Longitudes

Max Andrews' Valencia Feature in frieze magazine, November-December 2019

Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.

Max Andrews has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia for the November–December 2019 (issue 207) of frieze magazine

The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.

Fermín Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.

"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art." 

→ Continue reading here.



View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
(Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019. 

RELATED CONTENT:

      Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’

      Latitudes' homepage www.lttds.org

      The November 2019 monthly Cover Story ‘Fighting fires in Valencia: the 30-year story of the IVAM’ on Latitudes' homepage: www.lttds.org
       

      "How does a museum recover from scandal? What imperatives exist for regional institutions outside of capitals? When, in 1989, the IVAM (Institut Valencià d’Art Modern) opened the doors to its imposing, new, slab-like building on the edge of what was once Valencia’s medieval walled core, it became the first public museum in Spain dedicated to collecting and exhibiting 20th-century art. Discussing IVAM’s rise, fall and reinvention, an article in the current frieze (issue 207, November–December) by Latitudes' Max Andrews (also a frieze Contributing Editor) is a case study on how right-wing politics impacted an entire city art ecology."


      → Continue reading
      → After November 2019, this story will be archived here.

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

      → RELATED CONTENTS: 


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

      Seen in Malasaña, Madrid. Photo: @marianacanepaluna

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

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

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

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


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

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


      Photo: Eulàlia Rovira and Adrian Schindler.

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

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

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

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


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

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


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

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


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

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

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


       Opening photos: Eva Carasol. 

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

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

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


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

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

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

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

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


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



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

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

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

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

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

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

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

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

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


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

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

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

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

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

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


      (Above and below) Photos by eSeL.


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


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

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

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

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

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

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

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

      Above and below: Museo Geominero, Madrid.


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


      Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.

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


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


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



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

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

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

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


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





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




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


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

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


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

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


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

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

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

      Pizza and fugazza at El Cuartito with Alejandra Aguado.

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


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

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

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

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

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



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

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


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

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

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

      Welsh Pavilion presented work by Sean EdwardsVenice Biennale 2019.

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

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

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


      Nearby building to HANGAR on c. Marroc / Espronceda.



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

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


       Joël Andrianomearisoa at Galería Sabrina Amrani.

       Above and below: Darío Villalba at Sala Alcalá 31

       Eva Fàbregas ‘Gut feeling’ at CentroCentro.

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

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

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


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


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

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

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


      Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell)

      Max Andrews, co-founder of Latitudes and contributing editor to frieze, recently reviewed the group exhibition ‘A Provisional History of the Technical Image, 1844–2018’ at LUMA Foundation in Arlès. The exhibition is curated by artist Walead Beshty and is on view until January 6, 2019. Published on frieze.com, 20 December 2018.
      Frank Gehry's LUMA building under construction, as of October 12, 2018. Above and following photos by Latitudes. 

      Views from the exhibition ‘A Provisional History of the Technical Image, 1844–2018’.

      "Le Fusil Photographique" by Étienne-Jules Marey. 

      Works by Wolfgang Tillmans (vitrines) and Christopher Williams (wall).

      Hans-Peter Feldmann's "9-12 Front Page", 2001. 


      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


      ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


      Also for frieze, Max Andrews reviewed two concurrent exhibitions by Pere Llobera: Acció’ at Bombon Projects (Barcelona) and ‘Kill Your Darlings’ at Sis Galería (in nearby Sabadell), ‘exploring the artist’s ever-changing styles and painterly references.’ Published online on 13 November 2018, and included in January-February 2019 print issue #200.

      “As if tormented by his own cursed hand, Llobera’s darkly fugitive shtick is his alarm at its ability to paint so adeptly so easily, despite his mind’s suspicion of painters painting to be admired.” 


       Views from Pere Llobera's exhibition ‘Acció’ at Bombon Projects, Barcelona. Courtesy the artist. Above and photos below: Roberto Ruiz.



      RELATED CONTENT:
      • Writing archive on Latitudes' website (since 2005);
      • Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze 9 April 2018
      • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
      • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
      • Cover Story – January 2017: How open are open calls? 4 January 2017
      • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
      • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
      • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
      • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015

      Latitudes' "out of office": wrap up of the 2017–2018 season

      This is possibly our favourite post of the year. Not just because it means we’ll shortly be taking a deserved summer break. But also because it brings a sense of accomplishment to look back at what has happened during the last twelve months — to remember the many conversations we’ve had, the places we’ve been privileged to visit and to refresh all those ideas and plans we intended to move forward. Onwards!

      September 11—October 6, 2017
      : Lead Faculty of the month-long "Geologic Time" residency at The Banff Centre for Arts and Creativity in Alberta, Canada.


      In this blog post, we shared some lithic impressions of the four weeks we spent leading a programme in Alberta's Rocky Mountains.

      One of the epic moments of the month: hike to Stanley Glacier.
      At the base of Mount Stanley, we found 505-million-year-old Burgess Shale trilobites, soft-body fossils from the Eldon formation.
      Snow surprised us on our final week in Banff.

      Welcome coffee with third week Guest faculty Sean Lynch.
      A fun evening at High Rollers bowling alley in Banff town.

      The closing event of "Geologic Time" was conceived as a two-hour infiltration into the pages, shelves, and display possibilities of The Banff Centre library. Featuring storytelling, documentation, annotation, sculpture, video, conversation and other live situations, the event presented some sediments of the ten participants’ ongoing research and geological collaborations. Pdf of the event programme.

      Posters communicating some of the seminars and excursions programmed during the four weeks. Design/Photos: Latitudes.
      Intervention by Semâ Bekirovic, based in Amsterdam. Bekirovic employed a number of external hard drives to act as pedestals for small stones. How many terabytes can a hunk of rock hold? What fragments of data detritus, chunks and grains of documents, broken off images, or weathered files, might be read and written, stored or retrieved?


