.
First sound and image test of El Palomar’s “Schreber is a Woman” with R. Marcos Mota. The amazing soundtrack that accompanies the video can be listened to here, on Spotify or you can also purchase the 12'' vinyl edition.
Drawing of the structures that hold Laia Estruch’s “Ocells Perduts” net structure drawn by the museum architecture department, placed below by RMG Redes.
Vinyl placed in Plaça dels Àngels promoting MACBA’s programme this trimester includes two sketches by Laia Estruch of her “Ocells perduts” piece.
Habemus Ruta de Autor newspaper!
Parallel to all the activities going on, Hervàs continues customising “La Meiers” to fit what will become the entrance to the exhibition.
Eulàlia Rovira’s replica of Richard Meier’s signature column arrives at the museum. Since we have all the hands and machinery ready, it soon goes up.
Eulàlia shares instructions on how to assemble the yellow supports.
Laia Estruch’s large red net slowly goes up and takes shape.
Photo: Hiuwai Chu
Making a selection of Eulàlia Rovira’s new photo collages.
Hervàs in progress.
Technical difficulties. Please bear with us.
Laia is finally able to go up the net and do her first and only rehearsal. High expectations from artists colleagues, curators and staff observing below.
Final calculations before hanging Arash Fayez’s 310 papers documenting his migrant “limbo” status in the US and Europe.
Meanwhile, in the Teatre Molino in Paral·lel, Antoni Hervàs’ begins “La Meller”, the second part of his contribution to Panorama 21: a 27-metre mural in which Hervàs and his collaborator Pau Magrané unfold a chronicle of the neighbourhood's beloved theatres and venues, both past and present, resulting in "a frieze-carousel" where authors, actors and actresses such as Violeta la Burra, Escamillo, Johnson, Pierrot, Ángel Pavlovsky, float timelessly intertwined by boas.
(Above and below) Pau Magrané and Antoni Hervàs working on the graffiti. Photo: Eva Carasol.
Tecnodimensión testing Laia Estruch’s wind sock before mounting it on the wall.
Adrian Schindler goes through the ephemera that will be displayed as part of his installation.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Placing the newspaper spread by Ruta de Autor to check heights.
Entrance / Exit of the exhibition in progress.
Marria Pratts’s “Sento una música dintre del cap (I Hear Music Inside My Head (Transformation of a Blurry Thought)), 2021.
Antoni Hervàs’ “La Meiers” is almost there.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Iñaki of nyamnyam and Pedro Pineda placing the fireproofed wood boules (detail below)
Max Andrews, Hiuwai Chu and Aleix Plademunt checking the measurements between the 18 images.
Important message from Antoni Hervàs: “Do not paint in white!! (please) You were right, thank you. NO!” :-)
As the day ends we leave the museum and take a gander at the lighting colours on Rosa Tharrats’s installation as the days get shorter.
Entrance vinyl is in place and final cleaning.
In the 16th dispatch, curator Marie-Nour Héchaimé navigates Beirut with artist-filmmaker Panos Aprahamian a year after the August 2020 explosion, when hundreds of tons of ammonium nitrate stored for six years without safekeeping in the port of the Lebanese capital were set on fire and exploded. The blast killed more than 200 deaths, 6,500 wounded, 300,000 displaced, and great destruction in the city. “I say that I am living with ghosts—of people, places, memories, stories”, she reflects. “He answers that Beirut is disintegrating in front of our very eyes.”
Part of the series produced by KADIST and edited by Latitudes since 2016, exploring the chartered itinerary as a format of an artistic encounter between curators and artists.
21 October 2021: Press conference and evening opening of the exhibition “Panorama 21: Notes for an Eye Fire” at MACBA. We realise this is the first time all the artists and curators are able to meet IRL.
Final clean-up before the press conference.
Photo: Pedro Pineda.
Participants of “Panorama 21. Apunts per a un incendi dels ulls” (nyannyam and Ana Domínguez are missing) posing for the press. Photo: Hiuwai Chu
(Above and three below) Press conference in MACBA's atrium, 21 October 2021. Photos: Miquel Coll.
