Longitudes

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

2023 in 11 cover stories

Since Spring 2015 we have been publishing a monthly cover story on our homepage (www.lttds.org) featuring past, present, or forthcoming projects, as well as sharing our research, travel, or texts, featuring artworks, exhibitions, films, or objects related to our curatorial practiceBelow are those published throughout 2023 (#90 to #100), which you can read again in this archive. See you in 2024!


Cover Story, January 2023: Claudia Pagès’ “Gerundi Circular”.

Cover Story, February 2023: Soil for Future Art Histories.

Cover Story, March 2023: Art, Climate and New Coalitions.

Cover Story, April 2023: Jerónimo Hagerman (1967–2023).

Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona

Cover Story, June 2023: Crystal Bennes futures

Cover Story, July–August 2023: Honeymoon in Valencia.

Cover Story – September 2023: The Pilgrim in Ireland.

Cover Story – October 2023: A tree felled, a tree cut in 7

Cover Story – November 2023: ”Surucuá, Teque-teque, Arara” by Daniel Steegmann Mangrané

And to close the year, Cover Story #100 – December 2023: Ibon Aranberri, Partial View


→ RELATED CONTENT:
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Latitudes’ "out of office" 2022–23 season

Sunset on our way to Mallorca aboard the Cecilia Payne ferry, 6 June 2023.


With the summer in full flow, and thoughts turning to holidays, we once more share a series of behind-the-scenes moments and encounters: trips, dinners, kind messages, postal surprises, follow-ups of artists we have worked with, and serendipitous situations that have happened in the background of our more visible curatorial practice seen on our website or in the Longitudes section. Plus some further notes and inspiration beyond our Instagrams – here and here.  

For earlier OUT OF THE OFFICE posts, check out the posts from 
2008–92009–102010–112011–122012–132013–142014–152015–162016–172017–182018–19, 2019–20, 2020–21 and 2021–22. All photos are by Latitudes unless stated otherwise in the photo caption.

Happy summer, apply and reapply sun protection!



September 2022: Between September and November, we mentored Matheus Calderón, winner of the first [ON RESIDENCE] residency, an online curatorial mentorship programme awarded to young Peruvian curators organised by TROPICAL PAPERS, and supported by Artus.

As one of the mentors, we embarked on six bi-monthly conversations focusing on what values are at stake today in our profession. Through sincere dialogue, we discussed the multiple realities of being an independent curator both in Lima and Barcelona, and we accompanied Matheus in shaping his approach to his forthcoming group exhibition project “El rodeo (el velo, la mancha o la grieta)” [working title]. Our conversations progressively became a space to share, pause and reflect during a time of ongoing political and societal tension in Lima in autumn 2022. 

Introductory Zoom with Tropical Papers, Latitudes and Matheus on 31 August 2022.

early September 2022: We submitted the essay “Soil for Future Art Histories”, which was commissioned for the forthcoming catalogue “Futuros Abundantes”, a group exhibition organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba. Subsequent edits and translation rounds in October–November, and publication release in January 2023.

13 September 2022: Received a copy of Kunsthalle Wilhelmshaven’s catalogue “By The Sea. Land Art, Performance and Minimal Art” including photos Latitudes provided of Jan Dibbets’s “6 Hours Tide Object with Correction of Perspective” (2009).


Page spread of “By The Sea. Land Art, Performance and Minimal Art” with Jan Dibbets’ 2009 project.

19 September 2022: Final episode of “Incidents (of Travel)” with Jorge Satorre. By complete chance, this episode takes place on September 19, 2022, exactly ten years later to the day of the first tour commissioned for the first phase of Incidents (of Travel), a day Latitudes spent with Minerva Cuevas around Mexico City’s city centre on the 27th anniversary of the deadly 1985 earthquake


Visiting the Plaza de las Tres Culturas in Tlatelolco with Minerva Cuevas, the first of five “Incidents of Travel” itineraries around Mexico City, 19 September 2012. Photo: Eunice Adorno.

Episode #20 culminates Latitudes’ collaboration with KADIST, producers of 20 fantastic episodes published online between 2016 and 2022 as part of their programme of online projects.

The dispatch went live on October 26, 2022. Read here.