      Intervention by Caitlin Chaisson based in Vancouver. Chaisson has been researching a former experimental farm station in Agassiz, British Columbia, and a forgotten centennial time capsule buried under a granite marker there. Caitlin also presented a cut-and-paste station on the table next to the photocopier, and a display for the tall vitrine just behind it.


      Intervention by Caroline Loewen, based in Calgary. Caroline delves deep into the story of sandstone in Alberta, a rock that gained widespread favour for building and decorative use following Calgary’s Great Fire of 1886. The black-and-brown Rundle Rock that was once quarried at the base of Banff-Centre-neighbour Mount Rundle and was used extensively in creating the Banff Springs Hotel also joins a conversation that anticipates an exhibition scheduled for next summer at Lougheed House in Calgary.
      Intervention by Justy Phillips & Margaret Woodward (A Published Event) based in Hobart. Described by the Hobart-based duo as “an accumulative event of mineralogical, metaphysical and metallurgical telling”, the books that have come into the world to date have been incorporated into the library’s holdings alongside a glossary and can be found in the geology section upstairs.

      An audio narration drafted by Penelope Smart was also heard on the upper floor, near the “memoirs and narrative” section. Here, an image of the exquisite marble bust by Giovanni Strazza animated Penny’s writing during the last weeks. It came to St.John’s, Newfoundland, in 1856. Ring the bell to the right of the main door of the Presentation Convent adjoining the Basilica in St.John’s and maybe one of the sisters will let you see it.

      Remnants of the 2-hour event.

      For the final event on October 5th, participants Becky Forsythe and Camila Sposati decided to collaborate through a performance using the library photocopier on the main floor. ‘"Receding Agate" and "Receding Rhodochrosite" was a collection of pages produced during a procedural artwork that slowly and methodically extracted copies of Agate and Rhodochrosite from Roger Caillois' "The Writing of Stones". Each page is a copy of the last, so text begins to harden into pebble-like shapes, and images begin to simplify as darker forms in an experiment of accumulation and sedimentation.’


      Far Afield, the artistic-curatorial initiative led by the also participant Caitlin Chaisson, hand-bound the resulting two-part publication for Far Afield's library, a platform for "collecting and sharing publications that support experimental art practices".

            Photos by Far Afield's library.

      27 October 2017: Cabaret at the Capella space, a public programme organised by the Museu d'Art Contemporani de Barcelona in the context of their Joan Brossa exhibition. The Capella space was decorated with fragments of Antoni Hervàs "El Misterio de Caviria" scenography, presented only a year earlier at the other La Capella space as part of the 2016 BCN Producció season. The project was mentored by Latitudes. Following Hervàs’s interests in Barcelona’s dwindling cabaret scene, he invited Gilda Love and castanets master Juan de la Cruz "el Rosillo" (who sadly passed away a few months after) to interpret a moving repertoire of popular Spanish copla, against the backdrop of parts of his scenography. 



      Gilda Love and castanets master Juan de la Cruz "el Rosillo". Photos by Dani Cantó/MACBA.

      5 November 2017: The 1878 painting by Alfred Roll "The Old Quarryman" is exchanged with Alfred Smith's "The Grave Docks" (1884) in the Latitudes-curated exhibition "4.543 billion" at the CAPC musée. The show remains on view another two more months, until January 7, 2018.

      Photo: Lysian Gauthier © Musée d'art contemporain de Bordeaux.

      Photo: Alice Cavender.

      (Unframed) Alfred Smith's (Bordeaux, 1854–Paris, 1936) “Le Quai de la Grave” [The Grave Docks] (1884). Collection of the Musée des Beaux-Arts, Bordeaux.

      15 November 2017: Study day at CAPC musée "The Return of the Earth. Ecologising Art History in the Anthropocene." With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—the event convened by '4.543 billion'-curators Max Andrews and Mariana Cánepa Luna, saw art practice and historical research intertwining with environmental and geological narratives, and vice versa.

      (Top) Left to right: Max Andrews, Xavier Ribas, Jean-Baptiste Fressoz and Ângela Ferreira during the debate. (Below) Ângela discussing her work in the exhibition. Photos (Above and below): Latitudes.

      22 November 2017: Launch of Anna Moreno's "The Drowned Giant" publication at the Col·legi d'Arquitectes de Catalunya alongside architect and researcher Lluis A. Casanovas. Moreno's project is part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor. 

      Video of the presentation (in Catalan).

      Photos (this and following): Pep Herrero / La Capella—Barcelona Producció 2017.
      (Above) Photo: Anna Moreno.

      Earlier that week we spent two intense mornings unpacking, hand spraying, numbering, inserting poster and booklet and re-packaging the limited edition of 300 vinyl records in the former Escola Massana, nearby La Capella. 

      A short video on the project was screened on betevé tv (in Catalan, starting 04:24min).


      Photos (Above and below): Latitudes.




      1 December 2017: Latitudes introduces the documentary "Harald Szeemann. The Life of a Dreamer" premiered at Cinemes Girona as part of the first edition of Dart Festival 2017, the Festival of Documentary Cinema on Contemporary Art.


      Photo: Latitudes.

      9 December 2017: Mariana of Latitudes led the first "Parlem" [Let's talk] guided tour around the exhibition "Rosemarie Castoro. Focus at infinity", curated by Tanya Barson, MACBA's Chief Curator, a free event repeated on March 10 and March 31st.

      Photo: Latitudes.

      December 2017: Transition from Storify to Wakelet to archive all the social media stories related to Latitudes' projects.
      Latitudes' Wakelet profile.

      20 December 2017: Max Andrews of Latitudes (and Contributing Editor of frieze magazine) looks back at 2017 from Barcelona and beyond, at some art highlights from a tumultuous 2017, including Amie Siegel, Pierre Huyghe, Lúa Coderch, Francesc Torres, Adrià Julià, Jordi Mitjà, Eulàlia Rovira & Adrian Schindler, Joan Morey, and Claudia Pagès. 

