Longitudes

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

Latitudes (Barcelona) and PUBLICS (Helsinki)

Laia Estruch performing MIX at the Festival TNT in Terrassa. Photo by Alessia Bombacci. 


We are delighted to announce that PUBLICS in Helsinki will be Parahosting curatorial office Latitudes for the next year by hosting a series of curatorial research and activities, beginning with a public presentation and a performance by artist Laia Estruch, on Thursday 17th of March 2022 (5–7pm) at PUBLICS’ space in Vallila.

As a first introduction to PUBLICS and to Helsinki audiences, Max Andrews and Mariana Cánepa Luna of Latitudes will present their curatorial practice and later be joined by Barcelona-based artist Laia Estruch to present “Mix” (2021–ongoing), a solo performance compilation that revisits the diverse voiced sounds, resonances, and articulations she has developed and learned throughout her projects to date. An exercise in sonic recall and muscle memory, “Mix” is a live non-chronological edit that extracts the most ephemeral aspect of her practice – the voice – while exploring it as a kind of organ of the body, and as a tool for sculpting air.

Entrance to PUBLICS in Vallila neighbourhood. Photo: Noora Lehtovuori.

PUBLICS Parahosting began in the Autumn of 2018 and has grown into a key method of decentering its own curatorial authorship, and as an essential means of working together without boundaries or containment. Through Parahosting PUBLICS supports its para-sites, para-institutions, and para-guests, and has grown into a flexible, evolving, expanding, and sometimes messy, programme. In 2020–2021 PUBLICS Parahosted curatorial studio Shimmer (Eloise Sweetman and Jason Hendrik Hansma) with a year-long project ACROSS THE WAY WITH… where artists, poets, philosophers, and curators from around the world were invited to explore the notion of intimacy through online readings. 

Mercedes Azpilicueta performing “Yegua-Yeta-Yuta” (2015-ongoing) as part of the 2019 TODAY IS OUR TOMORROW festival at Kaiku, Helsinki. Curated by Latitudes. Photo Kush Badhwar.

Latitudes collaborated with PUBLICS in September 2019 as a partner organisation in the first edition of the multidisciplinary arts festival Today is Our Tomorrow initiated by PUBLICS, presenting the performance “Yegua-Yeta-Yuta” (2015-ongoing) by Argentina-born, Amsterdam-based artist Mercedes Azpilicueta

In 2021, PUBLICS supported the production of Laia Estruch’s “Ocells Perduts” (Stray Birds, 2021), a new work commissioned for the exhibition “Panorama 21. Notes for an Eye Fire” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022.


(Above and below) Laia Estruch, “Ocells Perduts” (2021) 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. Research supported with the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.


About PUBLICS

PUBLICS is a curatorial agency with a dedicated library, event space and reading room in Helsinki, Finland. As such PUBLICS is an educational resource where critical learning, knowledge production and discursive programming are integral to its curatorial approach. Under the artistic direction of curator Paul O’Neill, with program manager Eliisa Suvanto, PUBLICS explores a “work together” institutional model with multiple overlapping objectives, thematic strands and collaborations. 

https://www.publics.fi


About Laia Estruch

Laia Estruch’s practice hinges on the voice as a material reality—an expressive force and a medium that is expelled from the body. Over the last decade, her work has broached the fields of sculpture and contemporary art, spoken word, and experimental theatre, undertaking a kind of no-frills exploration of the voice’s communicative and emotive grammar while probing the conventions of staging it. Her interest focuses on the extremities and porosity of the spoken word in its relationship with song and raw sound. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. The voice is recast as an extraordinary, supra-human object. Estruch’s recent performances have involved scenes and routines in which her body is suspended above the ground, be it via the playground-like structures and inflatables of “Moat” (2016–2018), the swimming pool setting of “Crol” (2019), the hanging stage of “Ganivet” (2020–2021) or the monumental bird trap of “Ocells Perduts” (2021–2022).

Laia Estruch has a Bachelor’s Degree in Fine Arts from the Universitat de Barcelona (2010) and also studied at The Cooper Union, New York (2010). She has had solo exhibitions at the Fundació Joan Brossa, Barcelona (2020–2021); Capella de Sant Roc, Valls (2019); and Fundació Joan Miró, Barcelona (2019). Her group exhibitions include “Panorama 21: Apunts per a un incendi dels ulls” MACBA Museu d’Art Contemporani de Barcelona (2021–2022), “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020), and “Back to School”, Fundación Rafael Botí, Córdoba (2018). In 2022 she won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) and in 2021 she was awarded the Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.

https://laiaestruch.com


About Latitudes 

Find out more on https://www.lttds.org/about/


Laia Estruch, “MIX” (2021-ongoing) at the Festival Domingo, La Casa Encendida. Photo: © Arturo Laso.