(Left to right) Max Andrews (Latitudes), Hiuwai Chu (Head of Exhibitions, MACBA), Elvira Dyangani Ose (Director, MACBA) and Mariana Cánepa Luna (Latitudes) during the press conference, 21 October 2021. Photos: Miquel Coll.
Participating artist Eulàlia Rovira responded to Carolina Rosich's questions for TV3 news. Photo: Hiuwai Chu.
(Above and nine below) Opening of the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA. Photos: Miquel Coll.
Photo by Hiuwai Chu.
19 November 2021: First change of Nyamnyam and Pedro Pineda’s “A quatre potes” (2014–ongoing), a scenography presented as part of MACBA’s exhibition “Notes for an Eye Fire”.
20 November 2021: First of four open rehearsals of “Ocells perduts” [Stray Birds] (2021) by Laia Estruch presented as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
Above and below photos: Miquel Coll.
25 November 2021: Jury of the 5th edition of DART Festival, alongside the film critic Quim Casas and the journalist Ianko López, and festival team members Enrichetta Cardinale and Silvana Fiorese, to choose the best national and international documentary in the competitive section.
2 December 2021: Parlem de...cabaret, a guided visit led by participating artist Antoni Hervàs as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”. The audio was edited and later made available on Latitudes’ Soundcloud.
Audio of Toni’s 1h guided tour on Soundcloud.
Second part of Antoni Hervàs’ itinerary we stopped at the bar Atlanta FC in Rambla del Raval, where Hervàs explained the origins of his proposal for his two-part project for MACBA's exhibition: the 1980s board game “El Chino” (as part of El Raval neighbourhood was formerly known). Hervàs also shared a selection of preparatory drawings that we would later see on the wall he and Pau Magrané graffitied in Paral·lel.
The itinerary ended in front of Teatre Arnau in Paral·lel, where Toni Hervàs and his collaborator Pau Magrané painted the wall that protects the theatre during its restoration. Hervàs’ mural honours the cabaret history of Paral·lel’s nightlife, its cabaret, bars, and actresses.
9 December 2021: Parlem de...Anecdotes to be Forgotten, a performative walkthrough by Arash Fayez as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
14 December 2021: Ràdio Web MACBA publishes a podcast with El Palomar (in Spanish) where they discuss “Schreber is a Woman” (2020) their most recent film produced for the 11th Berlin Biennial and presented for the first time in Spain as part of MACBA’s “Apunts per a un incendi dels ulls”.
Phone view of → http://incidents.kadist.org/Riga
17–19 December 2021: After months of uncertain planning, Paul O'Neill, director of PUBLICS, is able to visit Barcelona to meet Laia Estruch and attend the second rehearsal of her work ‘Stray Birds’ (2021), a new commission produced for the exhibition “Notes for and Eye Fire” at MACBA, and supported by PUBLICS.
January 2022: Visiting MACBA’s exhibition with long-time artist friend Lara Almarcegui based in Rotterdam.
13 January 2022: Hablemos de... Passió i cartografia per a un incendi dels ulls, a sung visit by poet Gabriel Ventura and flamenco cantaor Pere Martínez, reading and singing poems written for the occasion by Gabriel. Pell de gallina!
Gabriel started the itinerary under Antoni Hervàs’s work “La Meiers”, a work commissioned for MACBA’s exhibition, that became the entrance and the exit to the neighbourhood.
17 January 2022: Exactly a year after its closure, we receive a copy of the publication accompanying the exhibition “Things Things Say”, which took place at Fabra i Coats: Centre d'Art Contemporani de Barcelona between October 2020 and January 2021. We are elated to finally have it in our hands!
A discussion around “A quatre potes”, the project presented in the exhibition by nyamnyam and Pedro Pineda, around forest management, design as an investigative tool, and the limits of the museum with the participation of Lídia Guitart (forest engineer), Curro Claret (industrial designer), Ingrid Guardiola (writer, cultural researcher and Director of Bòlit, Centre d'Art Contemporani), the artists, exhibition curators, and workshop participants. This activity was part of Education from Below, a project with the support of Creative Europe's programme of the European Union Creative Europe.
