Longitudes

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

Latitudes’ “Out of office”: wrap up of the 2019–20 season

 Mon, Aug 3 2020
Seen in l'Hospitalet de Llobregat. Photo: @marianacanepaluna

In what has now become something of a Latitudes’ tradition we wrap up the season with a retrospective glance behind the scenes of some of our projects and activities of the previous twelve months (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18 and 2018–19 posts). This last year has of course been unprecedented in so many ways. From mid-March, the Covid-19 pandemic meant that everything that had been in place was suddenly thrown into permanent doubt, delayed, or simply cancelled. As a healthcare crisis now precipitates an economic crisis, and with things we once took for granted (among them international travel, and visiting physical art exhibitions) completely changed for the foreseeable future, it is with more than a little trepidation that we even dare to look back at what once seemed normal. 

Keep well, keep safe.
#DistanciaManosMascarilla
#DistànciaMansMascareta


September 1, 2019: New season, new month, new cover story. ‘Polperro to Detroit’ tracked the improbable connection between Polperro, a small town Latitudes passed through on its summer sojourn, and an American Rust Belt metropolis we would be visiting later this September as participants of the Red Bull Arts Global Curatorial Initiative: Detroit.

September monthly Cover Story on https://www.lttds.org/coverstory

September 9–15, 2019: Beginning of the 2019–2020 season. This was our first trip to Helsinki where we were participating in two events. Firstly Latitudes was a partner organisation in the arts festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS that presented a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia. Latitudes invited Mercedes Azpilicueta to present her performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs. 

We were also guests of Frame Contemporary Art Finland’s Gathering for Rehearsing Hospitalities’, a week composed of talks, performative dialogues, interventions and screenings developed in collaboration with a number of local partners.


‘Gathering for Rehearsing Hospitalities’ organised by Frame Contemporary Art Finland, hosted at the Museum of Impossible Forms.

 
September 12, 5:30h: Mercedes Azpilicueta during her talk in Helsinki.

 
Inga Lace’s Instagram Stories documenting the conversation between Mercedes and Latitudes on September 13, 2019.


Mercedes during her rehearsal at Club Kaiku. 

Mercedes and Max in the ferry to Suomenlinna Island to visit HIAP and a film installation by Marjolijn Dijkman and & Toril Johannessen. 

 

With Jussi Koitela (Head of Programme, Frame Contemporary Art Finland) and curators Anne-Sophie Springer and Sofia Lemos in HIAP's office space in Suomenlinna island. 

Listening to Wet Code, a sound piece by Myriagon at Suomenlinna Island. Photo by Ida Enegren / Frame Contemporary Art Finland.


On top of the Temppeliaukion Kirkko (A church built into rock) with Anne-Sophie Springer and Sofia Lemos.


Our October 2019 cover story featured Azpilicueta's performance programmed during TODAY IS OUR TOMORROW. 

PUBLICS' Library in Helsinki incorporated Latitudes-edited publications to their beautiful shelves in Vallila, Helsinki.



September 18–23, 2019: Joined the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative participating in a range of events and visits in Chicago (18–21 September) and Detroit (21–23 September).

→ Read the photo report here.

Caught purchasing books during our visit to ExpoChicago's section Index Art Book Fair. Photo: Casa Bosques. 

Morning session with the participating curators in the EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative together with the Art Institute curatorial staff at the Art Institute Chicago. Photo: Expo Chicago.

The first stop in Detroit was visiting Dabls’ African Bead Gallery where we met its creator, Olayami Dabls led by our fantastic host Scott Campbell, Artist Liaison at Red Bull Arts Detroit, accompanied also by curator Maria Inés Rodríguez. 

Laura Mott (Senior Curator of Contemporary Art and Design) leading a tour of her curated exhibition ‘Landlord Colors: On Art, Economy, and Materiality’ at the Cranbrook Art Museum. Painting by Yoan Capote.

September 20, 2019: Meanwhile in Copenhagen, the exhibition Rasmus Nilausen's solo exhibition ‘Bluetooth’ opened at Overgaden. Institut for Samtidskunst, Copenhagen, for which Max contributed an essay.

→ Exhibition views and booklet (pdf).

(↑↓) Views from Nilausen's exhibition at Overgarden, Copenhagen. Photos: Anders Sune Berg. 



October 7, 2019: artfridge.de published the interview Helene Romakin conducted with us over the summer.

→ Read the interview.

artfridge.de



October 9, 2019: The artist Céline Mathieu (and former BAR TOOL #2 participant) published an article in the Belgian magazine HART on the Barcelona art scene mentioning Latitudes and our three closed-door sessions ‘Barcelona / Such a beautiful horizon: Critical social infrastructure to promote art scene health resilience’ Latitudes led with BAR Tool's 2018–19 participants.