      2017 from Barcelona and beyond.

      23 January 2018: Opening of the exhibition "Artengo2000" by Magda Vaz and Camille Orny at the sala petita of La Capella. This is the third and final Barcelona Producció project mentored by Latitudes.



      (Above and below) View from "Artengo2000", an exhibition by Camille Orny and Magda Vaz at the Sala Petita in La Capella. Photo: Pep Herrero / La Capella.



      23 January 2018: The online platform arteinformado.com publishes three artist recommendations by five Spanish-based curators. Mariana Cánepa of Latitudes selected Gerard Ortín, Martín Llavaneras and Anna Moreno.

      25 January 2018: Print proofs of the forthcoming John Kørner's monograph published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews' of Latitudes, published on the occasion of his recent mid-career retrospective "Altid Mange Problemer" at Kunsthal Charlottenborg in Copenhagen (17 June–13 August 2017).



      2 February 2018: Roulette Russe publish an image of John Kørner's book hot off the press.




















      9–10 February 2018: Trip to Montpellier to attend the opening of "Crash Test" at La Panacée/Centre d'art Contemporain MoCo.

      16 February 2018: Max Andrews of Latitudes wrote a review of the show for frieze magazine published online and in the printed issue in April.

      Installation piece by Alice Channer.
      Work by Agnieszka Kurant (foreground) and Aude Pariset (background).

      Detail of a vitrine piece by Bianca Bondi.
      15 February 2018: Award ceremony of the 2017 Premis Ciutat de Barcelona, of which Mariana was a jury member in the Visual Arts category. Joan Morey was the awarded visual artist.

      20–23 February 2018: Trip to ARCOmadrid fair, below some social media posts.





      Photo: Roberto Ruiz.

      Lola Lasurt presented ‘Donació’ (Donation) in the Galeria Joan Prats booth, a body of work produced for the ‘Composiciones’ commissioning series Latitudes curated for the Barcelona Gallery Weekend 2016. Lasurt was also exhibiting as part of La Casa Encendida's "Generación 2018".

      22 February 2018: Max Andrews' review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona, is published online. The text is also be included in the printed issue in April. 
      Review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona.

      26 February 2018: After nearly two years in development, the sixth ‘Incidents (of Travel)dispatch from Yerevan, Armenia, is finally live! 

      In her day-long tour Yerevan-born, San Diego-based curator and researcher Marianna Hovhannisyan extended the invitation to Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan, three students from the studio college at the National Center of Aesthetics. The purpose was to document transformed, disappeared, or permanently-closed art institutions in the city centre. The shared inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work. As they were putting together the touches on this online version of the offline day, the studio-college itself closed down permanently at the end of 2017.

      http://incidents.kadist.org/yerevan

      2 March 2018: Book launch of John Kørner's monograph in Copenhagen. Published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews.


       (Above and below). Courtesy Roulette Russe. Photos by Finn Wergel Dahlgren.


      March 10 and 31, 2018: Second and third guided visits to Rosemarie Castoro's exhibition at MACBA led by Mariana Cánepa Luna of Latitudes.

      MACBA's Instagram story announcing the talk.

      March 20, 2018: Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda."A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center."

      Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda.

      The same day, we send the Spring newsletter to our contacts, in English and in Spanish.

      12—14 April 2018: Three performances by Les Brontë, Quim Pujol and Eliana Beltrán over three consecutive evenings at La Capella, part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor.



      (Above and below) "Fine Cherry" performance by Les Brontë. Photos: Latitudes.
      "Verde Croma" by Quim Pujol. Photos: Latitudes.
      "Reading Room #3" by Eliana Beltrán. Photos: Latitudes.


      1 May 2018: Max Andrews' profile on Madrid-based artist Teresa Solar Abboud goes online on frieze website.



      28 April–4 May 2018: Trip to Berlin during the Gallery Weekend, and later to Cologne to visit Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig, and Ana Jotta's first solo exhibition in Germany at the Temporary Gallery. More on this blog post and on this Wakelet feed.





      23–29 May 2018: Trip to London to visit +35 exhibitions, friends, and family – highlights below, full photo report here. Short day trip to Oxford's Pitt Rivers Museum (a favourite of ours), the Natural History Museum and Modern Art Oxford. 

       (Above and below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
      (Above) The incredible main hall of the Pitt Rivers Museum in Oxford.
       (Above) The opening of Leonor Antunes's "a thousand realities from an original mark" at Marian Goodman.Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003). 

       Fantastic assembly of Markus Lüperz's tent paintings at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.
       Batia Suter's work at The Photographers' Galery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018, finally won by Luke Willis Thompson with his striking film "autoportrait".
         (Above) Antoni Hervàs studio at Gasworks during his 3-month residency.
         (Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
      (Above) Peter Gabriel discussing his during the internet interspecies symposium "The Shape of a Circle in the Mind of a Fish" curated by Lucia Pietroiusti and Filipa Ramos for the Serpentine Gallery at the London Zoo.

      Things that make us very happy: when a friend travels half the world to find one of our publications (Amikejo catalogue by Mousse Publishing in 2011) in the library of TEORética in Costa Rica and shares a snapshot on Twitter. :-)

      28 June 2018: The seventh ‘Incidents (of Travel)’ dispatch from Hobart, Tasmania, goes live on http://incidents.kadist.org/ On this occasion, the offline conversation took place between curator Camila Marambio and artist Lucy Bleach. We're also working on the eighth destination: Buenos Aires.
      Throughout June–July 2018: Intense writing period in preparation of two forthcoming exhibitions: ‘Cream cheese and pretty ribbons!’ (Galerie Martin Janda, Vienna, opening on September 13 and, on view until October 14) and ‘COLLAPSE’, a solo exhibition by Joan Morey opening on September 19 over two floors of the Centre d'Art Contemporani de Barcelona - Fabra i Coats, with following chapters at the Centre d'Art Tecla Sala (23 November 2018–13 January 2019) and a new commission at a yet-undisclosed location (10 January 2019).