The setting for the event was rearranged the evening before with workshop participants (MACBA staff that have volunteered in a number of workshops cutting the wood planks, arranging them in the exhibition space, and changing the set-up on a monthly basis) following the principle and the spirit of the project that “in order to have a discussion we need a table”.
(Above and below) The before and after, seating is ready for tomorrow's open discussion. Photos: Ariadna Rodriguez (nyamnyam).
Above and two photos below: Miquel Coll.
Designer Curro Claret brought in an earthenware cup used in India to drink tea before boarding on a train. Once used the cup is thrown out the window and hence, naturally recycled into the landscape, an “evident example of what circular economy is and should be”. Plastic cups took over but pollution along the tracks was so bad the government encouraged tea makers to go back to earthenware.
Ingrid Guardiola began mentioning Octavi Comeron’s “La Fábrica Transparente” and how institutions’ obsession with transparency, in turn, generates opacity from within those institutions or, as Peter Sloterdijk warned, is an example of cynical transparency. Then moved on to reflect on how institutions could learn from forest’s entropy and efficiency and how exceeding energies could be used within institutions.
Lidia Guitart, a forest engineer from the Associació Propietaris Forestals del Montnegre i el Corredor (from where nyamnyam’s wood was originally purchased) discussed perceptions of forest management in Catalunya in relation to Finland (the leader in paper pulp supplier) and shared some interesting data: 60–70% of Catalunya is forest, yet 80% of that is in private hands.
The 2h session was punctuated by printed cards with words/concepts triggering several subjects related to each of the guests' practices which were then chosen at random to encourage interlinking rather than monothematic presentations.
2 February 2022: Ràdio Web MACBA publishes a podcast with Claudia Pagès (in Spanish) where she discusses “Gerundi Circular” (2021) a new video-installation commissioned for MACBA’s “Apunts per a un incendi dels ulls”. The work is presented in her solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” in Madrid’s gallery The Ryder in June 2022.
Photos above and below by Ana Domínguez.
The book includes a preface by art centre director Joana Hurtado Matheu, new texts by Latitudes, a text-based intervention by participating artist Eulàlia Rovira, and texts on each exhibited work also written by Latitudes.
Photos: Latitudes
22–25 February 2022: Trip to Madrid for ARCOmadrid. Max previewed “What to see during this year's ARCOmadrid” for frieze. Worth adding to the list is the joyous retrospective of Bruno Munari at Fundación Juan March, the catalogue currently on our desk.
27 February 2022: After a four-month run, the exhibition ‘Notes for an Eye Fire’ comes to an end at MACBA. Here is a selection of the most relevant reviews, clips from television and radio programmes that have covered the show, and of course photo documentation.
As a poetic colophon of the exhibition, the publication “Passió i cartografia per a un incendi dels ulls” was released. It includes a new poem in three movements by exhibition participant Gabriel Ventura, and photos of the works in the museum galleries documented by Roberto Ruiz, Eva Carasol, Miquel Coll and Latitudes.
Photos: Gemma Planell.
2 March 2021: Ràdio Web MACBA publishes a podcast with Panorama artist Marc Vives (85'22'' in Spanish) where he discusses his practice and for MACBA’s “Apunts per a un incendi dels ulls”.
10 March 2022: Lecture about our curatorial practice and on the recently concluded MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls” to fourth-year students at the Fine Arts Department of the Universitat de Barcelona. The student Rita Duarte Lli tagged us during our presentation, so we asked if she would mind sharing the mental map she drew during the session, see below.
Mental mapping of the session courtesy of Rita Duarte Lli (@ritinacaipirina ) following the @cursogenius.es technique.
We donated three more publications (“Passió i cartografia per a un incendi dels ulls” published by MACBA in 2022, Lola Lasurt’s “Joc d'infants” published by La Capella in 2020 and Anna Moreno’s “The Drowned Giant” also published by La Capella in 2017) to PUBLICS Library, joining the first 5kg we donated back in 2019. These will soon be joined by the publication of the exhibition “Things Things Say” published by Fabra i Coats: Centre d'Art Contemporani de Barcelona. You can search here.