October 17-19, 2019: Lecture ‘4.543 billion and abstract social nature’, Jornadas Eremuak, AzkunaZentroa, Bilbao. Taking as a reference point one of the ten galleries hosting the 2017 group exhibition ‘4,543 billion. The matter of matter’ at the CAPC musée d’art contemporain de Bordeaux, we expanded on the notion of ‘abstract social nature’ coined by environmental historian and geographer Jason W. Moore through the work of four exhibiting artists: Lara Almarcegui, Pep Vidal, Lucas Ihlein and Amy Balkin.

→ Video presentation here (Spanish, 24'45'')
→ Q&A session here (Spanish, 19'52'').


Photo: Eremuak.

October 23, 2019: First meeting with Joan Morey to discuss the adaptation of his retrospective exhibition COLLAPSE for Casal Solleric in Palma de Mallorca, opening at the end of January. Time is of the essence.



November 1, 2019: Max Andrews’s feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia’s IVAM was published in the November–December 2019 (issue 207) of frieze magazine. The article focuses on 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.

→ Featured as our November 2019 Cover Story.

November 2019 Cover Story www.lttds.org/coverstory

November 7, 2019: Latitudes presents the lecture ‘Curating in the Web of Life’ as part of the public programme for the group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’, Garage Museum of Contemporary Art, Moscow, 7 November 2019. This was our first trip to Russia.

→ Video of the lecture (1h 28min including Q&A).


(↑↓) Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art. 
 
Hello from Moscow's Red Square. 

The lobby of the heartbreaking zoological Museum in Moscow, the second largest zoological museum in Russia in Bolshaya Nikitskaya Street. 
(↑↓) The most beautiful, cleanest and ad-free metro network we've ever seen. 



November 20-25, 2019: Trip to Amsterdam Art Weekend (AAW). Mariana was writing a Roundup review on the event for art-agenda (published on December 13). Since we’ve already published a post in December 2020 about what we saw during the week, we’re now remembering on the always beautiful flower arrangements the Rijksakademie displays in their welcoming areas!

→ Earlier iterations of the AAW 2014, 2016 and 2018.





November 28, 2019: Inaugural screening of DART Festival of Contemporary Art Documentaries (28 November–1 December). Latitudes was a jury member this year together with film critic Quim Casas and visual artist Núria Güell, and awarded the film ‘Barbara Rubin & the Exploding NY Underground’ (USA, 2018, 78 min) by Chuck Smith as the best international documentary and ‘Elliott Erwitt – Silence Sounds Good’ (Spain-France, 2019, 61 min) by Adriana López Sanfeliu as the best national documentary.


The inaugural session of the 3rd edition of the festival took place at cinema Phenomena with the 1974 film ‘A bigger splash’ by Jack Hazan, and a welcome intro by TV host Laura Sangrà and DART Festival co-directors Enrichetta Cardinale and Marc Gomariz. Below one of the sessions at the always busy Cinemes Girona. Photo: DART Festival.





December 1, 2019: December gloom was compensated on our homepage by a feature on Edward Steichen’s 1936 exhibition ‘Delphiniums’, at The Museum of Modern Art, New York.
September monthly Cover Story https://www.lttds.org/coverstory/

December 3, 2019: Press presentation of the 2019-20 season of Barcelona Producció coinciding with the opening of Martin Llavaneras’s solo show. 

 
(Left to right) Alexandra Laudo (Barcelona Producció 2019-20 jury member and tutor of Martin Llavaneras’ project), Oriol Gual (Capella director), David Armengol (Tutor coordination), and Jordi Ferreiro (artist in charge of the newly created mediation grant).

We-fie with the three artists Latitudes tutored this season (left to right): Lola Lasurt, Consol Llupià, Agustín Ortiz (and Lola's baby Margot).

December 13, 2019: art-agenda publishes Mariana's Amsterdam Roundup, expanded with more photos on this Longitudes' post.

→ Read the review.


December 20, 2019: Mariana attends the last (official) meeting as secretary and board member of the Fundació Privada AAVC, the organisation governing HANGAR Centre de Producció i Recerca d'Arts Visuals. The board has met on a regular basis between December 2015 and December 2019 in order to discuss all aspects regarding its daily running—overseeing expenditure, approving financial forecasts or more philosophical yet pressing issues over its daily governance. A new board begins the next four-year term 2020–24.

Christmas 2019: Slow inbox days dedicated to writing and editing artwork captions, finalising an essay and the press release for the new iteration of Joan Morey's retrospective adapted to Casal Solleric in Palma de Mallorca.

Max editing Joan Morey's texts for its new iteration at Casal Solleric. 