27 September 2022: Published “‘Minor’ Ornithologies. Laia Estruch”, a podcast hosted by Latitudes’ curator, writer (and lifelong birder) Max Andrews for TBA21 on st_ageAccompanying Laia Estruch’s performance project Ocells Perduts V67” (2022) for TBA21 on st_age, the podcast takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries. It features Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor, who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – “minor” ornithologies.

→ Listen here (34' 03'')
→ Transcript here
8 October 2022: 
Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, Laia Estruch and Irina Mutt led a workshop as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and auditory modalities. This workshop culminated a series of encounters, part of Latitudes’ ongoing Parahosting at PUBLICS, that have taken place over the summer in collaboration with PUBLICS Youth, an education initiative for Helsinki-based 18-21-year-olds.

(📷 ↑↓) PUBLICS Youth with Irina Mutt during their workshop in Lammassaari, 3 August 2022. Photos: Micol Curatolo.


18 October 2022: Organised a casual networking dinner to mingle with local art professionals with a group visiting from the Netherlands, Belgium, Denmark and Switzerland. Organised by the Mondriaan Fund, the Orientation Trip 2022 took them this time to Portugal and Spain.

Foto: Haco de Ridder.

21 October 2022: Post looking back at the first anniversary of MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls”, highlighting works by Antoni Hervàs, El Palomar, Claudia Pagès and Rosa Tharrats, four artists that participated in Panorama and whose shows in Frankfurt, Donostia and Marseille present work produced or derived from their MACBA presentation. 

Installation view of “Akaal / Selene \ Uluru” (2021) in Bombon Projects’ stand in Art-O-Rama, Marseille, August 2022. Photos: © Aurélien Meimaris.

Antoni Hervàs, “Under the firelight, the ash shines like glitter”, 2021-2022, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artist.

El Palomar, Schreber is a Woman, 2020, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artists.

Still from the video interview with Claudia Pagès about her video work “Gerundi Circular” (2021) (in Spanish with Basque subtitles).

26 October 2022: New and concluding dispatch of Incidents (of Travel) led by Jorge Satorre in Barcelona, narrated by Latitudes, creators and editors of the project since 2012. This is the 20th episode published by Kadist as part of their online programme since 2016 and also marks the 10th anniversary of the project.

Below are some photos that for one reason or another, didn't make it to the final selection of 31 images.



Small bus del barri [neighbourhood bus] route # 111 around Vallvidrera.

Analysing footprints.

(Above and below) From the Curator’s Commentary: “(...) We’re here to see what is, after the Collserola Stone, the only other known megalith in Barcelona: the Pedralbes Menhir. The builders of the monastery in the fourteenth century respected the powers of this standing stone to such a degree that they not only preserved it but constructed a gateway in the perimeter wall around it. The bulk of the stone lurks below the paved surface like a lithic iceberg, its obstinate presence in a doorway from the middle ages a kind of rude protuberance of prehistory and geologic time into a continuous present.”



Jorge admires the Egyptian-inspired pantheon of the cotton industrialists Batlló family.


28 October 2022: A surprise message from Tara McDowell sharing that after 2 years, Nino Kvrivishvili and her were finally able to meet in person in Tbilisi, Georgia! Together they followed their itinerary around the city’s former silk industry commissioned for the Incidents (of Travel) series (episode 12). Due to the pandemic, Tara’s plans to travel from Melbourne to Tbilisi had to be cancelled, so Nino “in an act of radical Georgian hospitality” – as Tara wrote in her curator’s commentary – shared her itinerary with Tara via a WhatsApp call. 

In a wonderful turn of events, during their IRL meeting, Nino opened a small pop-up exhibition at Aleksandre Utmazyan's textile shop, one of the locations that appeared on Nino’s itinerary, an event that counted with the surprise visit of Georgian President, Salomé Zurabishvili.

Curated by Data Chigholashvili, the pop-up exhibition responded to the history of Georgia’s textile industry by interrelating topics of fabric production, changing places, time, and memory, presenting a recent series of paintings that convey a story of fabric production, the country’s formerly active industry. As Chigholashvili explains Nino Kvrivishvili “belongs to the generation who studied textile art while this industry was disappearing and the experience of practical training was becoming impossible. Abstract shapes of the series, in a way a meditation on industrial themes, repeat in this selection presented together with plaster additions inside the shop. Here we also see partially concealed bodies that remind us of images from fashion magazines, as well as hint at stories of many women who were involved in the industry, yet often remained unknown – a topic that Nino has been researching for several years now.”
 