[Note that not all the results are under “Latitudes”, others are under “Max Andrews” or “Mariana Cánepa Luna” as writers]. PUBLICS library is the third location where the whole set of Latitudes’-edited publications sleep, alongside the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
A selection of Latitudes and Laia Estruch publications available for consultation at PUBLICS.
On March 15, we had the chance to do an adaptation of our itinerant “Near-Future Artworlds Curatorial Disruption Foresight Group” workshop (earlier iterations took place in Bari, San Francisco, Birmingham, and Barcelona), this time under the “Professional Skills for Artists” class led by Prof. Suzanne Mooney. We met around fifteen MFA students in the new Sörnäinen campus building of the Academy of Fine Arts of the Uniarts Helsinki. Throughout our 2-hour encounter, issues such as the lack of free-of-charge exhibition spaces for younger artists or affordable studio spaces emerged when reflecting on the weaknesses of Helsinki’s art ecology and how could these needs be “hacked”, improved, and ideally eliminated.
Photos at PUBLICS by Noora Lehtovuori.
30 March 2022: frieze.com publishes Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” at Cordova in Barcelona. The frieze summer issue will include a printed version.
31 March 2022: Press trip to Córdoba on the occasion of “Abundant Futures”, the inaugural exhibition Thyssen-Bornemisza Art Contemporary (TBA21) organises in C3A Centro de Creación Contemporánea de Andalucía, Córdoba, as part of their three-year-long collaboration agreement.
(Above) Ceramic pieces by Asunción Molinos Gordo. (Below) Installation by Ernesto Neto.
(Above) Installation by Daniel Steegman Mangrané.
(Below) "Apagón" (2017) by Allora & Calzadilla, included a performance activated in the opening evening performed a capella by a local choir.
(Above) Installation view with works by Ai Weiwei (left) and Regina de Miguel (right).
1 April 2022: New cover story on Latitudes’ home page on Laia's performance “Mix” and PUBLICS & Latitudes match.
Shimmer’s Instagram, 9 April 2022.
23 April 2022: “Things Things Say” cover is peaking out amongst the selection of publications sold at the Serveis Editorials de l'Ajuntament de Barcelona book stall in Passeig de Gràcia on the occasion of Sant Jordi 2022.
photo via @bcn_llibres Twitter.
2 May 2022: “Things Things Say” book features in the May Cover Story. The exhibition began with a list of thirty-three questions that confronted visitors, which find their answers in the (mini) catalogue. Ranging from literary quotations and curatorial touchstones to theoretical anecdotes and red herrings, the “answers” wander around the exhibited works, and tack back-and-forth between exceptionally normal things and the extraordinary global narratives of labour, obsolescence, and the industrialisation of nature, that they trigger.
Between June and September, Irina will lead a series of three workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of a “tour” of Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context to human bodies in Helsinki, the sessions will broach performative practice, translation and transcription, and the non-verbal capacity of the voice.
18 May 2022: Visiting “The Milk of Dreams”, the 2022 edition of La Biennale di Venezia curated by Cecilia Alemani. So great to see you again Venezia.
Rosa Tharrats’s first solo show at Galería Ehrhardt Flórez.
View of Aleix Plademunt solo show at Sala Canal Isabel II. Photo: Aleix Plademunt.
11 June 2022: Opening of “Cracking a nut” a solo show by Barcelona-based artist Lúa Coderch on three floors of Fabra i Coats: Centre d'Art Contemporani, Barcelona. [The exhibition had to close two days later due to climate control issues and will reopen on September 13].
Curated by the art centre director Joana Hurtado Matheu, the exhibition includes the work “La declaración del arcoíris” (The Rainbow Statement, 2022), originally commissioned by Latitudes as one of five “Compositions” interventions produced for the Barcelona Gallery Weekend 2016. In its first incarnation, Coderch guided sunlight and a spectrum of colours down into the underground gaming space of the Barcelona Billiards Club with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards.
(Above) “La declaración del arcoiris” (The Rainbow Statement, 2022) at Fabra i Coats: Centre d'Art Contemporani.