January 2, 2020: New Year, New Decade, New Month, New Cover Story. Featuring Adrián Villar Rojas’s ‘Poems for Earthlings’ transformative installation at Oude Kerk, Amsterdam, and featured in Mariana’s recent art-agenda Roundup.

January 2020 Monthly Cover Story on www.lttds.org, archived here. 

January 21, 2020: Publish a refreshed Reduce Art Flights website (first published in 2008!) now including an exhibition history and a transcript of the interview with RAF’s instigator, the late Gustav Metzger.

→ https://reduceartflights.lttds.org


January 22, 2020: First meeting with Clara Renau, Miriam Soms and Joana Hurtado, the team of the Fabra i Coats: Centre of Contemporary Art of Barcelona to begin work on a group exhibition for the Autumn 2020...


January 28, 2020: Launch of the 10th dispatch of ‘Incidents (of Travel)’ with contributions from Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro, Brazil.

→ http://incidents.kadist.org




January 31, 2020: Opening of the solo exhibition by Joan Morey ‘COLLAPSE. Bachelor Machine’ at Casal Solleric, Palma de Mallorca. The exhibition is an adaptation of the first two parts of the project COLLAPSE presented in three concurrent venues in Barcelona between September 2018 and January 2019.


Bringing one of the seven vitrine-coffins exhibiting materials related to Morey's performances. Photo: @joanmorey via Instagram. 

Exhibition vinyl placed at the entrance of the exhibition. 
Installing ‘COS SOCIAL’ (2017) film. Photo: Joan Morey. 

Joan Morey guided tour on the opening night.

 
Celebratory coques i espinagades with Joan at the unbeatable Fornet de la Soca. 

February 21, 2020: Max joins Agustín Ortiz Herrera (whose research ‘Naming, Possessing. Critique of Taxonomic Practice’ is mentored by Latitudes as part of the Barcelona Producció 2019–20 season) the Cabinet of Curiosities of Francesc Bolós in Olot.

→ Featured in Latitudes' March cover story.


Agustín browsing through one of the copies of Linnaeus' "Species plantarum".



February 24, 2020: Ahead of ARCOmadrid art fair, Max (Contributor Editor, frieze magazine) selected some institutional and gallery shows to see in Madrid this week.


Frieze magazine organised evening drinks during ARCOmadrid at the legendary Bar Cock near Gran Via.

March 10, 2020: Attended the opening of Pere Llobera's solo show at La Capella, the second of the Barcelona Producció 2019-20 season. This became the last opening before the state of alarm was declared in Spain (eventually extended until June 21) triggered by the COVID-19 pandemic, and we had to remain at home until June.


View of Pere Llobera's exhibition ‘Faula Rodona. Sols i embogits. Entre la precisió total i una cancó de Sau’ (Circular Fable. Alone and Maddened; Between Total Accuracy and a Song by Sau). Photo: Pep Herrero / La Capella. 

March 13, 2020: Confinement. Projects on hold, conversations postponed. One of them was the three-day seminar Agustín Ortiz Herrera was preparing in the context of his ongoing research project ‘To name, to own. Critique of taxonomic practice’. Agustín’s research is one of the three projects mentored by Latitudes as part of the Barcelona Producció 2019–20 production grant. More on this and other ‘frozen’ projects, hopefully soon.

Photo: Agustín Ortiz Herrera, 2019.

April 2020: This month marks Latitudes’ 15 anniversary, celebrated during a strict lockdown.


April 9, 2020: . Launch of the 11th dispatch of ‘Incidents (of Travel)’ with an itinerary by the artist duo Donna Conlon and Jonathan Harker and report and photos by curator Sandino Scheidegger (Random Institute) from Panamá City, Panama. 

→ incidents.kadist.org


May 2, 2020: After more hours than we'd like to know or admit (and one of the few good side effects confinement allowed) we finally launched our rebuilt and redesigned website.

→ https://www.lttds.org 



May 22, 2020: Consol Llupià, one of the three artists we have been tutoring this year as part of the visual arts grant scheme Barcelona Producció, launched her online initiative ‘Vibraera’, part of her long-term ongoing project ‘La Balena de El Prat a El Prat’ [The El Prat Whale to El Prat]. On this day, during the migratory season of Whales around the Mediterranean coast and coinciding with a new moon, Llupià invited collaborators to join her in “an energetic rebellion, a call for collective immaterial action”, as she described it. This unfolding chapter was conceived as a symbolic communicative dialogue between humans and whales and consisted of an energetic global gathering intended to activate the vibrational capacity of humans to generate interspecies connections.


June 1, 2020: Jitsi catching up with the tutors of Barcelona Producció (Antònia Folguera missing) to discuss the results of the co-signed Open Letter (in Catalan) requesting the Barcelona Institute of Culture to immediately launch the 2021 Open Call, a petition that thankfully became effective a week later.

