Longitudes

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

 02 Nov 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:
       2019, Bombas Gens, Fermin Jiménez Landa, Frieze, IVAM, Max Andrews, report, rethinking institutions, Valencia, writing

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

       01 Nov 2019
      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: 
       1989, 2019, case study, cover story, Frieze, IVAM, Max Andrews, museums, rethinking institutions, Spain, writing

      Helene Romakin interviews Latitudes for artfridge.de

       08 Oct 2019


      Over the course of the Summer, Helene Romakin (PhD candidate at the Institute for the History and Theory of the Architecture, ETH Zurich) interviewed us for the Berlin-based online platform www.artfridge.de run by the art historian and curator Anna Lena Werner.

      As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands. 


      → RELATED CONTENTS:
      • Conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
      • In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
      • Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
      • Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
      • "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013
       2019, 4543 billion, Barcelona Gallery Weekend, Composiciones, Harald Szeemann, interview, Lara Almarcegui, latitudes, Mariana Cánepa Luna, Max Andrews, press coverage, world ecology

      PUBLICS' Library in Helsinki incorporates Latitudes-edited publications

       27 Sep 2019

      We are glad to announce that PUBLICS in Helsinki now has all Latitudes publications available for consultation in their library (with the exception of the monograph "Lara Almarcegui, Projects 1995–2010" which is out of print). Our first publication, "LAND, ART: A Cultural Ecology Handbook" (RSA/Arts Council England, 2006, also out of print), was already in their library. 

      PUBLICS library is the third location where the whole set of Latitudes' publications reside, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.

      We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).


      PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.

      Latitudes' publications available at PUBLICS Library (bibliography online):

      Joan Morey: COLLAPSE
      Various locations, Barcelona
      September 2018–January 2019
      Exhibition guide/programme guide, opuscule, poster

      4.543 billion. The matter of matter
      CAPC musée d'art contemporain, Bordeaux
      June 2017–January 2018
      Exhibition guide & symposium guide

      Amikejo
      Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
      April 2012

      United Alternative Energies
      Christina Hemauer & Roman Keller
      Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
      January 2012

      Campus
      Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
      July 2011
      Also available online.

      Portscapes
      Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
      February 2010

      Martí Anson, Mataró Chauffeur Service
      Catalogue of the project, 'No Soul For Sale', Tate Modern, London
      January 2011

      The Last Newspaper
      Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
      October–December 2010

      Lawrence Weiner: THE CREST OF A WAVE
      Booklet of the exhibition, Fundació Suñol, Barcelona
      October 2008

      Simon Fujiwara: The Incest Museum–A Guide
      Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
      May 2009

      Ignasi Aballí: 没有，有 Nothing, or Something
      Catalogue of the exhibition, Suitcase Art Projects, Beijing
      July 2009

      Ecology, Luxury & Degradation
      UOVO #14
      Summer 2007

      Greenwashing. Ambiente: Pericoli, Promesse e Perplessità 
      (Greenwashing. Environment: Perils, Promises and Perplexities)
      Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
      February 2008


      → RELATED CONTENT
       2019, Amikejo, editorial, FAQs, Greenwashing, Helsinki, Lara Almarcegui, latitudes, Library, Mariana Cánepa Luna, Martí Anson, Max Andrews, Portscapes, publications, PUBLICS, Rasmus Nilausen, UOVO

      Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden

       16 Sep 2019

      Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.

      Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.

      ‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’

      —Max Andrews

      The exhibition is on view until November 24, 2019.

      Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.


      → RELATED CONTENTS:
       2019, copenhagen, Essay, Max Andrews, painting, Rasmus Nilausen, writing

      Cover Story – May 2019: ‘Buenos Aires in Parallel’

       01 May 2019
      Latitudes' homepage www.lttds.org

      The May 2019 Monthly Cover Story ‘Buenos Aires in Parallel’ is now up on Latitudes' homepage: www.lttds.org

      “Latitudes recently participated in the Parallel Rooms talks programme of Art Basel Cities: Buenos Aires. Developed in collaboration with the arteBA Fundación, and taking place during the arteBA art fair itself, these events transpired in four temporary domes that popped-up on the central showground of La Rural, a venue more used to hosting prize-winning cattle than forty-two curators, artists, and collectors.      ”

      —> Continue reading
      —> After May 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:
       2019, Buenos Aires, conversations, cover story, Mariana Cánepa Luna, Max Andrews, museums, public art, public programme, talks programme

      Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019

       01 Apr 2019

      Art Basel Cities: Buenos Aires in collaboration with arteBA Fundación will host a Talks Programme between April 12–14, 2019. Forty-two speakers from across the cultural sphere will discuss salient topics with the Buenos Aires audience. 

      Max Andrews and Mariana Cánepa Luna of Latitudes will each participate in Parallel Rooms, an Art Basel programme format that began in 2017 allowing attendees to choose from and roam among multiple conversations happening simultaneously. Check the full events programme here (in Spanish).

       Parallel Rooms takes place at arteBA, Pista Central de la Rural, Palermo, and are free and open to the public.


      Parallel Rooms | Session 2 | Room 3
      "First Things First: Making Exhibitions for a General Audience"
      Saturday 13 April 2019
      6:30      —      7:30pm

       In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?

      This session is free and open to the public and will be held in Spanish.


      Parallel Rooms | Session 3 | Room 2
      "Beyond the Museum: New Institutional Frames for Art"
      Saturday 13 April 2019
      7:30—8:30pm

      Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.

      This session is free and open to the public and will be held in Spanish.
      + info


      RELATED CONTENT:

       2019, Art Basel, Buenos Aires, Curatorial Practice, exhibition-making, field trip, Mariana Cánepa Luna, Max Andrews, offsite, prácticas curatoriales, talks programme

      Latitudes' redesigned portfolio – projects since 2005

       20 Feb 2019

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

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

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

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

      PDF designed and edited by Latitudes.

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

      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)

       04 Jan 2019
      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
       2018, 2019, Barcelona, Frieze, LUMA Foundation, Max Andrews, Pere Llobera, Reviews, writing

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

       02 Aug 2018
      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.
      http://incidents.kadist.org/
      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:

       2017, 2018, BCN Producció, behind the scenes, CAPC Bordeaux, Frieze, Joan Morey, John Korner, Latitudes-curated, looking back, Mariana Cánepa Luna, Max Andrews, out of office, The Banff Center

      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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      Latitudes
      2005—2019