Tara McDowell and Nino KvrivishviliPhoto courtesy of these and three below by Tara McDowell.

View of Nino Kvrivishvili’s pop-up exhibition at the Textile shop on Queen Tamar Ave. 17, Tbilisi. 

Curator Data Chigholashvili in Nino Kvrivishvili’s exhibition at the Textile shop on Queen Tamar Ave. 17 in Tbilisi.
 
Opening of Nino Kvrivishvili’s exhibition at the Textile shop on Queen Tamar Ave. 17 in Tbilisi. Left to right: Nino Kvrivishvili (artist), Salome Zourabichvili (President of Georgia), Aleksandre Utmazyan (the shop owner) and Data Chigholashvili (curator). 


In March 2022, Nino and Data participated in Haus der Kulturen Welt’s programme “They Are There, Sometimes” where Nino presented her Incidents itinerary around Tbilisi (videofrom min. 36:09).

 Nino and Data participated in Haus der Kulturen Welt’s programme “They Are There, Sometimes” where Nino presented her Incidents itinerary around Tbilisi (video from min 36:09).

18 November 2022: Claudia Pagès is awarded Radio Nacional de España’s Premio El Ojo Crítico de Artes Visuales 2022 for “her ability to turn words and language into an artistic tool in every possible form, a vehicle for a political message that is not afraid of confrontation and places the individual and collective body at the centre of her creative practice”. 

As highlighted in this post, in 2021 Claudia presented her video installation “Gerundi Circular” at the Latitudes-curated exhibition “Panorama 21. Apunts per a un incendi dels ulls” commissioned for MACBA’s exhibition and produced with the support of ELAMOR

16–19 November 2022: Itching for a trip abroad to see some art, we visited the 16e Biennale d’art contemporain de Lyon, titled “Manifesto of Fragility”, some highlights on Mariana's Instagram via this link.

Those in the curatorial business will understand that besides enjoying the art side, our analytical eyes are peeled, taking mental and photographic notes on how things are practically put together. This goes from looking at how temporary walls are built, how AV equipment is hidden, types of vitrines, how clear signage is, and of course often taking in some curious exhibition labels and poorly displayed art. Here are some random photos that only make sense for research or reference purposes. Going very meta now, behind the behind-the-scenes...







28 November 2022: First online introduction of The Pilgrim” team, a project Latitudes curates in collaboration with Askeaton Contemporary Art in Co. Limerick, southwest Ireland, and involving Barcelona-based artist Eulàlia Rovira, and Sligo-and-Leitrim-based Ruth Clinton and Niamh Moriarty. To be continued...



29 November 2022: DART Festival awardees announced: Premio Laie DART 2022 a la Mejor Dirección (Laie DART 2022 Award to the Best Direction): “J’ai retrouvé Christian B.” (France, 2020) directed by Alain Fleischer. The documentary is an intimate portrait tracing the relationship between two contemporary creators, the artist Christian Boltanski and the filmmaker Alain Fleischer, who shared a friendship that lasted half a century. 

Premio Laie DART 2022 de la Crítica (Laie DART 2022 Critics Award): “The Melt Goes On Forever: The Art and Times of David Hammons” (EEUU, 2021). Directed by cultural journalist Judd Tully and filmmaker Harold Crooks, the documentary focuses on the elusive figure of African-American artist David Hammons, whose artistic practice spans six decades and foregrounds social criticism in the United States.

Screening at Cinemes Girona. Courtesy: DART Festival.




13 December 2022: MACBA presents their 2023 programme, announcing a list of their recent acquisitions, one being Claudia Pagès’s “Gerundi Circular” (2021), a video installation commissioned for Latitudes-curated exhibition “Panorama 21: Apunts per a un incendi dels ulls”, produced with the support of ELAMOR. It joins the museum collection through the funds of the Col·lecció Nacional d'Art Contemporani (National Collection of Contemporary Art) of the Generalitat de Catalunya. Claudia’s work was also featured in our January 2023 cover story.