Photo: David Armengol. 

June 24, 2020: The of our contributions to Questions and Appearances, an initiative by Kadist, is Fermín Jiménez Landa’s response to our question “What is your advice, or warning, to the government?”, followed on the 8th by a second one (“What is importantly non-essential?”) which we posed to Arash Fayez.

→ https://www.instagram.com/questionsandappearances/


 

June 29, 2020: Technical meeting in preparation of Lola Lasurt’s forthcoming show at La Capella. David Armengol (Barcelona Producció 2019-20 coordinator, affectionally known as the ‘Tutor of tutors’) picked up an old-fashioned drawing table from Massana art school.


July 1, 2020: New cover story and a new episode of Incidents (of Travel) from Tbilisi, Georgia. A spring itinerary through the city’s former silk industry and the heart of Nino Kvrivishvili’s practice, the tour took place via a screen in Australia as Georgia emerged from the Spring lockdown.

→ incidents.kadist.org

Latitudes’ July 2020 homepage. 

July 21, 2020: After a month's of postponement, Lola Lasurt’s exhibition ‘Children’s Game’ opens at La Capella. It’s been a long process since it was announced as one of the three selected shows to be produced and presented at La Capella.

Lasurt’s exhibition looks back at the 1968 retrospective exhibition ‘Miró. Barcelona 1968-69’ with which La Capella was inaugurated as a venue dedicated to contemporary art. Through a new series of paintings, photos, videos, and ceramics, Lasurt addresses the socio-political turmoil at the end of the 1960s. She depicts imagery related to childhood published in the national press during the two-month state of exception declared in Spain just a few days after the Miró exhibition had ended.

→ Exhibition sheet (pdf)
→ Exhibition publication (pdf)


August 2019 meeting discussing layout and production calendar. 

(↑↓) During the Spring lockdown, we continued to check on each other and share the work-in-process. Lola was working on her ceramics and paintings in a garage-turned-studio nearby her house in Manresa and we were writing the text for the exhibition sheet. 

(↑↓) 14–16 July 2020: Lotema team during the installation. 



Due to the pandemic health measures, there was no opening event and visitors RSVPd in groups of 10. Photo: Pep Herrero/La Capella.

Lola Lasurt during one of the guided visits. Photo: Pep Herrero/La Capella.

Publication designed by Carles Murillo. 

July 23, 2020: Joan Morey presented the performance “COLLAPSE. Possible Machine” at the house museum Can Balaguer as part of his retrospective exhibition ‘COLLAPSE. Bachelor Machine’ at Casal Solleric (now extended until 6 September 2020). The performance took his 2017 performance ‘TOUR DE FORCE’ as a departing point but situated it in the present SARS-CoV-2 global pandemic.

(↑↓) July 9, 2020: Rehearsals with the actresses Anna Sabaté and Candela Capitán, protagonists in ‘COLAPSO. Máquina posible’ alongside Nadal Roig. Photo: @joanmorey 

(↑↓) Poster produced for the performance with an essay by Latitudes. Photos: Joan Morey. 
Latitudes’ August 2020 Cover Story.

Looking forward to (hopefully) attending some Autumn activities for Lasurt’s recently opened exhibition at La Capella, to publicly present Agustín Ortiz’s ongoing research and publication in October, as well as Consol Llupià’s publication. And, most importantly, to open on October 17, the group show ‘Things Things Say’ we have been working on since January, to be presented at Fabra i Coats: Contemporary Art Center of Barcelona’s ground floor. Things will be revealed in due course.


→ RELATED CONTENTS:

 2019, 2020, Agustín Ortiz, Barcelona Producció, Bilbao, Consol Llupià, covid-19, Incidents of Travel, Joan Morey, Lecture, Lola Lasurt, Mercedes Azpilicueta, Moscow, out of office, visitor programmes
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Cover Story – August 2020: ‘Màquina possible’: going viral at Can Balaguer

 Sat, Aug 1 2020
Latitudes' homepage www.lttds.org

The July 2020 monthly Cover Story ‘Màquina Possible: going viral at Can Balaguer’ is now up on our homepage: www.lttds.org

“Joan Morey’s ‘COL·LAPSE. Màquina possible‘ (COLLAPSE. Possible machine) took place on 23 July in Palma de Mallorca. Conceived for two bodies, a single voice, and live organ accompaniment, the performance was an adaptation of the prologue and first act of ‘TOUR DE FORCE’ (2017). A small audience was confined in the rooms of the Can Balaguer, including its grand music room, with two of the original performers.”

→ Continue reading
→ After August 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 activities.