“La declaración del arcoiris” (2022). Photo courtesy Lúa Coderch. Image Adrià Sunyol Estadella and Alex Weecha.
(Above and two below) Lúa Coderch’s “The Rainbow Statement” (2016) at the Barcelona Billiards Club, part of “Composicions” series of interventions curated by Latitudes for the Barcelona Gallery Weekend 2016. Photos: Roberto Ruiz.
The voice-over features the voice of Mariana Cánepa Luna of Latitudes, which was recorded in March 2017 in a highly DYI mode by improvising a soundproof environment with blankets and carpets in the quietest space in the home on a Sunday morning: the WC.
%20SHELTER_Entering%20the%20work_2015-18_Obra%20realizada%20con%20la%20Ayuda%20Fundacio%CC%81n%20BBVA%20a%20la%20Creacio%CC%81n%20en%20Videoarte%202015____.jpg)
Some things to look forward to in the 2022–2023 season: In September we will begin a three-month online mentorship of the first curatorial residency given to a young Peruvian curator organised by TROPICAL PAPERS and submit an essay commissioned for the catalogue of the group exhibition “Futuros Abundantes” organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba.
%20SHELTER_Entering%20the%20work_2015-18_Obra%20realizada%20con%20la%20Ayuda%20Fundacio%CC%81n%20BBVA%20a%20la%20Creacio%CC%81n%20en%20Videoarte%202015____.jpg)
(Above) Lúa Coderch, (Still) “SHELTER (Entering the work)”, 2015-18. Work produced with the support of Ayuda Fundación BBVA a la Creación en Videoarte 2015. Courtesy Lúa Coderch. Image Adrià Sunyol Estadella.
20 June 2022: Writer and curator Irina Mutt leads the first of a series of workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of an “itinerancy” of Laia Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context [presented in “Panorama 21. Notes for an Eye Fire”] to the human bodies of PUBLICS YOUTH’s members in Helsinki, the sessions broached performative practice, translation and transcription, and the non-verbal capacity of the voice.
via @publics Instagram.
23 June 2022: 19th dispatch of Incidents (of Travel) from Seoul is live on incidents.kadist.org! Narration written by curator Sooyoung Leam and itinerary devised and led by artist Yeoreum Jeong from Seoul’s Yongsan district. Photography by Swan Park, produced by KADIST.
21 July 2022: Adrian Schindler and Eulàlia Rovira (“Panorama 21. Notes for an Eye Fire” alumni) guided visit and in conversation with Mexican curator and researcher Paulina Ascensio, as part of their exhibition “The Plague, The Profit” at the non-profit The Green Parrot.
23 July 2022: El Palomar (“Panorama 21. Notes for an Eye Fire” alumni) curates an evening with music productions by trans artists, as part of MACBA’s Lorem Ipsum programme, “connecting the musical and the festive with their potential for empowering possible queer scenes”. The evening includes remixes from the soundtrack of the film “Schreber is a Woman” (2020) presented in MACBA (Spanish première).
More soon, onwards!
→ RELATED CONTENTS:
- Latitudes’ "out of office" 2020–21 season, 2 August 2021
- Latitudes’ "out of office" 2019–20 season, 3 August 2020
- Latitudes’ "out of office" 2018–19 season, 1 August 2019
- Latitudes' "out of office" 2017–18 season, 2 August 2018
- Latitudes "out of office" 2016–17 season, 1 August 2017
- Latitudes' "out of office" 2015–16 season, 1 August 2016
- Latitudes' "out of office" 2014–15 season, 7 August 2015
- Latitudes' "out of office" 2013–14 season, 31 July 2014
- Latitudes' "out of office" 2012–13 season, 31 July 2013
- Latitudes' "out of office" 2011–12 season, 31 July 2012
- Latitudes' "out of office" 2010–11 season, 1 August 2011
- Latitudes' "out of office" 2009–10 season, 30 July 2010
- Latitudes' "out of office" 2008–9 season, 30 July 2009
Cover Story, May 2022: Things Things Say in print
Mon, May 2 2022
The May 2022 monthly Cover Story “Things Things Say in print” is up on our homepage: www.lttds.org
“Do you trust things to write human history? To speak on behalf of natural history? Did you ever own a pair of dungarees? When do trivial details become vital? Can a pebble destroy an empire if the emperor chokes at dinner? Would the pebble stand accused? Do you ever feel that the thing we call theory and the thing we call art are moving in different directions?”→ After May 2022 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
- Cover Story, April 2022: Mix and Match. Laia Estruch at PUBLICS, 1 April 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
- Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
- Cover Story–May 2021: RAF goes viral, 2 May 2021
Max Andrews reviews Bruno Zhu’s exhibition “I am not afraid”, Cordova, Barcelona
Wed, Mar 30 2022
frieze magazine has published Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” presented at Cordova space in Barcelona until May 28, 2022. The frieze summer issue will include a printed version.