17 January 2023: Second Zoom of members affiliated with Gallery Climate Coalition (GCC) based in Spain. In the following weeks, we organised a gathering during ARCOMadrid to explain GCC’s objectives to potential new members and meet with GCC’s volunteer groups in Berlin and Italy to learn from their experiences of building a team. 



1 February 2023: Newsletter out announcing our next research and residency project “The Pilgrim” in collaboration with Askeaton Contemporary Art in Co. Limerick, Ireland, and involving the artists Eulàlia Rovira, Ruth Clinton, and Niamh Moriarty. 

→ More details here.

Left to right: Eulàlia Rovira (photo: Aníbal Parada), Ruth Clinton (photo: Colm Keating) and Niamh Moriarty (photo: Cian Flynn).

22–24 February 2023: During ARCOmadrid we are jurors, alongside Markus Reymann (co-director TBA21), and Marta Cardoso, of the first Six Senses Sustainable Art Award given to an artist whose work honours an awareness around sustainability and environmental urgencies. We studied and discussed the work of more than 40 artists whose work is presented at the art fair and unanimously decided to award Zé Carlos Garcia (1973, Aracajú, BR) for his presentation at the stand of Buenos Aires’s gallery PASTO

The jury stated: “We were intrigued to discover the practice of Zé Carlos García and to learn how his enchanting carved and turned wooden sculptures are embedded in such an inventive and resourceful approach to art, environmental responsibility, decolonial practice, and land restoration. The wood he uses comes from a small tract of a forest he oversees in Brazil where non-native trees such as pines and eucalyptus were once planted by Swiss settler colonists to give the landscape a more European feel. Over the centuries these thirsty species have had a detrimental effect on the indigenous ecosystem and Zé has been removing the invasive species over the last decade, repurposing the resultant wood as a resource for his art practice, while bringing back native trees to the Mata Atlántica.”


Zé Carlos Garcia holding the sign announcing his award (above) and the award (below). Photos ARCOmadrid 2023.


Zé Carlos Garcia. Photo: Max Andrews.

The catalogue “Futuros Abundantes / Abundant Futures”, accompanying the homonymous exhibition in Córdoba, was also launched during ARCOmadrid. The 336-page book includes Latitudes’ newly commissioned essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] – read an abstract here (in Spanish). 

(Above and below) Launch of Futuros Abundantes in ArtsLibris during ARCOmadrid 2023. Photos: IFEMA / ARCOmadrid.


Futuros abundantes / Abundant Futures” catalogue, copublished by TBA21 and Turner, 2023. Photos: Enrico Fiorese.

After a few work sessions over Zoom, we attended the first IRL Gallery Climate Coalition (GCC) gathering on February 22nd. This inaugurates the soft launch of the new formation of GCC Spain, a new national working group aligned with GCC’s core environmental targets and commitments

GCC is an international membership non-for-profit organisation with over 800 members from 40 countries, providing environmental sustainability guidelines for the art sector, whose primary targets are to facilitate a reduction of the visual art sector’s greenhouse gas emissions by a minimum of 50% by 2030 (in line with the Paris Agreement’s goal of keeping global warming to below 1.5°C) and promote zero-waste practices. More info. 

GCC Spain is a newly formed semi-autonomous volunteer team (joining working groups in Berlin, Italy, Los Angeles, London, and Taiwan) that works to develop a dedicated platform of environmental resources for Spanish-based art organisations and professionals.

Informative gathering about GCC Spain at ARCOmadrid on @galleryclimatecoalition. Photo: Max Andrews.

@acercacomunicacion's Instagram Story.

March 2023: As part of Latitudes’ ongoing environmental commitment, and as new members of the Gallery Climate Coalition, we publish the first edition of our Environmental Responsibility Statement on our website (extended version here) and submit individual calculations of our Carbon Footprint from 2019 (our baseline from which reductions will be made) and 2022 to the Gallery Climate Coalition (GCC). Below is a simple graphic showing the comparison of the two years. Latitudes’ carbon emissions were 17.4tCo2e in 2019 and 3.8tCo2e in 2022. 