→ RELATED CONTENTS: 

  • Archive of Monthly Cover Stories
  • 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
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019

 2017, 2018, 2020, colapso, covid-19, curators, Exhibition, Joan Morey, performance, Solo show
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Performance ‘COLAPSO. Máquina posible’ de Joan Morey en Can Balaguer, 23 de julio 2020, 19h y 20:30h

 Mon, Jul 13 2020
‘TOUR DE FORCE’ © Joan Morey. Foto: Noemi Jariod | Cortesía del artista y del Centre de Cultura Contemporània de Barcelona (CCCB).
Joan Morey
Performance ‘COLAPSO. Máquina posible’
23.7.2020
Can Balaguer
Carrer de la Unió, 3
07001 Palma de Mallorca

El próximo 23 de julio 2020 a las 19h y las 20:30h, Joan Morey presentará en Can Balaguer la performance ‘Máquina posible’, en el marco de su retrospectiva ‘COLAPSO. Máquina célibe’ que actualmente se puede visitar en Casal Solleric hasta el 6 de septiembre de 2020. 

 Es imprescindible inscribirse previamente (formulario abierto hasta el viernes 17 julio) para acceder a la performance, así como cumplir con un código de vestuario y acatar estrictas normas de acceso.

(↑ ↓) Sala dedicada al proyecto ‘TOUR DE FORCE’ en la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en Casal Solleric, Palma de Mallorca, 31 enero–6 septiembre 2020. © Joan Morey. Fotografías: Roberto Ruiz | Cortesía del artista y Casal Solleric.


‘Máquina posible’ (2020) consiste en la reactivación, adaptación y actualización de la obra dramática ‘TOUR DE FORCE’ (2017), que trazaba de manera poética varios recorridos por la breve historia del sida, desde la aparición de la enfermedad y su conversión en pandemia a finales del siglo pasado hasta las parafilias generadas alrededor de la transmisión y la difusión del virus que la provoca, el VIH. Dos de las intérpretes originales se confinan ahora en el espacio doméstico de la planta noble del dieciochesco edificio de Can Balaguer.

La consuetudinaria estructura en actos rige una vez más la formalización de la performance, ideada para dos cuerpos, una sola voz y un acompañamiento musical. En este caso las interpretaciones femeninas se ven punteadas por interludios ejecutados en directo desde el imponente órgano que ocupa la gran Sala de Música en Can Balaguer.




Protagonizada por Anna Sabaté, Candela Capitán y Nadal Roig, ‘Máquina posible’ configura una dramática maquinaria de movimiento coreográfico, música y voz que toma el interior de la casa como espacio de transmisión y memoria basándose en ejes temáticos como la pandemia, el encarcelamiento y la fragilidad humana.

 ‘COLAPSO. Máquina célibe’ es una adaptación del proyecto original ‘COLAPSO. Máquina deseante, máquina de trabajo’ que tuvo lugar simultáneamente en el Centre d'Art Contemporani de Barcelona - Fabra i Coats, el Centre d'Art Tecla Sala y la prisión celular la Modelo entre el septiembre 2018 y enero 2019, ambas comisariadas por Latitudes.

 ‘COLAPSO. Máquina posible’ de Joan Morey está comisariada per Latitudes y es una producción de la Direcció General d’Arts Visuals de la Regidoria de Cultura i Benestar Social de l’Ajuntament de Palma, Casal Solleric y Can Balaguer, con la colaboración de HM hotels.




→ CONTENIDO RELACIONADO:
  • Wakelet archivo redes sociales
  • Ressenya de Pere Antoni Pons, ‘L'Art provocador i litúrgic de Joan Morey’, El temps de les arts, 10 juliol 2020
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018



 2020, colapso, covid-19, fabra i coats, Joan Morey, Latitudes-curated, performance, site-specific, Solo show
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Documentación de la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en el Casal Solleric, Palma de Mallorca

 Fri, Feb 7 2020

La exposición individual ‘COLAPSO. Máquina célibe’ de Joan Morey que puede verse en el Casal Solleric, Palma de Mallorca, hasta el 3 de mayo 2020. Fotos: Latitudes.
Panel introductorio de la exposición y créditos, abajo panel y cartelas del programa de audio.


‘COLAPSO. Máquina célibe’ es la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. Consiste en una revisión de seis grandes proyectos, cuya documentación y otros objetos se expone junto con ocho piezas sonoras. Las doce majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogen este conjunto de materiales, voces y cuerpos que, con su colapso, ofrecen una panorámica de los últimos diez años de la carrera artística de Morey. 

La exposición es una adaptación de ‘COLAPSO’, un proyecto en tres partes que tuvo lugar simultáneamente en el Centre d’Art Contemporani de Barcelona - Fabra i Coats, el Centro de Arte Tecla Sala de L’Hospitalet de Llobregat y la antigua cárcel Modelo de Barcelona entre 2018 y 2019.

