SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid
Wed, Feb 5 2025
Laia Estruch performing “Crol (Moll)” (2019) at the Pisicines Municipals de Montjuïc, part of her solo exhibition “Laia Estruch: Crol”, Espai13, Fundació Joan Miró, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega.
SAVE THE DATE
“Laia Estruch. HELLO EVERYONE”
26 February–1 September 2025
Museo Reina Sofía, Madrid
Opening: 25 February 2025, 8pm
Curated by Latitudes
Latitudes is thrilled to announce the opening of “HELLO EVERYONE”, a solo exhibition dedicated to the work of Catalan artist Laia Estruch (Barcelona, 1981).
Over the last fifteen years, Estruch has produced a consistently personal body of work that treats the human voice as a material reality—an expressive force and a medium expelled from the body. Her work has spanned ancestral poetry and post-punk music but has increasingly moved beyond the performance of spoken or sung words, and towards a sonic language that explores raw communicative effects, body consciousness and non-human agency. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. This process has evolved in tandem with creating often monumental sculptural settings for each of her vocal projects, resulting in steel slides, inflatable buoys or giant net traps, for example. These have become surrogate bodies in themselves, as well as temporary dramatic stages and interpretive scores for creating scenes and routines that the artist has termed vocal “rehearsals”.
“HELLO EVERYONE” takes the form of a fragmentary and vociferous archive spanning live events, sculpture, audio installation, moving images, graphic works and visual scores. This ambitious exhibition acts as a living-and-breathing storage that reconfigures a body of work, as well as works-as-bodies and spans the breadth of Estruch’s artistic research to date while engaging with her history as a performer. Forming a fluid relationship between active and inactive modes of presentation, and questioning the conventions of displaying and performing artworks, “HELLO EVERYONE” explores the sense and sincerity of verbal expression and the agency of the female voice.
Laia Estruch performing “GANIVET” (2020) at the Fundació Joan Brossa, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Daniel Cao.
A publication accompanying the exhibition will offer the first comprehensive monograph dedicated to the artist’s work. Designed by her longtime collaborator Ariadna Serrahima (Oficina del Disseny) and published by the Museo Reina Sofía, it will include a new text by artist Sharon Hayes (Estruch’s former professor at The Cooper Union) reflecting on performance pedagogy; the essay “Voice-Body-Sculpture” by Latitudes, the exhibition curators, which offers the first in-depth overview of Estruch’s practice; and a conversation between the artist and Marc Navarro, who curated Estruch’s 2019 exhibition at Espai 13, Fundació Miró. The monograph will be available in Spring 2025 in Spanish and English editions.
“HELLO EVERYONE” will take place on the fourth floor of the museum’s Sabatini building, and run concurrently with exhibitions dedicated to Huguette Caland (19 February-25 August 2025) and Naufus Ramírez-Figueroa (28 May-20 October 2025), amongst others. It will also coincide with several events programmed in Madrid around the 44th edition of ARCOmadrid art fair (5–9 March 2025).
ABOUT LAIA ESTRUCH
Laia Estruch (Barcelona, 1981) has had solo exhibitions at the Museu Nacional d'Art de Catalunya, Barcelona (2023); Spiritvessel, Espinavessa (2022); Fundació Joan Brossa, Barcelona (2020); Capella de Sant Roc, Valls (2019); and at Espai 13, Fundació Joan Miró, Barcelona (2019).
Recent group exhibitions include “After Paradise”, Kortrijk Triennial, Belgium (2024); “Topalekuak”, Tabakalera, Donostia (2024); Patio by ZONAMACO, ABC Art Baja, San José del Cabo, Mexico (2024); “I drank words submerged in dreams”, 23 Bienal de Arte Paiz, Guatemala (2023); “After the Mediterranean”, Hauser & Wirth, Menorca (2023); “Panorama 21. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona (2021) and “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020).
Estruch has performed in numerous public events within the framework of exhibitions, biennials and festivals, including “Segar i cantar”, Lo Pati, Amposta (2024); “The Listening Affect”, Galeria da Biodiversidade, Porto (2023); “Passat / Present”, Centre d’Interpretació d’Art Rupestre de la Roca dels Moros del Cogul, Lleida (2022); 10th Deleste Festival, Bombas Gens, Valencia (2022); “The Journeying Stream”, TBA21, Sotos de la Albolafia, Córdoba (2022), Bianyal 2021, Vall de Bianya (2021) or “Plataforma. Festival de Artes Performativas”, Parque de Bonaval, Santiago de Compostela (2021), amongst other.