→ RELATED CONTENT:

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              Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy

              February 2022 cover story on www.lttds.org


              The February 2022 monthly Cover Story “” is now up on our homepage: www.lttds.org

              Protruding from three of MACBA’s columns like sails lashed to the masts of a ship, Rosa TharratsAkaal / Selene \ Uluru (2021) is composed of layers of woven and printed cloth that have been stitched and fused together in combination with composites of homemade bioplastics—polymers made from biological sources such as seaweed and starch that have the potential to alleviate the growing problem of marine pollution.

               Continue reading

              → After February 2022 this story will be archived here.

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


              → RELATED CONTENTS

              • Archive of Monthly Cover Stories
              • Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
              • Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
              • Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
              • Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
              • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
              • Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
              • Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
              • Cover Story–May 2021: RAF goes viral, 2 May 2021
              • Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
              • Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021 
              • Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
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              Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC

              Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista.


              El 22 de septiembre 2021 a las 19h (UTC -5) se transmitirá a través de Facebook Live del Museo Amparo una conversación que mantuvimos con el artista Jorge Satorre (Ciudad de México, 1979). La conversación quedará registrada en el canal Youtube del museo. 

              Programada dentro del ciclo ‘‘Diálogos con artistas de la Colección de Arte Contemporáneo”, la conversación se enmarca dentro de la programación de la exposición “El tiempo en las cosas” curada por Tatiana Cuevas en las Salas de Arte Contemporáneo del Museo Amparo en Puebla, México.

              La conversación giró entorno al proceso de producción de “The Erratic. Measuring Compensation” (2010), actualmente incluída en la exposición “El tiempo en las cosas”, realizada por Satorre y comisionada por Latitudes como uno de los diez proyectos producidos a lo largo del 2009 en el espacio público del Puerto de Rotterdam, en los Países Bajos.

              Durante el verano de 2009, Satorre buscó y localizó una de las gigantescas rocas que los glaciares llevaron a los Países Bajos desde Escandinavia durante la última Edad de Hielo. A raíz de la fascinación del artista por los proyectos de compensación medioambiental que se llevaron a cabo durante el proyecto de ampliación portuaria Maasvlakte 2 (2008–13), Satorre con la ayuda de un equipo de científicos identificó el lugar de origen de un bloque errático y lo devolvió a su lugar de origen, un acto de restitución sintética y compensación escultórica transnacional. 

              El gesto geológico inverso de Satorre además de reflejar la construcción monumental de Maasvlakte 2 como una escultura de la forma de la tierra que, como la acción del deshielo pero en un tiempo mucho más corto, está alterando para siempre la morfología de los Países Bajos. La acción también se refleja en el hecho de que gran parte de la defensa marítima existente y futura en la zona portuaria se hará con roca traída de Escandinavia. Satorre ofrece un relato del proceso de devolución a través de dibujos que incorporan detalles reales e imaginarios. Uno de estos detalles representa una protesta imaginada al comienzo del viaje de vuelta a casa de la roca y fue presentado a modo de prólogo del proyecto en una valla publicitaria en el Puerto de Rotterdam, el puerto más grande de Europa.

              Portscapes fue un encargo de la Autoridad Portuaria de Rotterdam con el asesoramiento y apoyo de la desaparecida organización SKOR (Fundación Arte y Espacio Público, Ámsterdam), y fue curado por Latitudes. En este contexto se encargaron proyectos a Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Hans Schabus y a Jorge Satorre, quien realizó “The Erratic. Measuring Compensation” (2010).

              Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista. Foto: B. Wind.