 Entrada a la exposición en la planta noble. Acceso a la exposición en orden cronológico.

Entrada al proyecto COS SOCIAL en la planta noble. Acceso a la exposición por orden cronológico inverso.

Poster del proyecto ‘COS SOCIAL. Lección de anatomía’ (2017).

Performance para pantalla ‘COS SOCIAL. Lección de anatomía’ (2017). 

(Arriba y abajo) Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017). Al fondo sala dedicada a ‘TOUR DE FORCE’ (2017).

Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017).

En la sala vermella (sala roja) se exhibe la mesa de disección utilizada en la película ‘COS SOCIAL. Lección de anatomía’ (2017) y la vestimenta de la única actriz.


La muestra de este nuevo capítulo, ‘COLAPSO. Máquina célibe’, se organiza en torno a vitrinas y pantallas de vídeo dispuestas a modo de sarcófagos o relicarios. Ocupa un lugar destacado la performance para la pantalla ‘CUERPO SOCIAL. Lección de anatomía’ (2017), así como una selección de cinco proyectos anteriores, producidos entre 2007 y 2017 y desarrollados mediante el lenguaje artístico de la performance. Además, el patio del Casal Solleric alberga un programa continuado de obras de audio: grabaciones de lecturas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.

Inicio cronológico de la muestra: sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7).

Sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7) y conexión a la derecha con la sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
 
Detalle de los contenidos presentados en la vitrina del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9).

Sala dedicada a ‘GRITOS Y SUSURROS. Converses amb els radicals’ (2009) y al fondo proyección del mismo proyecto (abajo).

Video proyeccion del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9). 

Sala dedicada al proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).

Detalle de la vitrina del proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Contenidos de una de las dos vitrinas dedicadas a ‘TOUR DE FORCE’ (2017).


Video teaser del proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘COS SOCIAL’ (2017).

→ CONTENIDO RELACIONADO:
  • Documentación fotográfica de COLAPSO;
  • Archivo Wakelet redes sociales;
  • Joan Morey awarded the Botín Foundation's International Visual Arts Grant, 22 July 2019
  • Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113. 
  • Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2019 
  • Performance ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
 2020, colapso, Exhibition, in photos, installation views, Joan Morey, Latitudes-curated, Solo show
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Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020

 Wed, Jan 15 2020
Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

A partir del 31 de enero 2020, Casal Solleric en Palma de Mallorca acogerá la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. La exposición ‘COLAPSO. Máquina célibe’ es una adaptación del proyecto que el artista presentó simutáneamente en tres sedes de la ciudad condal entre septiembre 2018 y enero 2019 [1] y se podrá visitar hasta el 3 de mayo 2020.

Las majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogerán una selección de seis proyectos producidos entre 2007 y 2017 desarrollados mediante el lenguaje artístico de la performance, así como un programa continuado de ocho piezas de audio: grabaciones de lecturas dramatizadas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.  
Joan Morey, COS SOCIAL. Lliçó d'anatomia (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

Joan Morey ha producido un extenso conjunto de performances, vídeos, instalaciones y obras sonoras y gráficas que, desde finales de los años noventa, explora la intersección entre teatro, cine, filosofía, sexualidad y subjetividad. 

Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).

Joan Morey, ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ (2006–2007). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 27 septiembre 2018. Foto: Noemi Jariod. Cortesía del artista.

Joan Morey, ‘LLETANIA APÒRIMA’ (2009). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 11 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’, 2009. Inter by Carme Callol and Tatin Revenga. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 25 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘BAREBACK. Fenomenología de la comunión’ Reenactment de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 15 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘IL LINGUAGGIO DEL CORPO’, 2015. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 29 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ (2017). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 13 diciembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘COLAPSO. Máquina esquizofrénica’ nueva performance site-specific, prisión la Modelo, Barcelona, 10 enero 2019. Foto: Noemí Jariod. Cortesía del artista.

El recorrido se inicia con uno de sus más recientes trabajos: la “performance para pantalla” ‘COS SOCIAL. Lliçó d'anatomia’ (2017), que actúa como eje conceptual de la exposición, y que obtuvo el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona. Ésta y la performance ‘TOUR DE FORCE’ (2017), también incluída en la exposición, le valieron el Premi Ciutat de Barcelona d'Arts Visuals 2017.

La exposición ‘COLAPSO. Máquina célibe’ en Casal Solleric está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.


