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



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.

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Cover Story—October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler"

Latitudes' home page www.lttds.org

The October 2018 Monthly Cover Story "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" is now up on Latitudes' homepage: www.lttds.org


"Eulàlia Rovira and Adrian Schindler’s new performance, "One motif says to the other: I can’t take my eyes off you" took place on 14th September as part of the Latitudes-curated Cream cheese and pretty ribbons! at Galerie Martin Janda, Vienna, an exhibition that also features the talents of David Bestué, Sean Lynch, and Batia Suter. The exclamatory title of the exhibition (which continues until 13 October as part of the curated_by festival synthesises two of the satirist Karl Kraus’s similes for what, writing in 1910, he considered the cultural polarity of monotonous functionality on the one hand and frivolous adornment on the other. Kraus lampooned both the sobriety of Germanic culture and the good taste of Romance culture, yet judged an even greater taboo was to be found in Vienna’s dressing up of the former with the latter." 

—> Continue reading
—> After October 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
  • Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’, 17 September 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 
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Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’

All photos: Latitudes.

On September 14, Eulàlia Rovira and Adrian Schindler presented the performance ‘One motif says to the other: I can’t take my eyes off you’ in the context of the exhibition ‘Cream Cheese and Pretty Ribbons!’, curated by Latitudes at Galerie Martin Janda in Vienna.

The new performance comprised a series of sartorial compositions, music clips, and readings from memory that were inspired by the belts, buckles, chains, harnesses, and tassels that appear on luxury silk scarf designs by brands such as Hermès, as well as the vogue for tattoos appropriating tribal patterns. A companion series of five photographic prints are derived from the intertwining designs of the latter textiles. 


Rovira and Schindler also present another work in the exhibition. "The Feet Fixed to the Ground Betray no Impatience" (2016) features a camera-phone film based around a Barcelona park bench, as well as its sculptural reproduction. This model of street furniture is known as the ‘Romantic double’, and it inspires a narrative and a sequence of gestures that evoke the masterplans that opened up cramped European cities in the 19th-Century as well as ongoing impulses to organise public space and orchestrate the gaze. 

Eulàlia Rovira & Adrian Schindler, born 1985 & 1989, live in Barcelona.


The exhibition ‘Cream cheese and pretty ribbons!’ brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.

Cream cheese and pretty ribbons!’ is part of the curated_by Vienna gallery festival inviting international curators. In 2018 the festival examines Vienna's systems and contradictions, life between the baroque and present times.

+ info

Share:
#CreamCheeseAndPrettyRibbons 
#CuratedbyVienna 


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Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna

Sean Lynch, Still from “A Blow by Blow Account of Stonecarving in Oxford” (2013–14). Slide projection with voiceover (19’), stone carving, rubble, photographs, museum artefacts, printed matter. Courtesy of the artist.
In his 1910 essay attacking the writing of Heinrich Heine "Heine und die Folgen” (Heine and the consequences), Viennese satirist Karl Kraus (1874–1936) identified two modes of what he called "intellectual vulgarity", an excess of content on the one hand and an excess of form on the other. "The one experiences only the material side of art", he writes, "It is of German origin. The other experiences even the rawest of materials artistically. It is of Romance origin." (In other words, French.) "To the one, art is an instrument; to the other, life is an ornament…”. 

Kraus thought that what he saw as the specifically Viennese development of dressing up Germanic culture with decorative elements imported from Romance culture was a bullshit ornamentation of the utilitarian.


Eulàlia Rovira and Adrian Schindler, ‘The Feet Fixed to the Ground Betray No Impatience’ (Els peus fixats al terra delatant cap impaciència) (2016), installation view at Fireplace, Barcelona. Courtesy the artists.

Opening on September 13, 6–9pm, at Galerie Martin Janda in Vienna (and on view until October 14), the exhibition ‘Cream cheese and pretty ribbons!’ curated by Latitudes brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.


Given that Kraus conjures up a world of robust public debate, whether on the pages of newspapers or in the cafés, the exhibition space has been devised as a kind of uncanny street scene.  


Façade of Galerie Martin Janda. Photo by Anna Konrath.

Cream cheese and pretty ribbons!’ is part of the curated_by Vienna gallery festival inviting international curators. In 2018 the festival examines Vienna itself, its systems and contradictions, life between the baroque and present times.

+ info

#CreamCheeseAndPrettyRibbons 
#CuratedbyVienna 



RELATED CONTENT:
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