Our 2023 Strategic Climate Fund is €190. This is calculated by multiplying our 2022 carbon footprint (3.8tCo2e emissionsby €50 per tonne. We set these funds aside to be spent on low-carbon purchasing options that would otherwise be unaffordable for us.


beginning of May 2023: Checking out the Arxiu Històric de la Ciutat de Barcelona (aka Casa de l'Ardiaca), the Cathedral and its cloister, MACBA, and more with The Pilgrim” guest resident artists Niamh Moriarty and Ruth Clinton. Aptly, as their work has often been related to the Transatlantic relations between Ireland and the United States, their stay coincides with a visit of the Obamas (and Steven Spielberg and Tom Hanks) to Barcelona to catch the beginning of Bruce Springsteen's tour.

Throughout the Spring, Latitudes researched documentation in the city archives with the hopes of finding evidence of Askeaton's Pilgrim, browsing certificates of docking in the Port of Barcelona, licences of the board of health, details of boat captain promotion, health patents, and plague-free certificates. With little to no factual data on Askeaton’s Pilgrim – besides his name (Don Martínez de Mendoza), his date of death (Askeaton, 1784), that he was a Barcelona merchant from the mid-18th Century who had a flagship called Isabella, and a daughter called Beatrice (¿Beatriz / Beatriu?) – we weren't able to find further evidence of his existence.





Giving Ruth and Niamh a “phantom tour” of the Panorama exhibition a year and a half after its closing. Here Eulàlia explains her work “La perla”.

6 May 2023: After a few initial days in Barcelona, The Pilgrim” guest resident artists Niamh Moriarty and Ruth Clinton present their work around relics, rubbings, and translation, alongside “The Pilgrim” co-curators Askeaton Contemporary Arts (ACA) (Michele Horrigan and Sean Lynch) at Eulàlia Rovira’s studio. What began as a vermut+talk event extended into pizzas for lunch, afternoon beers, and rolled into dinner.

→ Social Networks archived here.





10 May 2023: Max Andrews and Mariana Cánepa Luna of Latitudes qualified to be in the first cohort of Active Members of the Gallery Climate Coalition (GCC). To achieve this status we demonstrated that we have implemented environmental sustainability best practices in line with GCC’s guidelines.

→ More info
→ Environmental Policy Statement here.

16–18 May 2023: Work trip to València to visit Antoni Miralda’s exhibition “Miralda. Honeymoon: Unclassified” at Bombas Gens, curated by its artistic director Sandra Guimarães. The show centres on his “Honeymoon Project” (1986-1992), a series of intercontinental ceremonial actions around the romance and subsequent marriage between two historical monuments: that of Christopher Columbus, in the port of Barcelona, and the Statue of Liberty, in New York Bay. Max of Latitudes will review it for frieze’s October issue (online in June). 

(Above) The “Zapato Góndola” (1990–2023) was exhibited in Bombas Gens’ patio. It has been remade in fibreglass in València, taking advantage of its fallas craft expertise. The heel now is removable becoming a gondola, and it's lighter than the original one made of wood. 

The exhibition mostly comprised of letters and ephemera gathered throughout the 40 years of the making of the project, from its presentation in the 1990 Spanish Pavilion to the many drafted letters, invitations, posters and drawings of potential ideas for floats, parades and even a prenup.




Also took the opportunity to visit Bombas Gens’s solo show of Carlos Bunga and the collection reading by El último grito, as well as IVAM’s shows dedicated to Lebanese artist Aref El Rayess, Danish Asger Jorn, and the design collective La Nave. At Centre del Carme Cultura Contemporània (CCCC) we met Diego Díaz and Clara Boj who showed us Permea teaching spaces, the first MA Programme in Experimental Mediation and
 Education through Art and guided us through CCCC’s shows. We also visit the commercial galleries House of Chappaz, Galería Set Espai d'Art, Galería Luis Adelantado, Tuesday to Friday, and Galería Jorge López. We had an overdue catch-up over noodles with old-time artist friend Fermín Jiménez Landa and finally met the curators Julia Castelló and Ali A. Maderuelo in the flesh, who on June 8th opened “[DOSMILVINT-I-U] [DOSMILVINT-I-TRES] = 1 encuentro” at IVAM, the culmination of a two-year programme comprising workshops, conferences, performances, mediations with artists Diego Navarro and Darío Alva, Claudia Dyboski, Marina González Guerreiro, Álvaro Porras, and M Reme Silvestre. In 2021 Latitudes nominated them for the 11th Edition of the Premio Lorenzo Bonaldi per l’Arte – EnterPrize but this was the first time met in person! 

