Longitudes

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

Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021

 09 Oct 2020


The group show ‘Things Things Say’ (Coses que les coses diuen) and the solo exhibition ‘Tone Tongue Mouth’ (‘to llengua boca’) by Dutch artist Wendelien van Oldenborgh open concurrently at Fabra i Coats: Centre d’Art Contemporani de Barcelona on Saturday 17 October 2020 from 12 pm.

‘Things Things Say’
Fabra i Coats: Centre d’Art Contemporani de Barcelona
17 October 2020 – 17 January 2021
Curated by Latitudes

An exhibition with works by Adrià Julià (1974, lives in Barcelona and Bergen), Annette Kelm (1975, lives in Berlin), James N. Kienitz Wilkins (1983, lives in New York), Sarah Ortmeyer (1980, lives in Vienna), Eulàlia Rovira (1985, lives in Barcelona), Francesc Serra i Dimas (1877–1967, Barcelona), Stuart Whipps (1979, lives in Birmingham), Haegue Yang (1971, lives in Berlin and Seoul), as well as meaningful things from the Friends of Fabra i Coats archive.

Do you trust things to write human history? Do things’ lives matter? Can a pebble destroy an empire if the emperor chokes at dinner? Would the pebble stand accused? Do you really think that if you stare at something long enough, it will reveal its secrets? Have you ever wondered why there is a hole in a donut? Did you ever own a pair of dungarees? Does a desire to write about a small car indicate some fear of its inadequacy? Does popcorn hold firm opinions? Is the key key? Are you familiar with the Luddites? Have you heard the expressions “how long is a piece of string?”, or “exceptional typical”?

The exhibition ‘Things Things Say’ springs from the past of Fabra i Coats as an industrial complex once dedicated to the manufacturing of cotton thread. The factory represented the first merger between a Catalan company and a foreign multinational and the first in Spain to offer its workers paid holidays. The exhibition evokes this novel and curious kind of place, a place comprised of many places and people, vastly different scales, temporalities, and values. Things, and spectres of things, that might at first seem exceptionally normal, apparently obsolete, or inert, each bring often-extraordinary stories or offer telling evidence, temporarily becoming new protagonists in the art centre community.

In the setting of the bygone factory, the works in the exhibition introduce a perspective on how the modern world has been shaped through complex and contentious relationships between humans and the web of life. Taking on the popular XVIII century genre of the ‘it-narrative’ in English literature and the approach of ‘object journalism’ against a background of world history and ecology, ‘Things Things Say’ and the exhibition ‘4.543 billion. The Matter of Matter’ (CAPC musée d’art contemporain de Bordeaux, 2017–18) are imagined as a diptych: two folds with the same hinge that tacks back-and-forth between deep time and microhistory, natural history and the history of capitalism.

Fabra i Coats: Contemporary Art Center of Barcelona
c. Sant Adrià 20
08030 Barcelona
(+34) 932 566 155
[email protected]
https://www.barcelona.cat/fabraicoats/centredart

Opening hours:
Tuesday to Saturdays, 12 to 8 pm
Sunday and Holidays, 11 to 3 pm
Free guided tours every Saturday at 18 pm and Sundays at 12:30 pm
Limited capacity. Pre-registration at [email protected]


→ RELATED CONTENT:

  • Save the date: 19 September 2018 at 7 pm, opening Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani de Barcelona - Fabra i Coats 3 September 2018
  • Photo report: Trip to Berlin Gallery Weekend 2018 and Cologne 9 May 2018
  • Works by Stuart Whipps in the exhibition ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain de Bordeaux, 2017–18.
  • Work by Stuart Whipps at the Musée des Beaux-Arts, Bordeaux
  • Work and performance by Eulàlia Rovira and Adrian Schindler included in ‘Cream Cheese and Pretty Ribbons!’, Galerie Martin Janda, Vienna, 2018.
  • Latitudes in conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017.
  • Tote by Haegue Yang for Latitudes' 10º anniversary, 2015.
  • Work by Sarah Ortmeyer in the exhibition 'Exposition internationale des arts décoratifs et industriels modernes & des arts et techniques dans la vie moderne', Meessen de Clercq, Brussels, 2011.
  • Work by Haegue Yang in the exhibition ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’, Arnolfini, Bristol, 2009.