In 2022 Estruch won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) with the work “Zócalo”, and was awarded the 2021 Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
Works in public space include “Moat-2 / Playground Scene” (2017–18) at Fabra i Coats Fàbrica de Creació, Barcelona; and the recently completed Concomitentes public commission “Aguas Vivas”, at Llanos de Penagos, Cantabria (2024).
Estruch has a BA in Fine Arts from the Universitat de Barcelona (2010) and studied Performance Art and Sound Art at The Cooper Union, New York (2010). She regularly lectures at the Facultat de Belles Arts, Universitat de Barcelona.
Her work is represented by Galería Ehrhardt Flórez, Madrid.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including the inaugural Panorama triennial “Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d’Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COL·LAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was the Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció at the Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes has curated the exhibition “Jorge Satorre. Ria” currently on view at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid) until August 31, 2025.
https://www.lttds.org
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
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Thu, May 23 2024
(Above and below) View of Ibon Aranberri’s exhibition “Entrasaka” at ARTIUM Museoa. All photos: Latitudes.
Max Andrews reviews Ibon Aranberri’s survey exhibition “Entresaka”, the ARTIUM Museoa – Museo de Arte Contemporáneo del País Vasco in Vitoria-Gasteiz (Basque Country) for frieze magazine:
“The exhibition’s evocative title, ‘Entresaka’ (‘thinning’ in the Basque language), accounts for the show’s apparent evasiveness, evoking the forestry management practice of selectively felling individual trees in order to promote overall woodland health and diversity. The artist’s most representative and extensive projects are duly cut down as if to their stumps in order that more marginal works may be afforded more light.”
Continue reading “Ibon Aranberri’s Abiding Instincts” here.
The exhibition has been coproduced with the Museo Nacional Centro de Arte Reina Sofía in Madrid, where it was presented between November 2023 and March 2024 under the title “Vista parcial” (Partial View). It is co-curated by Manuel Borja-Villel and Beatriz Herráez.
(Above and below) Views of Ibon Aranberri’s exhibition “Vista partial (Partial View)” at the Museo Nacional Centro de Arte Reina Sofía in Madrid. Photos: Latitudes.
→ RELATED CONTENT:
- “Cognitive Maps” interview between Ibon Aranberri and Peio Aguirre commissioned for UOVO #14 “Ecology, Luxury & Degradation” can be read here (pdf). Part of a 500-page issue guest-edited by Latitudes in 2007.
- Aranberri’s work “Luz de Lemóniz (Light over Lemóniz)”, 2000–2004, included in the Latitudes-curated group exhibition “Greenwashing. Environment: Perils, Promises and Perplexities” at the Fondazione Sandretto Re Rebaudengo, Turin, 2008.
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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.
Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy
Tue, Feb 1 2022
The February 2022 monthly Cover Story “” is now up on our homepage: www.lttds.org
“Protruding from three of MACBA’s columns like sails lashed to the masts of a ship, Rosa Tharrats’ Akaal / Selene \ Uluru (2021) is composed of layers of woven and printed cloth that have been stitched and fused together in combination with composites of homemade bioplastics—polymers made from biological sources such as seaweed and starch that have the potential to alleviate the growing problem of marine pollution.”
→ After February 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, 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
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Cover Story, November 2021: Notes for an Eye Fire
Tue, Nov 2 2021
November 2021 cover story on www.lttds.org
The November 2021 monthly Cover Story “Notes for an Eye Fire” is now up on our homepage: www.lttds.org
“There are days when an event, by the logic of the unforeseen, makes a cut in history and a different world is born. The MACBA exhibition ‘Apunts per a un incendi dels ulls’ (Notes for an Eye Fire) welcomes us after the global reset with a new generation.”
→ After November 2021 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, 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
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Opening of the exhibition "Notes for an Eye Fire" at MACBA
Thu, Oct 21 2021
The exhibition Notes for an Eye Fire opens on 22 October 2021 (preview 21 October) at the Museu d'Art Contemporani de Barcelona (MACBA) and will remain on view until 27 February 2022.
Notes for an Eye Fire is the first exhibition of a new series of triennial transdisciplinary projects entitled Panorama, focusing on artistic practices in and around Barcelona. As the “notes” of the title suggests, this group exhibition attempts to jot down, to lay out and to connect without seeking to be in any way definitive.