early June 2023: Submitted a profile text on America-born Scotland-based artist, researcher, writer, and educator Crystal Bennes’ new project to be exhibited at Talbot Rice Gallery, Edinburgh, in February 2024. The text will be included in the forthcoming publication “Betwixt 2024”, the next iteration of publications of the Freelands Artist ProgrammeInvolving tapestry, sculptural installation, video, and performance, Bennes’ new project addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton. 

Design study for a Jacquard weaving titled “pecunia non olete” (2023) featured on Latitudes’ homepage as the June 2023 cover story. Courtesy Crystal Bennes.

6–8 June 2023: Trip to Mallorca as guests of Art Palma Contemporani’s event Art Summer Palma. Honouring our environmental commitment, we traveled to the island and back by ferry as foot passengers. As the ferry dropped us in Alcúdia, we visited the nearby Pollença (galería Maior, Coster Art i Natura) and then took the bus to the Palma, paying a visit to Es Baluard before joining the official programme visiting the galleries Pep Llabrés, Xavier Fiol, Kewenig, M77, Aba Art Lab, Fran Reus, Baró, Pelaires, PGallery, L21 Home and L21 by foot.


(Above and three below) Views of Pollença from Coster Art in Natura, the artist-led initiative by pollensí Amador Magraner (third photo down) that began in 2022.


Works by Susana Solano and Eva Lootz (above and below).


Ludovica Carbotta ceramic oven in progress.

Amador showing us one of his sculptures “Germinacions” which began in the 1990s.

View of the collection reading curated by Agustín Pérez Rubio at Es Baluard.

Wonderful Maria Lai 1981 action “Legare Collegare” registered in video and photography on view at Es Baluard, Palma, and some more works in the M77 gallery, a new space in Palma of the Milan-based gallery.

Solo exhibition by Adrià Maryordomo (portrayed) at Galeria Fran Reus, Palma. 



12 June 2023: The National Council for Culture and Arts (CONCA) plenary agreed to carry out a survey of Catalunya-based Art Critics and Curators, a tool to analyse the state of our profession from the economic, cultural, professional, and social points of view. An expert committee formed by representatives of ACCA, the Catalan Art Critics Association (amongst them Mariana of Latitudes, who recently became an ACCA member), the Platform of Catalan Artists (PAAC), and the Association of Cultural Management Professionals of Catalunya (APGCC) gathered at Palau Moja to share their feedback to create the most comprehensive possible survey, the results of which are aimed to be completed at the end of 2023.

Photo: Miquel-Àngel Codes Luna / ACCA.

19 June 2023: Zoom launch of GCC Spain, the Spanish chapter of the Gallery Climate Coalition. The event was an opportunity to introduce the London-based founders to Spanish professionals and explain the current and future challenges the Spanish volunteer team is taking on. 

→ Watch the video here (40 min.)
→ Read the press release (in Spanish)



27 June 2023: Attending Joan Morey’s performance “POSTMORTEM. Pour en finir avec le jugement de dieu” (2006–2007) at Fundació Palau as part of the Poesia + festival. Performed by Sònia López, the piece was the first of a cycle of performances presented as part of Morey’s solo show curated by Latitudes at Fabra i Coats: Centre d'Art Contemporani de Barcelona back in 2018

A better photo of the 2018 performance below.

Joan Morey, “POSTMORTEM. Pour en finir avec le jugement de dieu” (2006-2007). Performance reenactment as part of the exhibition “COLLAPSE. Desiring Machine, Working Machine”, Contemporary Art Centre of Barcelona - Fabra i Coats (2018). Photo: Noemi Jariod. Courtesy of the artist.