 2020, 2021, Adrià Julià, Annette Kelm, Barcelona, Eulàlia Rovira, fabra i coats, Francesc Serra i Dimas, haegue yang, James N. Kienitz Wilkins, Latitudes-curated, Sarah Ortmeyer, soundcloud, Stuart Whipps
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15 septiembre 2020, 19.30h: Charla entre Rosa Maria Subirana Torrent y Lola Lasurt

 10 Sep 2020

Foto: Ralph Herrmanns. MNAC, 1972. Archivo personal de Rosa Maria Subirana Torrent.

Actividad: ‘Del Año Miró (1968) al inventario de la donación’. Charla entre Rosa Maria Subirana Torrent y Lola Lasurt
Modera: Ángel Calvo Ulloa
Fecha: 15 de septiembre de 2020, de 19 a 21 h. Incluye una visita guiada a la exposición de 19 a 19.30h
Reserva: Aforo limitado. Imprescindible inscripción previa en [email protected]
Lugar: La Capella (c. Hospital 56, Barcelona)
Streaming en directo a partir de las 19.30h en el canal YouTube de Barcelona Cultura (duración: 1h 16min).

En el marco de la exposición Juego de niños, Lola Lasurt conversa con Rosa Maria Subirana Torrent, conservadora de los Museos de la Ciudad de Barcelona durante los últimos años de dictadura y testigo de primera mano del inicio de la gestión institucional del arte contemporáneo en Cataluña.

Bajo las órdenes del consistorio barcelonés, Subirana inventarió meticulosamente los fondos de las primeras colecciones de arte contemporáneo cedidas a la ciudad y coordinó el Año Miró, en el que se inscribió la organización de la exposición retrospectiva en el recinto del antiguo Hospital de la Santa Creu en 1968, así como otras actividades, entre ellas la colocación de una placa en el pasaje del Crèdit (donde nació Miró en 1893) y el Premio Miró para niños.

Miró donó a la ciudad parte de las obras presentadas en la exposición, que fueron trasladadas al Museu Nacional d'Art de Catalunya (MNAC) para ser inventariadas y constituir el futuro fondo del CEAC (Centro de Estudios de Arte Contemporáneo), el edificio ideado por Josep Lluís Sert que se inauguró en 1975 en Montjuïc.

Esta actividad es parte del programa de mediación εξέδρα (exedra) dirigido por Jordi Ferreiro para la temporada Barcelona Producció 2019–20 de La Capella. Juego de niños de Lola Lasurt ha sido tutorizado por Latitudes.

(📷 ↑↓) Vistas de la exposición ‘Juego de niños’ de Lola Lasurt en La Capella. Fotos: Pep Herrero.




→ RELATED CONTENT: 

 2020, Barcelona, Barcelona Producció, conversations, Curatorial Practice, Joan Miró, Jordi Ferreiro, La Capella, Lola Lasurt, public programme, tutorizado por Latitudes
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Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’

 01 Sep 2020
Latitudes' homepage www.lttds.org

The September 2020 monthly Cover Story ‘States of emergency—Lola Lasurt’s ‘Children’s Game’’ is now up on our homepage: www.lttds.org

“Lola Lasurt’s exhibition ‘Joc d'infants’ (Children’s Game) looks back more than fifty years to the first contemporary art event hosted in the same venue where it is now taking place—until 27 September.”

→ Continue reading
→ After September 2020 this story will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.