      18–29 July 2018: Two days in Dublin followed by a 10-day residency in Askeaton, as part of Askeaton Contemporary Art's (ACA) thirteenth annual event "Welcome to the neighbourhood". In 2018 ACA invited artists Matt Calderwood, Jonny Lyons, Ruth Clinton and Niamh Moriarty, alongside curators Gareth Bell-Jones (Flat Time House, London) and Latitudes. More on this post.

      Desmore castle undergoing restoration.
      Artists and POW workers after the tour.
      RUSAL Aughinish alumina plant from afar, this is the largest alumina refinery in Europe.
      Group trip to Lismore Castle upper garden in County Waterford.
      The gardens featured works by Franz West (above) and Rashid Johnson (below).

      The Grange Stone circle.

      During the residency, we learnt of the story of ‘the Pilgrim’, a merchant from Barcelona who arrived in Askeaton around 1767 and who lived out his life in the Franciscan friary, dying there in 1784. Digging further in the local library, we came across a 1984 article written by Tim Kelly in a back issue of the ABC News, Askeaton’s local publication of record. The story reveals a dramatic narrative bringing to life a cryptic inscription found in the cloister that reads “Beneath lies the Pilgrim’s body, who died January 17, 1784”. The tale involves an Italian, a Spaniard, and a morbid blood-hunt that links Barcelona with Askeaton and is read aloud by artist Carl Doran. 


      Matt Calderwood's boat ready to sail on the River Deel.
      Making of Jonny Lyons’ "Joyride" on the River Deel.
      "Welcome to the neighbourhood" Open day.


      August 2018: Aaaand we’re out of office! Kinda.

      Save the following dates:

      13 September, 6–9pm: Opening of ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna. 


      14 September, 6pm: Performance “One motif says to the other: I can’t take my eyes off you” by Adrian Schindler and Eulàlia Rovira. Followed by the artist lecture: “A Blow by Blow Account of Stonecarving in Oxford” by Sean Lynch. Part of the exhibition ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna.

      19 September, 19h: Opening of ‘Joan Morey. COLLAPSE’, Centre d'Art Contemporani de Barcelona - Fabra i Coats.




      RELATED CONTENT:


      Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze

      Review ‘The Molecular Turn’: While Social Media Flourishes Ecological Systems are Collapsing. At La Panacée, Montpellier, Nicolas Bourriaud’s manifesto for a new movement and attempt to demarcate an artistic peer group." on frieze magazine.

      Max Andrews, co-founder of Latitudes and contributing editor to frieze, has recently reviewed the group exhibition ‘Crash Test. The Molecular Turn’ (at La Panacée, Montpellier, until May 6, 2018) as well as Lúa Coderch's solo exhibition ‘The girl with no door on her mouth’ (àngels barcelona, on view until April 13, 2018) for friezeBoth texts are available online and are included in print in the April issue.

      —> Video of Lúa Coderch presenting her work (Spanish with English subtitles).

      Review "The Girl with No Door on Her Mouth: Lúa Coderch's Acts of Making Noise. The artist explores the politics of the female voice that speaks out or is shut up, at àngels barcelona, Spain." on frieze magazine.

      A review on Julia Spínola's solo show "Lubricán" at the Centro de Arte 2 de Mayo (Móstoles, Madrid), has also just been published online and will also be included in the forthcoming May 2018 issue.

      —> Video of Julia Spínola presenting the show (in Spanish).

      Review "Julia Spínola: Twilight. At Centro de Arte Dos de Mayo, Móstoles, a crepuscular glow lends acute poignancy to simple forms and materials" on frieze magazine.


      RELATED CONTENT:
      • Writing archive on Latitudes' website (since 2005);
      • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
      • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
      • Cover Story – January 2017: How open are open calls?, 4 January 2017
      • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
      • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
      • Symposium participation, "The Shock of Victory", Glasgow, 25 September 2015
      • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
      • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015

      Reviews of the exhibition "4.543 billion. The matter of matter" at the CAPC musée, Bordeaux

      As the ‘4.543 billion. The matter of matter’ exhibition concluded on January 7, 2018, at the CAPC musée in Bordeaux, we finished archiving all the social media posts visitors, the museum and ourselves have published – see our Wakelet feed below – since research phase to the exhibition itself, and below share the most relevant print and online reviews.
      Wakelet collection of the "4.543 billion" exhibition.

      December 8, 2017: Tom Jeffreys highlighted the exhibition in his "Looking Back: Paris" roundup for frieze magazine – illustrated with two works included in the show by Nicholas Mangan and Alexandra Navratil.

      "A little less academic, but no less rigorous, was ‘4,543 milliards’ (4,543 billion), curated by the Barcelona-based Latitudes (co-founded by frieze contributing editor Max Andrews) at CAPC, Bordeaux. Subtitled ‘The matter of matter’, the exhibition provided a material, geological and political response to the building’s former life as a warehouse for colonial commodities and, by extension, the complex entanglement of culture, money, politics and ecological impact. Marble from Trump Tower (Amie Siegel’s "Strata", 2017) was exhibited alongside partially-burnt documents rescued from a fire at the Bordeaux municipal archives and a 1939 mock invitation to the ‘Museum of Standard Oil’, actually MoMA’s new building, issued by the then-publications director, Frances Collins (unsurprisingly fired soon after). Combining archival materials with work by 30 artists, big ideas with specificity and nuance, this was exactly the kind of exhibition I would want to return to again and again. If the selection of the next artistic director the Venice Biennale were a democratic process, I’d be voting for Latitudes."