28 June 2023: Visit to TERSA, the publicly-owned company that manages Barcelona's Metropolitan Area waste management, transforming residues into energy by incineration (this waste-to-energy plant generated 142.013 MWh of electricity in 2022). We go around the Integrated Waste Management Plant (PIVR) at Sant Adrià del Besòs, which includes two plants: the Waste-to-Energy Plant, and the Mechanical-Biological Treatment Plant, managed by Ecoparc del Mediterrani. This location processes what citizens throw into the grey containers – the remaining waste that cannot be reused or recycled (not paper, glass, plastic, or organic matter), whose process generates twice what's needed to supply the electricity grid of the city. The visit was organised as part of the public programme of the exhibition “Ciutat de sorra” [City of sand] by David Bestué at Fabra i Coats: Centre d'Art Contemporani.







29 June 2023: Max Andrews’ review of Antoni Miralda’s exhibition at Bombas Gens (València) is published online on frieze.com (on print in the October 2023 issue).

“A giant high-heeled shoe with Venetian gondola trimmings stands in the courtyard of Bombas Gens Centre d’Art like a monument to fairy-tale slippers. Yet, this is a true-to-size stiletto, made to fit a 93-metre-tall debutante who stands in New York’s harbour: the Statue of Liberty. Created in 1990 by Antoni Miralda as a wedding gift for Liberty’s proposed symbolic marriage to another monument of similar vintage, the Columbus Monument in Barcelona, the original shoe was taken down the Grand Canal before forming the centrepiece to the artist’s Spanish Pavilion at that year’s Venice Biennale. This replica, fabricated by a Valencian fallero craftsman, is destined for the collection of the Museo Reina Sofía, Madrid.” 

→ Continue reading here.



July 2023: Further schedule and reading prep for our end-of-August research trip to Dublin, Sligo, Askeaton, and Limerick, the second part of The Pilgrim residency exchange


RELATED CONTENT:



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Cover Story, February 2023: Soil for Future Art Histories

February 2023 cover story on www.lttds.org


The February 2023 monthly Cover Story “Soil for Future Art Histories” is now up on our homepage: www.lttds.org

“Latitudes’ essay ‘Un suelo para las historias del arte del futuro’ (Soil for Future Art Histories) is included in the newly-released catalogue of Futuros Abundantes (Abundant Futures), an exhibition of works from the TBA21 Collection curated by Daniela Zyman that took place at the C3A Centro de Creación Contemporánea de Andalucía in Córdoba last year. → Continue reading (after February 2023 this story will be archived here).

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
  • Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
  • Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
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Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”

"Futuros abundantes" / "Abundant Futures" is co-published by TBA21 and Turner, 2023. Photos by Enrico Fiorese.

The exhibition catalogue “Futuros Abundantes / Abundant Futures” is now available. The book will be launched in ARCOmadrid’s section of ArtsLibris, on February 23rd, 2023, at 5pm. 

With contributions from Rosemary-Claire Collard, Jessica Dempsey and Juanita Sundberg; Beatrice Forchini; Macarena Gómez-Barris; Berta Gutiérrez Casaos; Soledad Gutiérrez Rodríguez; Latitudes; Regina de Miguel; Plata; Matthew Ritchie; Jess Saxby; and Daniela Zyman. Poems by Ibn Zaydun and an artistic intervention by Abraham Cruzvillegas.

Hardcover, 16,5 x 24 cm
Spanish / English, 336 pages
Edited by Daniela Zyman and Eva Ebersberger
Book design by Matteo Guarnaccia
Publisher Editorial Turner
ISBN 978-84-18895-65-4
EUR 25
Miguel Covarrubias, “The Tree of Modern Art planted 60 Years Ago” [El árbol del arte moderno plantado hace 60 años], plantado hace 60 años], in Vanity Fair, vol. XL, n.º 3, New York, May 1933, pp. 36-37.

Edited by Daniela Zyman and Eva Ebersberger, and co-published with Editorial Turner in the context of the exhibition “Abundant Futures. Works from the TBA21 Collection” curated by Zyman, the show was co-organised by TBA21 and C3A Centro de Creación Contemporánea de Andalucía in Córdoba. 

The 336-page book includes Latitudes newly commissioned essay titled “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories], which delves into how we might turn the page on the pseudo-organic root-and-branch diagrams that have underpinned the cultural narratives of the archetypical institutions of twentieth-century art, and instead consider an entity that has been largely neglected in its capacity to connect human and natural relations: soil.