→ RELATED CONTENTS: 

 2019, 2020, Barcelona, Barcelona Producció, cover story, Exhibition, Joan Miró, Lola Lasurt, Solo show, tutorizado por Latitudes, tutoría, website
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Exposición ‘Juego de niños’ de Lola Lasurt, Barcelona Producció 2019-2020, 21 julio–27 septiembre 2020

 13 Jul 2020
(↑↓) Vistas de la exposición ‘Joc d'infants’ (Juego de niños) de Lola Lasurt en La Capella, Barcelona, 21 julio–27 septiembre 2020. Fotos: Pep Herrero / La Capella.

El proyecto ‘Juego de niños’ de Lola Lasurt parte de la retrospectiva Miró. Barcelona 1968-69, la primera muestra de arte contemporáneo presentada entre entre noviembre de 1968 y enero de 1969, en el espacio actualmente conocido como La Capella. 

A través de pinturas, fotografía, vídeos y cerámicas, el proyecto de Lasurt aborda la agitación sociopolítica de finales de los sesenta a través de la figura del artista catalán Joan Miró (1893-1983), quien durante el último periodo de la dictadura de Franco se convirtió en un “objeto transicional”, una suerte de puente artístico entre el régimen anterior y la nueva democracia. [1]

En su nueva serie de pinturas Lasurt alude a dos formas de transición: un periodo de excepción tanto desde el punto de vista político como del desarrollo personal. Lasurt se apropia de imágenes relacionadas con la infancia publicadas en la prensa nacional durante el estado de excepción de dos meses que se inició a finales de enero de 1969, un período de ausencias y silencios forzados.

→ PDF hoja de sala en castellano, català, english.
→ PDF publicación (en cat/cast/eng).
→ Video (1'50'')
→ Video entrevista (14'44'')

[1] El término objeto transicional fue acuñado en 1951 por el pediatra y psicoanalista inglés D. W. Winnicott para describir objetos reconfortantes –como ositos de peluche, mantas o muñecas– que sustituyen el vínculo madre-hijo en el desarrollo del niño.

















A partir de la exposición de Lasurt, el programa de mediación εξέδρα (Exedra) dirigido por Jordi Ferreiro ha generado una serie de deslocalizaciones a tres espacios públicos y privados del barrio del Raval con el fin que no se vean perjudicados por posibles protocolos de actuación ante COVID-19.

(↑↓) Vistas de las deslocalizaciones relacionadas con la exposición ‘Juego de niños’ de Lola Lasurt alrededor del barrio del Raval. Hasta el 27 de septiembre 2020. Fotos: Eva Carasol.

Pósters en los escaparates de la Escola Massana con material de archivo del estado de excepción que se decretó en el Estado Español entre enero y marzo de1969.


Consulta de publicaciones relacionadas con Joan Miró y el estado de excepción que se decretó en el Estado Español a inicios de 1969 disponibles en la Biblioteca Popular Sant Pau i Santa Creu.

(↑↓) Pintura animada proyectada en el escaparate del Estanc Carme 15 en Carrer del Carme, 15. ‘Copito de Nieve, ¿personaje de Marcel Proust?’ Tele/eXpres, 22 de enero de 1969. Una de las obras iniciales de Lola Lasurt fue ‘Expendeduría 193’ (2008), un videodocumental que, a través de sus protagonistas, narraba la vida diaria de un estanco vinculado a la familia de la artista. Así pues, ‘Juego de niños’ incorpora un pequeño tributo a esta obra mediante la deslocalización de una de sus pinturas animadas al estanco Carme 15 de la calle del Carme.

 
(24 septiembre) La tercera y última deslocalización coincide con la finalización de la exposición el 27 de septiembre 2020. Desde La Capella se hizo una llamada a los vecinos del distrito de Ciutat Vella ofreciendo la posibilidad de exponer en su balcón una obra de Lola Lasurt representando un objeto transicional de la infancia y presentarlo en formato banderola. 