      November 28, 2017Frank Browning, Paris-based Contributor to the Huffington Post author, and former NPR Correspondent, reviewed the recently opened retrospective of Beatriz González and concluded his article with a short mention:

      "Meanwhile, around the corner at CAPC there’s an intriguing assembly of stones, papers, paintings, photographs and projections that unite geo-physics, sculpture, and art history, including the conversion of the building itself from a one-time commodities warehouse into its current life as a museum.

      Entitled “The Matter of Matter,” [missing "4.543 billion" years, the age of the Earth, and the first part of the exhibition title] it includes the work of 30 artists, assembled and mounted by a Spanish team, Max Andrews and Mariana Cánepa Luna. They call themselves Latitudes [wrongly published with two "T"]; they aim to excavate the world we inhabit daily, be it through the history indigo mining in Mexico and southern France (vital for fine pottery and coloring bluejeans) or oil extraction in Venezuela, gas infused sculptures or open pit diamond mining in southern Africa. All that we do, all that we eat, all that we create derives from one form of excavation or another. Simple truism as it may seem, Latitudes takes us into the intimacies of our relation with this earth and calls us to meditate on our physical and aesthetic relation to the steadily warming round rock that is our home."




      September 20, 2017: Emmanuel Labails of RCF Radio did a 9-minute interview with Pedro Jiménez Morras, Head of Press of CAPC, who discussed the premises of the exhibition and some of its works. (Listen between minute 4:39 and 13:36).

      August 19, 2017: Bea Espejo's ‘Cambio de tiempo’, on the Spanish national cultural supplement Babelia, in El País newspaper begins:

      ˝A ese pensamiento geológico del tiempo conduce la exposición 4.543 millones. La cuestión de la materia en el CAPC de Burdeos. La muestra aborda obras de arte, colecciones e historias culturales con relación a procesos ecológicos y la escala geológica del tiempo. En total, más de 35 artistas que dan valor a las discontinuidades, a las derivas y a las ausencias. La muestra almacena el tiempo como una batería almacena la energía. Y lo hace en varias capas de lectura. Una de ellas es el tiempo que lleva Latitudes, la oficina curatorial de Mariana Cánepa Luna y Max Andrews, trabajando en este proyecto, seguramente el más complejo y ambicioso, aunque esta investigación en torno a las complejas relaciones entre la ecología y el arte contemporáneo está en la base de todos sus proyectos desde 2005. Aquí no pueden ser más rotundos. Abordan la cuestión de la materia desde el lado más inmaterial, que es la memoria. Para ello, estudiaron a fondo el contexto de la ciudad bajo un programa de residencias del museo. Hablamos, pues, de un proyecto de investigación, algo que se traduce en cada pequeño gesto que recoge la muestra, y que lo expande todo. De ahí las relaciones de algunas obras con el departamento de zoología de la universidad (Ilana Halperin), el Museo de Bellas Artes (Stuart Whipps, o el préstamo de Alfred Roll), así como los muchos documentos y objetos que se incluyen de los archivos Métropole, de la Gironde y la colección geológica de la UFR Sciences de la Terre et de la Mer, de la Universidad de Burdeos.˝




      July 12, 2017: Catherine Darfay's ‘Le CAPC remonte le temps’ on the local newspaper "Sudouest", was the first feature. The article was illustrated with a with an image showing Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) chartering the daily price of carbon dioxide emissions allowances in the world’s largest carbon market —a changing value documented in this blog post.


      RELATED CONTENT:
      • 4.543 billion. The Matter of Matter” exhibition
      • Archive of social networks posts related to "4.543 billion"
      • Photo gallery of the exhibition 
      • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
      • Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
      • Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
      • Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017 
      • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
      • Cover Story – July 2017: 4.543 billion 3 July 2017
      • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
      • SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
      • Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
      • Second research trip to Bordeaux 16 July 2016

      2017 in 12 monthly Cover Stories

      Another year has gone by!

      Revisit some of Latitudespast–present–future–ongoing projects through our online archive of Monthly Cover Stories, a chance to focus on an artwork, article, event, film, exhibition, excursion or ongoing train of thoughts. 


      Cover Story January 2017: "How open are open calls?", 4 January 2017

      Cover Story February 2017: "The Dutch Assembly, five years on", 1 February 2017

      Cover Story – March 2017: "Time travel with Jordan Wolfson", 1 March 2017

      Cover Story – April 2017: "Banff Geologic Time", 3 April 2017

      Cover Story – May 2017: "S is for Shale or Stuart; W is for Waterfall, or Whipps", 1 May 2017 

      Cover Story – June 2017: "Moth light—Absent Forms", 1 June 2017
      Cover Story – July 2017: "4.543 billion", 3 July 2017 


      Cover Story – August 2017: "Walden 7; or, life in Sant Just Desvern", 1 August 2017  


      Cover Story – September 2017: "Dark Disruption. David Mutiloa's 'Synthesis'", 1 September 2017

      Cover Story – October 2017: "Geologic Time at Stanley Glacier", 11 October 2017

      Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
      Cover Story—December 2017: "Tabet’s Tapline trajectory", 4 December 2017

      RELATED CONTENT:
      Latitudes' Cover Story archive,
      Latitudes' writing archive,
      Latitudes' newsletters.

      Latitudes' "out of office" 2016–2017 season

       Downtime for physical and mental "reparations" begins. 
      Photos: Latitudes (except where noted otherwise).

      It's the end of the 2016–17 season, at last. Following a Latitudes' tradition we mark the summer downtime with an "out of office" post (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16 ones) with a series of "behind the scenes" and "making of" moments from the year gone by. Here are some glimpses of the past season, from September 2016 to July 2017.

      We'll be back in September 2017, when we'll be leading a residency programme at Banff Centre in the Canadian Rockies!