The essay is published in Spanish. Below is an excerpt in English: 

“Thinking and building a new logic outside of the dualism of humanity on the one hand and nature on the other necessitates new narratives, new grammar, new relational strategies, and such new explanatory figurations. History in this alternative perspective is a history where human activity has always been meshed and mulched in the web of life. Following a sense of both humanity-in-nature and nature-in-humanity, we could imagine an art history and way of making exhibitions that is both outside in and inside out.

We could better imagine a shared vocabulary—terms that easily move back and forth between aesthetic and non-aesthetic uses. And we could give more attention to categories that, like soil, already seem to refuse a distinction between cultural forms and other forms of lived experience. The present and the future likewise require reconstructing and refreshing the theoretical model of the whole genre of the exhibition, its possibilities, and conditions. Allowing a wider and deeper sense of image- and object-making lineages could create new conditions for abundance, tackling the damaging split still left between the humanities and the natural world, and the imprint that this rift has left on the institutions of knowledge which allowed art history and artistic practices to be considered an alternative order to the forces and objects of the web of life. What we then might find is not a universal and singular structure, not a unitary tree of modernity, but countless very specific perspectives, practices, systems, temporalities, and imaginations in varying states of composition as well as decomposition, active as well as lying fallow.”


Essay keywords: Ecology, Daniel D. Richter, environmental art histories, Art History, abundance, temporalities of soil, “human forcing”, Environmental collapse, exhibition-making, Dipesh Chakrabarty, diagrams, Earth system, Miguel Covarrubias, Alfred H. Barr Jr., MoMA, tree genealogy, Porphyrian trees, environmental history, rewilding art history, María Puig de la Bellacasa, Jason W. Moore, Web of Life, soil, landscape, farming, agricultural intensification, Aldo Leopold, “to think like a mountain”, Julie Cruikshank, soil-attentive ethos, humanity-in-nature, nature-in-humanity, Caroline Levine, overlapping rhythms of art institutions.


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Cover Story, October 2022: Stray Ornithologies—Laia Estruch

 

October 2022 cover story.


The October 2022 monthly Cover Story “Stray Ornithologies—Laia Estruch” is now up on our homepage: www.lttds.org

“Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, on 8 October Laia Estruch and Irina Mutt will lead a workshop in Helsinki as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and acoustic modalities. Continue reading 

After October 2022 this story will be archived here.

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


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“‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age



Listen to the podcast here.

Latitudes’ Max Andrews, a curator, writer and lifelong birder, recently conducted the podcast Minor” Ornithologies for TBA21 on st_age (Season 4, Episode 4). The podcast’s guests are Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – what Anna-Sophie Springer and Etienne Turpin have coined “minor ornithologies”. 

The interviews are complemented by two audio clips, one of a Pied Butcherbird recorded in N Queensland, and another of a Superb Lyrebird mimicking birdsong and two flute phrases recorded in New South Wales, both courtesy of Hollis Taylor.

This edition accompanies Laia Estruch’s performance “Ocells Perduts V67” (2022) also produced by TBA21 on st_age, and takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries.


(Above and below) Laia Estruch, “Ocells Perduts” (2021) was performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Estruch’s research was supported by the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.


“Ens han canviat el cel a ple vol” (Nos han cambiado el cielo a pleno vuelo / They changed the sky in mid flight) part of Laia Estruch’s “Ocells Perduts” (2021) installed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”, October 2021–February 2022. Photos: Roberto Ruiz.


Latitudes has been collaborating with Laia Estruch since early 2020 in preparation for a year-long programme to be hosted at the Helsinki-based curatorial and commissioning agency PUBLICS, based around the notion of a partial, distributed, and fragmentary retrospective of her artistic practice. The pandemic changed those plans and soon after the invitation to curate MACBA’s first Panorama triennial (Panorama 21: Apunts per a un incendi dels ulls”) came along, for which Laia presented the commission Ocells Perduts” (2021). The project was produced with the support of PUBLICS, and for the research phase, Laia received the support of the beca Premis Barcelona 2020 of the Ajuntament de Barcelona.


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