Meritxell Mestre envió su historia relacionada con unos dibujos animados que solía mirar de pequeña en casa de sus abuelos y que gravaba en VHS, cuyo protagonista era una pequeña locomotora.  

(↑↓) Última de las deslocalizaciones de la exposición ‘Juego de niños’ de Lola Lasurt presenta una banderola en el balcón con la imagen de un objeto transicional de la infancia de su habitante. Fotos: Eva Carasol.

 2019, 2020, Barcelona, Barcelona Producció, Capella, Composiciones, exposición individual, Joan Miró, Jordi Ferreiro, La Capella, Lola Lasurt, pintura, tutorizado por Latitudes
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Latitudes's Mariana Cánepa Luna concludes her role as Secretary of the Board of Hangar

 24 Feb 2020

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

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

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

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

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

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


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

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








→ RELATED CONTENT
  • Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes 24 April 2013
  • Performance 'The Museum of Incest' de Simon Fujiwara, 19 Septiembre, 19h en Hangar 15 Septiembre 2009

 2020, Barcelona, board, Hangar, Mariana Cánepa Luna, Spanish Art Scene, studios facilities
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Latitudes' "out of office": wrap up of the 2018–2019 season

 01 Aug 2019
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 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 November 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, Corderie, Venice 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 Edwards, Venice 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).

 2018, 2019, art-agenda, Barcelona, Barcelona Producció, Buenos Aires, Frieze, Incidents of Travel, Joan Morey, Lara Almarcegui, out of office, performance, Portfolio, Reviews, Vienna
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Latitudes' redesigned portfolio – projects since 2005

 20 Feb 2019

After weeks and long hours facing the screen and mining hard disks, we've uploaded Latitudes' redesigned portfolio, at last! Go to download page and choose format:

For desktop/laptop/tablet view (83pp, 30.9 MB)
For mobile (164pp, 15.8 MB)
For print (164pp, 155.3 MB)

The pdf gathers a selection of projects produced since 2005 and includes a refreshed version of our biographies – which have also been updated on our website.

We have also included short individual biographies available for download as pdf – see below highlighted in yellow.

PDF designed and edited by Latitudes.

 RELATED CONTENT:
 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, Barcelona, latitudes, Mariana Cánepa Luna, Max Andrews, Portfolio
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Cover Story–February 2019: Schizophrenic Machine

 01 Feb 2019
Latitudes' home page www.lttds.org

The February 2019 Monthly Cover Story “Schizophrenic machine” is now up on Latitudes' homepage: www.lttds.org

“Schizophrenic machine, the concluding performance of the Latitudes-curated Joan Morey project COLLAPSE, took place on the freezing evening of 10 January. One hundred and thirteen pre-vetted audience members, each complying with a rigid all-black dress code, were driven by coach to the previously undisclosed location: the former La Model prison in Barcelona’s Eixample neighbourhood. More strictures were barked by a balaclava-clad doorman upon arrival: silence! single file! No mobile phones, no bathrooms, no chance to leave. The reverberation of a door slamming. More than two hours in the darkness and cold.”

—> Continue reading
—> After December it will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • Photo documentation of COLLAPSE.
  • Cover Story—January 2019: “Seesaw” (7 January 2019)
  • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
  • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
  • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018
 2018, 2019, Barcelona, Centre d'Art Barcelona, commissions, cover story, Joan Morey, Latitudes-curated, performance, site-specific
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‘COLLAPSE. Schizophrenic Machine’ site-specific performance by Joan Morey at the former prison La Model, Barcelona, 10 January 2019

 21 Jan 2019
‘Schizophrenic Machine’ site-specific performance by Joan Morey at the former Panopticon-inspired prison La Model, Barcelona, 10 January 2019. © All photographs by Noemí Jariod. Courtesy of the artist.


‘Schizophrenic Machine’ was the closure of the three-part project ‘COLLAPSE’ by Joan Morey. This new site-specific performance took place on January 10, 2019, in the former prison La Modelo, a location that was kept in secret up until the 113 guests were driven in coaches from either Centre d'art Contemporani - Fabra i Coats, or the Centre d'art Tecla Sala. 