Notes for an Eye Fire brings together a group of specially commissioned works and recent productions being shown in Barcelona for the first time. It comprises a wide range of disciplines, including painting, sculpture, works on paper, video installation, performance, photography and textiles, and is driven by a desire to defend and verify the making of on-site exhibitions as experiences that envelop us as whole sensing bodies in space.
Participants: Ana Domínguez, El Palomar (Mariokissme & R. Marcos Mota), Laia Estruch, Arash Fayez, Antoni Hervàs, Rasmus Nilausen, nyamnyam (Ariadna Rodríguez & Iñaki Álvarez) with Pedro Pineda, Claudia Pagès, Aleix Plademunt, Marria Pratts, Stella Rahola Matutes, Eulàlia Rovira, Ruta de autor (Aymara Arreaza R. & Lorena Bou Linhares), Adrian Schindler, Rosa Tharrats, Gabriel Ventura, and Marc Vives.
Exhibition leaflet (pdf)
Exhibition website
Social media archive
Museu d'Art Contemporani de Barcelona (MACBA)
#PanoramaMACBA
#apuntsperaunincendidelsulls
#macbaBCN
→ RELATED CONTENT:
- 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.
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Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona
Mon, Jan 11 2021
Anuncio en e-flux de la nueva temporada de exposiciones en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 17 octubre 2020.
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Teresa Sesé, ‘Los objetos hablan: ¡escúchalos!’, La Vanguardia, 20 octubre 2020.
Montse Frisach, “Coses que les coses diuen”, catorze.cat, 21 octubre 2020.
Ramon Casalé Soler, El Temps de les Arts, 27 octubre 2020.
Cabe aclarar que, tal y como publicamos en Twitter el pasado 27 de octubre, ‘Cosas que las cosas dicen’ no se presentó anteriormente en el CAPC musée d'art contemporain de Bordeaux como menciona el articulista, sino que la exposición ha sido un encargo y una producción de Fabra i Coats: Centre d'Art Contemporani de Barcelona.
Eduardo de Vicente, ‘Historias explicadas por objetos’, el periódico, 16 diciembre 2020.
c/ Sant Adrià, 20
08030 Barcelona
#CosesQueLesCosesDiuen
#CosasQueLasCosasDicen
#ThingsThingsSay
📽Tráiler
(CAST) https://youtu.be/XI5ftjWUjVo
🗺Guía
Narrada por la artista Eulàlia Rovira (click y escoge idioma)
→ CONTENIDO RELACIONADO:
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Latitudes' homepage www.lttds.org
The January 2021 monthly Cover Story ‘Things Things Say’: ‘VIP's Union’ is now up on our homepage: www.lttds.org
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→ After January 2021 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.
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Latitudes' homepage www.lttds.org
“One Taste and You’ll Understand. That was Dunkin’ Donuts slogan in 2001. A year earlier: Loosen Up a Little. Then a bit later: Just the Thing. 2002–2004. Bring Yourself Back. 2004–2006. Now it’s America Runs on Dunkin’, but you get the point.”
→ Continue reading
→ After December 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:
→ After December 2020 this story will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story—November 2020: ‘Things Things Say’: Stuart Whipps’, 1 Nov 2020
- Cover Story—October 2020: Incidents (of Travel) Cabo Rojo, Puerto Rico, 2 Oct 2020
- Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’, 1 Sept 2020
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Sun, Nov 1 2020
“Another car strike. Marvellous, isn’t it? The taxpayers pay ’em millions each year, they get the money, go on strike. It’s called socialism. If they don’t like making cars, why don’t they get themselves another bloody job—designing cathedrals or composing violin concertos. The British Leyland Concerto—in four movements, all of them slow, with a four-hour tea-break in between...”
→ Continue reading
→ After November 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:
→ After November 2020 this story will be archived here.
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story—October 2020: Incidents (of Travel) Cabo Rojo, Puerto Rico, 2 Oct 2020
- Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’, 1 Sept 2020
- Cover Story—August 2020: ‘Màquina possible’: going viral at Can Balaguer, 1 Aug 2020
- Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi, 1 Jul 2020
- Cover Story—June 2020: Mataró Chauffeur Service, since 2010, 1 June 2020
- Cover Story—May 2020: Panama, back through the lens, 4 May 2020
- Cover Story—March-April 2020: The Bolós Cabinet, 3 March 2020
- Cover Story—February 2020: Carioca Incidents, 3 February 2020
- Cover Story—January 2020: Safeguarding Gestures, 2 January 2020