“An outsized satin wristwatch hangs in Cordova’s small office. Large blue gingham and orange vinyl stars span the walls, windows, doors, floor and ceiling of the adjacent gallery. Bruno Zhu’s exhibition, ‘I am not afraid’, can be consumed quickly and, as its title assures, apprehended without alarm. Yet, the digestion of its curiouser-and-curiouser blend of scalable and temporal enigmas, and autobiography with fiction, appropriately transpires more gradually.” Continue reading
View of Bruno Zhu’s exhibition “I am not afraid” at Cordova. Photos: Latitudes.
Detail of Bruno Zhu’s “Are you OK?” 2022. Satin, quartz clock movement, batteries, foam and plastic. Dimensions variable.
Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022)
Wed, Mar 2 2022
Autor del poema: Gabriel Ventura
Diseño: Ana Domínguez Studio (Lara Coromina y Ana Domínguez)
Editor: MACBA Museu d'Art Contemporani de Barcelona
Formato: 17 x 11.5 cm / 52 páginas / 42 ilustraciones
Idioma: catalán
Tirada: 300 copias
Fecha de publicación: febrero 2022
PVP: 15 Euros
Disponible en: Llibreria Laie
ISBN 978-84-17593-22-3
Disponible en: Llibreria Laie
ISBN 978-84-17593-22-3
La publicación “Passió i cartografia per a un incendi dels ulls” se plantea como el poético colofón de la exposición “Apunts per a un incendi dels ulls” (MACBA Museu d'Art Contemporani de Barcelona, 22 octubre 2021–27 febrero 2022), el primer proyecto de la serie Panorama – una nueva línea de proyectos trienales que inicia el MACBA enfocados en las prácticas artísticas contemporáneas de la escena catalana.
El libro incluye un nuevo poema-deriva en tres movimientos de Gabriel Ventura que se descompone en una pluralidad de voces y puntos de vista dibujando una cartografía textual de la exposición.
Como parte de la programación de actividades de la exposición, el pasado 13 de enero 2022, el cantaor flamenco Pere Martínez y Ventura recitaron y cantaron los versos durante una única visita performativa en que los visitantes eran invitados a deambular las distintas salas del museo, seducidos por la melodía y las palabras de los amfitriones.
Fotos: Latitudes.
CONTENIDOS RELACIONADOS:
- Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA, 21 Feb 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Programa público de “Apuntes para un incendio de los ojos”, MACBA, hasta el 27 febrero 2022, 15 Nov 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Latitudes’ "out of office" 2020-21 season, 2 August 2021
- Cover Story–July 2021: a wide view from a fixed point, 2 Jul 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021
Cover Story, March 2022: The passion of Gabriel Ventura
Tue, Mar 1 2022
March 2022 cover story on https://www.lttds.org
The March 2022 monthly Cover Story “The passion of Gabriel Ventura” is now up on our homepage: www.lttds.org
«La tàctica és acariciar el moment: convertir l’esquerda en discussió verbal, gestual, multicanal, enfonsar-hi les visions»
«The tactic is to caress the moment: to convert the crack into a verbal, gestural, multi-channel discussion, to scuttle visions»
→ After March 2022 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
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
- Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
- Cover Story–May 2021: RAF goes viral, 2 May 2021
- Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021