       
      15 September
      2016: The 2016–17 season started with glitter and sparkle as Antoni Hervàs' "The Mystery of Caviria" exhibition opened in La Capella. The eight chapters of his complex scenario revolved around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The spectacular scenography took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Taking this fragment, Hervàs explored the transformist and genre-bending possibilities of drawing, a medium that enabled him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene. Photos of the exhibition here.

      Toni's exhibition was the focus of the September and November Cover Story series on our home page, archived here.



      Photos above: Latitudes and Toni Hervàs.

      18 September 2016: More sparkle awaited on the former site of the Copacabana club and nearby frontón court. The former is currently a parking lot used by the Department of Culture of the Catalan Government. The lone castanets master Juan de la Cruz el Rosillo interpreted a moving repertoire of popular Spanish coplas. For the second part of the event, the audience walked a few meters up Las Ramblas towards the frontón, where Gerard López, Senior Spanish Champion in male rhythmic gymnastics, interpreted newly-commissioned choreography with specially-produced music by Norman Bambi, while wearing a Hervàs-designed garment (exhibited as part of his exhibition).


      20 September 2016: Just as we are catching our breath from the memorable exhibition opening and the first event related to Toni's exhibition, street banners popped up around the city announcing the second Barcelona Gallery Weekend.


      26–28 September 2016: Installation of "Composiciones" projects, five site-specific commissions for the second iteration of the Barcelona Gallery Weekend. Three days of intense preparations! Curated by Latitudes for the second time (see 2015 edition), the project further explored Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous.

       Above and below: Lola Lasurt at the Biblioteca Pública Arús. 
      (Above) Lúa and Mariana admiring the serendipitous finding of "El Espejo equivocado" painting at the Club Billar Barcelona. An almost spooky, yet incredibly fitting find. 

      (Above) With Rafel Bianchi and Gina Giménez unpacking Gina's works and spreading them around the former textile factory Can Trinxet, L’Hospitalet de Llobregat. 

      Silkscreened outfits for the runners finally ready to be worn throughout the weekend. Photos: Robert Llimós.

      Runners pass by Galeria dels Àngels. Photo: Gabriela Moragas.
       Testing the resistance of a pair of Levi's jeans in preparation for Wilfredo Prieto "Pantalones Rotos" at the Mounted Unit of the Barcelona City Police.


      29 September–2 October 2016: Opening and guided visits around the five "Composiciones" interventions by Lúa Coderch (at the Club Billar Barcelona); Regina Giménez (at the former textile factory Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (at the Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (at the Mounted Unit of the Barcelona City Police) in unique sites across the neighbourhoods of the city. Their projects offered moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

      Storify archive of social networks posts. Photographs here.

      Guided tour by Lúa Coderch in her intervention at the Club Billar Barcelona.

      Guided tour by Gina Giménez to ARCOwalks group in Can Trinxet. 

       Speaking for the radio at the Mounted Unit of the Barcelona City Police.

       
       TV presenter Josep Paris modeled Robert Llimós' 1972 updated runners design during the weekly cultural TV programme Àrtic. Photo: Àrtic.

       Double spread on "Composiciones" in the cultural supplement "Tendències" by national newspaper El Mundo. Photo: Vanessa Graell.

      26 October 2016: Launch of Rasmus Nilausen book "Soups & Symptoms" at Múltiplos, which includes an essay by Max Andrews. For the event, Rasmus and Max served up a carrot soup (potage crécy) and requested questions from friends, family and collaborators which would be accepted as long as they fitted onto Jacob's Cream cracker.

      The catalogue was produced thanks to the funding from Premi Art Nou 2015, Art Barcelona, Associació de Galeries d’Art Contemporani in collaboration with the Institut de Cultura de Barcelona, García Galeria (Madrid) and Estrany de la Mota (Barcelona). It can be purchased in La Central.

      Max and Rasmus prepare the carrots for a large pot of Potage Crécy, questions are written on a Jacob's Cream crackers (that will later accompany the soup) and book launch at Múltiplos.


      3 November 2016: Runway show at La Capella with some costumes from the 1980s and 90s designed by actor and impresario Victor Guerrero. Part of the activities programmed on the occasion of the exhibition.

      Photos: Latitudes.

      8 November 2016: Mariana Cánepa Luna's review on Ana Jotta's exhibition published on art-agenda, focused on "her ongoing series 'Notas de rodapé' [Footnotes] [which] provide a key to understanding the semantic complexity of her work. It comprises a selection of the eclectic bits and pieces which Jotta has gathered for decades and that coexist in her studio alongside works that she has fabricated." Continue reading


      23-24 November 2016: Latitudes participated in a two-day summit "You are such a curator!" organised by the Curatorial Programme of De Appel, Amsterdam. With contributions by Mira Asriningtyas, Lucrezia Calabro Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Ariane Loze, Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme, Huib Haye van der Werf, and others. We took the opportunity to extend our stay on the occasion of the Amsterdam Art Weekend 2016, which included the opening of Jordan Wolfson's at the Stedelijk and the Open Studios at the Rijksakademie.


      Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in Summer 2017. Full report here.

        Photos: Carina Erdmann/De Appel.

      November-December 2016: Two of Latitudes' projects ("Composiciones" commissions for the Barcelona Gallery Weekend and "El misterio de Caviria" by Antoni Hervàs) are shortlisted for the best exhibition of the year by the TV culture programme Tria33. The audience casts their votes online until January. Antoni Hervàs won with 40% of the audience votes. "Composiciones" ends in the third position with 17% of the votes.