[1] ‘COLAPSO. Máquina deseante, máquina de trabajo’, Centre d’Art Contemporani de Barcelona - Fabra i Coats (del 20 de septiembre de 2018 al 13 de enero de 2019); ‘COLAPSO. Cuerpo social’, Centro de Arte Tecla Sala (L’Hospitalet de Llobregat, del 15 de noviembre de 2018 al 13 de enero de 2019), y ‘COLAPSO. Máquina esquizofrénica’, en la antigua cárcel Modelo (Barcelona, 10 de enero de 2019).

→ CONTENIDOS RELACIONADOS:

 2018, 2019, 2020, exhibition-making, fabra i coats, itineraries, Joan Morey, Latitudes-curated, performance, Solo show
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2019 in 10 monthly Cover Stories

 Mon, Dec 23 2019
Since our 10th anniversary in Spring 2015, Latitudes has published a monthly cover story on its website (www.lttds.org) featuring past, present or forthcoming projects, as well as research, texts, artworks, exhibitions, films, objects or travel related to our curatorial work.  

2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).

Happy holidays and a joyful 2020!

Cover Story—December 2019: Curating and the Web of Life.
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’.
Cover Story—October 2019: Mercedes Azpilicueta in Helsinki.
 Cover Story—September 2019: ‘Polperro to Detroit’
Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago.
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’.
Cover Story—May 2019: Buenos Aires in Parallel.
Cover Story—March-April 2019: Icelandic refraction.
Cover Story—February 2019: Schizophrenic Machine.
Cover Story—January 2019: "Seesaw".


 → RELATED CONTENT:
  • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
  • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
  • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018 
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018 
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018 
  • Cover Story – January 2018: I'll be there for you, 2 January 2018 
 2019, art-agenda, Bilbao, Buenos Aires, Chicago, cover story, end of the year, field trip, Francesc Ruiz, Frieze, Joan Morey, Lara Almarcegui, latitudes, looking back, Mercedes Azpilicueta, Moscow, report
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Latitudes' "out of office": wrap up of the 2018–2019 season

 Thu, Aug 1 2019
Seen in Malasaña, Madrid. Photo: @marianacanepaluna

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

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

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

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


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

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

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

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

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

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

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

September 2—18, 2018: Intermittent installation of Joan Morey’s exhibition ‘COLLAPSE’ at the Centre d’Art Contemporani de Barcelona — Fabra i Coats.
Deciding among the two options for the façade banners. Italics or not?

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

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

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

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

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

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

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

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

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

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


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


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

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

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

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

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

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

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

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

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

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

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

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

Portrait of Manuel Segade at the end of his performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) on Max Andrews’s Instagram.
November 18–22 Vienna Art Week; November 22-25 Amsterdam Art Weekend: This blog post documents the exhibitions and studios visited during our trip to Vienna, hosted by the Vienna Art Week. As part of the programme, Latitudes participated in a panel discussion on ‘Some Current Positions of Curating’ at das weisse haus.
(Above and below) Photos by eSeL.


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

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

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

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

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

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

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

Above and below: Museo Geominero, Madrid.


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


Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.

December 13, 2018: Sixth and final reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE. The Utopian Body] (2017) was interpreted by Eduard Escoffet.
Backstage makeup and application of fake tattoos – in the hurry the ‘Memento Mori’ tattoo on one on Escoffet’s arm was upside down. No big deal. 

December 20, 2018: frieze.com publishes Max’s review on the exhibition ‘Picture Industry: A Provisional History of the Technical Image’, a survey exhibition at LUMA Arlès captures the history of mechanically-reproduced imagery from the 19th century to the present. Read the review here.
January 7, 2019: art-agenda publishes Mariana’s review of the group exhibition ‘Te toca a tí [It's your turn]’ at Espai d'art contemporani de Castelló (EACC). Read the review here.

The review is also the focus of our January’s Monthly Cover Story on Latitudes home page (archived here).
January 8–10, 2019: Set up for the performance ‘Schizophrenic Machine’ by Joan Morey, the closing event of the three-part project ‘COLLAPSE’. Both exhibitions at the Centre d’art contemporani de Barcelona – Fabra i Coats and Centre d’art Tecla Sala close on January 13, 2019. 

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

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

January 14, 2019: frieze.com publishes Max’s fan letter on ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’. Published in Issue 200, January - February 2019. Read the text here.
February 1, 2019: New cover story focusing on Morey’s closing performance ‘COLLAPSE. Schizophrenic Machine’ at La Model prison in Barcelona.
February 8, 2019: Launch of a new ‘Incidents (of Travel)’ dispatch from Reykjavík (and cover story on Latitudes’ 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, invited by arteBA.

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 was 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 later this month: the essay ‘Thinking like a drainage basin’ included in 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, an initiative of La Capella. 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.


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), 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 pavilion, 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 are photographed below.

Detail from Cathy Wilkes’s work at the British Pavilion, Venice Biennale 2019.

Ingela Ihman’s work at the Nordic Pavilion, Venice Biennale 2019.