The audience previously registered to attend the closed-door performance and agreed to comply with the strict dress code. The performance script integrated the 1904 chilling architecture of the prison through voice and technological devices such as drones, surveillance cameras, strobe lighting, and an architecture scanning laser. Each one activated and deactivated the building's memories making ‘Schizophrenic Machine’ be Morey's first performance with no human actors as protagonists. ‘Schizophrenic Machine’ continued Morey's long-standing exploration of power structures and control of the body.



 ‘Schizophrenic Machine’ took the physical and discursive past of La Model as a scenario for performance where bodies were not acting and the protagonist was the architecture itself. The Panopticon-inspired prison was inaugurated on June 9, 1904, and was conceived as a model for the Spanish penitentiary system: an example of the reintegration of criminals into society through discipline, isolation and religious morality. La Model was one of the main sites of political repression and social control in the city. Followers of all political persuasion passed through its cells, aside from common criminals, yet during the long totalitarian dictatorship of General Franco (1939–1975), it was especially notorious as a site for the repression of political dissidents. La Model closed on June 8, 2017, 113 years after its inauguration. 


 ‘Schizophrenic Machine’ took over the unoccupied building and created a phantasmagoric presence that activated and deactivated its own memory. Conceived as an all-encompassing experience the event took on a singular awareness of the building and the site. The sequential dramatisation of its radial spaces articulated a dystopian representational device. A cast of technological interpreters —voices, sound, lights, cameras, drones and other devices— took the place of performing bodies. Moreover, the panopticon architecture itself seemed to address spectators through a female voice that spoke on the principles of control, power and the paradigm of a surveillance society. La Model became a schizophrenic machine, an imperious disciplinary mechanism for the 21st century. 

 Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.





RELATED CONTENT:

  • Wakelet archive of social media content
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey (11 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey (10 December 2018)
  • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
  • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • Full performance programme
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
  • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018
 2018, 2019, Barcelona, Centre d'Art Barcelona, commissions, exhibition-making, in photos, Joan Morey, Latitudes-curated, performance, site-specific, Tecla Sala
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Selección de reseñas, videos y entrevistas sobre el proyecto COLAPSO de Joan Morey

 15 Jan 2019

Natàlia Farré, ‘Sumisión y frío en la Modelo’, El Periódico, 15 de enero 2019.

Maria Palau, ‘Angoixats a la Model’, El Punt Avui, 13 de enero 2019, pág 23.

Conxita Oliver, ‘El món performatiu de Joan Morey, a revisió’, eltemps.cat, 13 desembre 2018 (Catalán).


Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", núvol.com, 6 desembre 2018 (Catalán).


María Muñoz, ‘Sobre el poder, la performance y el deseo’, Metal magazine, 4 diciembre 2018 (Castellano).




"Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'H digital Mitjans de Comunicació de L'Hospitalet, 29 novembre 2018 (4'57'', Catalán).




Entrevista ‘Joan Morey, artista i performer mallorquí’ con Tania Adam, programa ‘Terrícoles’, canal betevé, 13 novembre 2018 (27', Catalán).
Vanessa Graell, ‘Anatomía de la ‘performance’’, El Mundo, 27 septiembre 2018 (Castellano).
Maria Palau, ‘Contra l'abús de poder’, El Punt Avui, 23 setiembre 2018 (Catalán).
Núria Juanico, ‘L’entrada a l’univers sinistre de Joan Morey’, Ara.cat, 25 setiembre 2018 (Catalán).



CONTENIDO RELACIONADO:
  • Proceso de inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey 11 Diciembre 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Wakelet archive of social media content
 2018, 2019, Barcelona, Centre d'Art Barcelona, Exhibition, Joan Morey, Latitudes-curated, performance, press coverage, Reviews, Tecla Sala
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