      January 2017: Issue of frieze magazines includes Max Andrews' "Salon Selectives" text in the Opinion section, discussing "How open are open calls?":

      "While competition organizers typically trumpet the volume and cosmopolitanism of applications received an ebullient endorsement, others may rue the sheer amount of collectively wasted effort made by the also-rans. (In Spain, Bilbao-based studio Taller de Casquería estimated that the hours involved in the 1,715 submissions received for the Guggenheim Helsinki open call for designs represented over €18 million worth of speculative work.) In Gary Hustwit’s 2011 documentary film, Urbanized, Rem Koolhaas stated that such competitions were a ‘complete drain of intelligence’, inviting mass creative thinking with the guarantee that the vast majority of it will be discarded. This addiction in the field of architecture appears to be gaining traction in contemporary art as a means not only of generating exhibitions but of programming institutions."

      The text was the January Cover Story on our website.


      25 January 2017: Presentation of Antoni Hervàs' La Capella publication at the Antic Teatre in the background of one of his scenographic drawings dedicated to Gilda Love (this was the second time this had been displayed in this space, following the recording in May last year of Gilda performing, a video later included in the exhibition). The evening was followed by the "Desplume" monthly cabaret show.




      16 February 2017: A moving evening seeing Toni Hervàs receive the Premi Ciutat de Barcelona for visual arts exhibition of the year at the Sala de Consell de Cent in the Barcelona City Hall. The jury recognised "the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality."

      Toni receiving the award from Barcelona mayor Ada Colau and during his speech. Photos: Latitudes.

      1 March 2017: Launch of the fourth 'Incidents (of Travel)' episode, in which Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha in Lisbon. Their offline day took place in early December and went through key locations in the artist's life – from Ar.Co, the School of Visual Arts in Almada where she enrolled at age thirty-seven, to the Largo da Academia de Belas Artes in Chiado, where she conceived a public project that never materialised.
      Above: captures from the project website.

      2 March 2017: Opening of Joana Hurtado Matheu's "Nostalgic Dissidence" exhibition mentored by Latitudes as part of the Barcelona Producció 2016 season. Repairs and conservation work in the Baroque cupola had delayed the opening by three months, so we were all pleased the day finally arrived. 

        Working on the exhibition layout.

      Francesco Arena's "Mare della tranquillità" (2013) is activated by a performer. "An old wooden table, taken from the family dining room, has been cut into four pieces to form the corners of a much bigger new table. Enlarged with inserts of metal, its size evokes the table on which, on May 7, 1945, the signing of the German surrender ended World War II in Europe. The work is the support for a participative action which consists of walking back and forth on the five-metre table a total of 155 km, the length of the Berlin Wall. Every day during the two months of the exhibition someone will get up on the table and, wearing shoes that have never touched the ground and holding a tally counter, walk from one end to the other 596 times." (exhibition wall label by the curator)

      Photos: Pep Herrero/La Capella and Marc Llibre Roig.

      January 2017: The artist Alexandra Navratil pots an image of the work she will present in the forthcoming exhibition "4.543 billion" due to open June 29 at the CAPC musée in Bordeaux.


      22–24 March 2017: Third trip to Bordeaux. Packed with meetings. Three months to go to the opening of "4.543 billion" exhibition. In two weeks deadline to submit the texts for the gallery guide. 

       Running through each work through our sketch up exhibition rendering with the curatorial, collections, registrar, press and installation teams.

      23 March 2017: Meanwhile in Barcelona, Toni Hervàs wins yet another award – for the best exhibition of the year, and given by the Catalan Association of Art Critics. 

      Hervàs during the award ceremony. Photo: ACCA.

      April 2017: A bit of a website refresh – these things are so darn tedious yet they feel so good when they are done and dusted!


      26 April 2017: Fifth 'Incidents (of Travel)' episode online narrating the encounter between curator Simon Soon and artist Chi Too. Their offline day took place in April 2016, when they visited the Malaysian state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."

      'Incidents (of Travel)' is a chartered day-long itinerary as an alternative to the standard studio-visit, inviting an extended conversation between a curator and an artist. Previous destinations have included Chicago, US; Jinja, Uganda; Suzhou, China; and Lisbon, Portugal. Produced by Kadist; photographs and video by Awang Ketut; site built by The Present Group.



      Above: captures from the project website.

      3 May 2017: Conversation with Korean-born, Berlin-based artist Haegue Yang at the Fundació Tàpies, Barcelona. The evening discussion analysed Yang's practice from the perspective of historical development and cyclic fluctuations, asked, as phrased by sociologist and economist Giovanni Arrighi – what is accumulative, what is cyclical, what is new? 

      Photos: Fundació Han Nefkens.

      May 2017: After three intense weeks of jury process, eighteen selected projects of Barcelona Producció 2017 grant scheme are announced. We begin the year-long mentoring process of three projects out of the seventeen selected projects this year as part of the Barcelona Producció 2017 production grants. David Mutiloa's SYNTHESIS (18 July–25 September 2017) is first to occupy La Capella's 15th-century exhibition space. The other two projects mentored by Latitudes are a publication by Anna Moreno and an exhibition "Artengo2000" at the small exhibition space by Camille Orny and Magda Vaz.

       Jury searching for a solid wifi spot to watch video documentation sent by an applicant.

      12 June 2017, in Basel: Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings of Christopher Knowles. The publication is made to accompany his solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. The exquisite short-run publication is designed and printed by Barcelona-based independent publishers and Riso printers Do The Print. Read on.

       Photos: Latitudes

      Photo via @gal_NB


      12 June, in Barcelona: Following the announcement of the awardees of the 2017–18 season of Barcelona Producció production grants, we visit David Mutiloa's temporary studio in Hangar. Mutiloa is the first artist to open the season and his exhibition "SYNTHESIS" will take place in the central nave of La Capella from July 18. 

      "Using sculpture, video projections and human presence, David Mutiloa’s exhibition Synthesis proposes that this condition has led to the appearance of pharmacologically managed depression, “an illness of responsibility”. It has also induced a terrible form of boredom – the spectre of both the boundless outsourcing of undesirable labour to the developing world and automation leading to a world without work. – Text from the gallery guide, written by Latitudes (pdf here). 