 Sergio Prego’s sculptures at the back of the Spanish Pavilion, Venice Biennale 2019.

Yu Ji sculptures in the Central Pavilion, Giardini, Venice Biennale 2019. 

Jimmie Durham’s ‘Black Serpentine’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Lara Favaretto's ‘Thinking Head’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Haris Epaminonda in the Arsenale, Venice Biennale 2019.

Joël Andrianomearisoa at the Madagascar Pavilion, Corderie, Venice Biennale 2019.

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

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

Welsh Pavilion presented work by Sean Edwards, Venice Biennale 2019.

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


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

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

Nearby building to HANGAR on c. Marroc / Espronceda.


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

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

 Above and below: Darío Villalba at Sala Alcalá 31

 Eva Fàbregas ‘Gut feeling’ at CentroCentro.

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

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

David Wojnarowicz's photograph ‘What Is This Little Guy’s Job in the World’ (1990) at the Museo Reina Sofía. 
The 2019–2020 season will kick off on 9–15 September. We'll be in Helsinki participating in two events. Firstly the art festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS presenting a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia, local and international organisations. Latitudes’ has invited Mercedes Azpilicueta to present the performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs. 
Skype conversation with the artist Mercedes Azpilicueta and Paul O'Neill from PUBLICS.

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

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


 2018, 2019, art-agenda, Barcelona, Barcelona Producció, Buenos Aires, Frieze, Incidents of Travel, Joan Morey, Lara Almarcegui, out of office, performance, Portfolio, Reviews, Vienna
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Joan Morey awarded the Botín Foundation's International Visual Arts Grant

 Mon, Jul 22 2019
Joan during the installation of the exhibition 'COLAPSO' in Fabra i Coats. Centre d'Art Contemporani, September 2018. A three-part project curated by Latitudes. Photo: Max Andrews.

Latitudes congratulate Joan Morey, one of the eight beneficiaries of the 27th edition of the Botín Foundation's International Visual Arts Grants. His project ‘LA INFLUYENTE’ will be exhibited at the Botín Centre in 2021.
‘LA INFLUYENTE’ is a research and artistic creation project around the mechanisms of conversion of the body into symbolic capital, a speculative element and product of veneration, which takes the relics of Saint Teresa of Ávila as its starting point.


Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018. Curated by Latitudes. Photo: Noemi Jariod. Courtesy the artist.

Last year, Latitudes curated Morey's three-venue project ‘COLLAPSE’ presented at the Centre d’Art Contemporani de Barcelona - Fabra i Coats (20 September 2018–13 January 2019), the Centre d'art Tecla Sala in L'Hospitalet de Llobregat (15 November 2018–13 January 2019), and a new site-specific performance presented at the former prison La Model (10 January 2019) in Barcelona's Eixample district.


(Above and below) View of the exhibition by Joan Morey, ‘COLLAPSE. Social Body’ at the Centre d'art Tecla Sala, Hospitalet de Llobregat (Barcelona), 15 November 2018–13 January 2019. Photos © ArtWorkPhoto.eu Courtesy of the artist.



Joan Morey, ‘Schizophrenic Machine’ site-specific performance at the former Panopticon-inspired prison La Model, Barcelona, 10 January 2019. Copyright: Photo by Noemí Jariod. Courtesy of the artist.


A year earlier, the artists Antoni Hervàs and Anna Moreno were also beneficiaries of the Botín Foundation visual arts grant. Both Moreno and Hervàs were awarded Barcelona Producció Visual Arts grants in 2017 and 2016, respectively, projects that were tutored by Latitudes.


View of Antoni Hervàs solo exhibition ‘El misterio de Caviria’, La Capella, Barcelona Producció 2016. Photo: Pep Herrero / La Capella.

Anna Moreno's publication project ‘The Drowned Giant’ awarded in Barcelona Producció 2017. Photo: Anna Moreno.


→ RELATED CONTENTS:
  • Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113.
  • ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
  • Full performance programme
  • Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 1 February 2017
  • Actividades programadas durante la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella 7 noviembre 2016
  • Documentación de la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella 23 September 2016
  • Exposición “El misterio de Caviria” de Antoni Hervàs en La Capella, 16 septiembre–13 noviembre 2016 16 September 2016
  • dOCUMENTA (13) artists and Latitudes 24 August 2012
 2019, Anna Moreno, Antoni Hervàs, Award, Barcelona Producció, Centre d'Art Barcelona, fabra i coats, grant, Joan Morey, Latitudes-curated, mentoring
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Cover Story–February 2019: Schizophrenic Machine

 Fri, Feb 1 2019
Latitudes' home page www.lttds.org

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

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

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

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


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

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


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

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

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


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

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