      Here is a short video documenting the exhibition.

       Photos: Latitudes

       
      19 June–2 July: We're off to Bordeaux for the installation and opening of "4.543 billion. The matter of matter" exhibition in ten days. After two years of preparation, it's a truly exciting moment to see it all coming together.  

      —> Press release here
      —> Ongoing archive of social media posts here.

      Lucy Skaer's 26 coal and resin sculptures after Brancusi's 26 different editions of "Bird in Space".

      Deciding the layout of Félix Arnaudin's incredible suite of photographs kindly lent by the Musée d'Aquitaine Bordeaux.

      Photovoltaic panels charging the batteries that power Nicholas Mangan's double video projection "Ancient Lights" (2015). 

       Anne Garde's photos documenting Richard Serra's "Threats of Hell" (1990) production from Dillinger Hütter (Germany) to its exhibition at the CAPC nave, to its current location at a private collector home on the banks of the Garonne, where it changed its name to a happier "Hopes of Paradise".
       Part of the CAPC installation team having a coffee break enjoying Stéphane's awesome chocolate cake.
       Rayyane Tabet's mobile pieces arriving from Hamburg at the CAPC.
      Registrar thick checklist file.
       François measuring Lara Almarcegui's works before placing them on the wall.

       Construction of the warehouse and jetty. Statements of works by engineer and architect Claude Deschamps.
       Christophe moving the 600kg rock by Hubert Duprat to the entrance.
       Pascal lighting the exhibition.

      Christina Hemauer and Roman Keller stretching their new work "Untitled (Blue)" (2017), for a work focused on indigo and colonial trade. 

      Christina Hemauer and Terence Gower listening to Pep Vidal explaining his sculpture work "19-metre tree cut in 7 equal volumes" (2015). 

       One of the many guided visits for press, staff, friends of the museum during the opening days. Photo: Latitudes/RK.

      11–14 July 2017: Installation of "SYNTHESIS" in La Capella. David Mutiloa's solo exhibition is the first of the 2017–18 season of Barcelona Producció. Opening on July 18, on view until September 25.

      "In the modern office workplace, spatial design and brand communication have evolved in step with novel notions of management, business efficiency and a labour market that progressively favours flexibility and adaptability. The typical Western office worker – their physiology as well as their psychology – has also been overhauled. Twentieth-century time-and-motion studies first standardised and rationalised the salaried worker’s time and space. And today the twenty-first-century worker is increasingly a co-working independent contractor who navigates an entirely dissolved working-week structure, continuous competitive ‘disruption’ and the so-called ‘gig economy’." – Text by Latitudes from the exhibition sheet.

      Scheme to help assemble the platform.

       Artist at work.



      24–26 July 2017: Trip to Copenhagen to visit the impressive solo exhibition by John Kørner, "Altid Mange Problemer" at Kunsthal Charlottenborg, curated by Marie Nipper—the largest exhibition of his works to date. Max Andrews of Latitudes has been invited to contribute an essay for his forthcoming monograph published by Roulette Russe which is due to come out in November 2017. Max has previously written on John's work for his 2006 exhibition "Problems" at Victoria Miro Gallery in London. Our first visit to Copenhagen to see John's work was precisely the subject of our first blog post in September 2006!

      Everything in Copenhagen seemed to have turned yellow – we knew John's love for the colour (first image below), but also Mark Leckey's exhibition at the x-room of the Statens Museum fur Kunst, seemed to have been inspired by "the Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 


      Mark Leckey's exhibition ‘He Thrusts his fists against the posts but still insists he sees the ghosts’ recreated the ramps underneath the M53 motorway bridge in Ellesmere Port. 

      Example of the "Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 

      27 July 2017: Visit Ricardo Bofill's Walden7 and his nearby studio Taller de Arquitectura with Anna Moreno. Moreno was awarded a grant of Barcelona Producció 2017 to produce the publication "The Drowned Giant", a project focusing on a performance–happening staged by Bofill in 1970 to promote his unrealised architectural project La Ciudad en el Espacio in Moratalaz (Madrid). The publication will be launched in late November 2017 and is mentored by Latitudes. As part of Moreno's ongoing research on Bofill's practice, she has been living in Walden7 for the past month in order to carry research for a forthcoming commission for the Spring 2018 exhibition "Beehave" at the Fundació Miró. 


       (Above) Taller de arquitectura studio. (Below) Walden7 in Sant Just Desvern (Barcelona).



      At the time of writing, we are frantically preparing for what will be an intense September. On September 10 we'll travel to Banff, where Latitudes will be Lead Faculty of the month-long residency programme "Geologic Time" at the Banff Centre for Arts and Creativity which will bring together 10 curators/artists/writers from around the world to discuss geological formations and timescales, while speculating about a more expansive and longer-term view of art, exhibitions, and their institutions. We will be “thinking with” geology (beyond the depiction of the landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art. 

       Julius Schoppe (1795–1868), “Illustration of giant stone near the Rauenschen Mountains near Fürstenwalde”, c. 1827. Public domain – Wikimedia Commons.

      RELATED CONTENT:

      Cover Story – January 2017: How open are open calls?


      The January 2017 Monthly Cover Story is now up on www.lttds.org after January it will be archived here.  

      "The first issue of frieze of 2017 includes “Salon Selectives”, an article by Latitudes’s Max Andrews that, with a wink to sassy 1980s hair care, asks “how open are open calls?”. The text is accompanied by this astonishing drawing from the collection of The Metropolitan Museum of Art by Felicien Myrbach-Rheinfeld entitled Candidates for Admission to the Paris Salon (c.1900)." Continue reading...

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

      Related content:

      Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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