              CONTENIDO RELACIONADO

              • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
              • Portscapes project page
              • Portscapes photo documentation
              • Web of the artist about ‘The Erratic. Measuring Compensation
              • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze 29 April 2015
              • Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews, 28 Mar 2012
              • Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
              • Interview with Erick Beltrán & Jorge Satorre publ 'Atlántica' magazine #52, 13 Feb 2012
              • Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
              • 2009 Video of the making of Jorge Satorre's project
              • Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten small exhibition at the visitor centre Futureland and surroundings, 2 October 2009

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              Cover Story–March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21)


              Latitudes' homepage www.lttds.org

              The March 2021 monthly Cover Story ‘Eulàlia Rovira. A Knot which is Not’ is now up on our homepage: www.lttds.org

              “This video was developed during and departing from the exhibition Things Things Say, and was inspired by the history of the space which hosted it. It comprises a live reading in Catalan by Eulàlia Rovira that was filmed, without the presence of an audience, in the galleries of Fabra i Coats: Contemporary Art Centre of Barcelona immediately following the end of the exhibition and the de-installation of the works of art.

              → After March 2021 this story will be archived here.

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


              → RELATED CONTENTS
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              Cover Story–June 2020: Mataró Chauffeur Service, since 2010

              Latitudes' homepage www.lttds.org

              The June 2020 monthly Cover Story ‘Mataró Chauffeur Service, since 2010’ is now up, check our website www.lttds.org

              “The premise was simple. Latitudes needed to get to Tate Modern and so Martí Anson was going to drive us to London and back. He would form a one-man one-car taxi company in his home town of Mataró, pick us up early in the morning in Barcelona and we’d head for the ferry. Mataró, Barcelona, Santander, Portsmouth, London, ‘No Soul for Sale’ festival, happy 10th birthday Tate Modern. Pim pam. His great-grandfather had been a taxi driver in Montevideo and his father-in-law a driver for the boss of Schweppes.”

              → Continue reading
              → After June 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



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              Cover Story–February 2019: Schizophrenic Machine

              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
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              ‘COLLAPSE. Schizophrenic Machine’ site-specific performance by Joan Morey at the former prison La Model, Barcelona, 10 January 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
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              Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’

              All photos: Latitudes.

              On September 14, Eulàlia Rovira and Adrian Schindler presented the performance ‘One motif says to the other: I can’t take my eyes off you’ in the context of the exhibition ‘Cream Cheese and Pretty Ribbons!’, curated by Latitudes at Galerie Martin Janda in Vienna.

              The new performance comprised a series of sartorial compositions, music clips, and readings from memory that were inspired by the belts, buckles, chains, harnesses, and tassels that appear on luxury silk scarf designs by brands such as Hermès, as well as the vogue for tattoos appropriating tribal patterns. A companion series of five photographic prints are derived from the intertwining designs of the latter textiles. 


              Rovira and Schindler also present another work in the exhibition. "The Feet Fixed to the Ground Betray no Impatience" (2016) features a camera-phone film based around a Barcelona park bench, as well as its sculptural reproduction. This model of street furniture is known as the ‘Romantic double’, and it inspires a narrative and a sequence of gestures that evoke the masterplans that opened up cramped European cities in the 19th-Century as well as ongoing impulses to organise public space and orchestrate the gaze. 

              Eulàlia Rovira & Adrian Schindler, born 1985 & 1989, live in Barcelona.


              The exhibition ‘Cream cheese and pretty ribbons!’ brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.

              Cream cheese and pretty ribbons!’ is part of the curated_by Vienna gallery festival inviting international curators. In 2018 the festival examines Vienna's systems and contradictions, life between the baroque and present times.

              + info

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              'Compositions' a programme of five artists' interventions for the second Barcelona Gallery Weekend, 29 September–2 October 2016


              Compositions presents five artistic interventions in unique sites across the neighbourhoods of the city of Barcelona. Each of the commissioned artists is represented by a gallery participating in the second edition of the Barcelona Gallery Weekend.

              Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people, as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums. 

              In its second edition, Composiciones will present interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects will offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

              Interior of the Club Billar Barcelona. Photo: Courtesy Club Billar Barcelona.
               Zoom in a map here.

              Intervention by Lúa Coderch Club Billar Barcelona
              Gran Via de les Corts Catalanes, 595-599
              08007 Barcelona

              Public transport:
              Metro: Passeig de Gràcia (L2, L3, L4)
              Bus: 7, 50, 54, 67, 68, H12

              Opening hours:
              Thursday 29 September: 5–9pm
              Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm 

              Lúa Coderch’s project for the Compositions programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics.

              Sunday 2 October, 12am: 
              Free guided visit by the Lúa Coderch and Latitudes at the Club Billar Barcelona, Gran Via de les Corts Catalanes, 595-599.

              Interior of the Biblioteca Pública Arús.
              Zoom in a map here.

              Intervention by Lola Lasurt  –  Biblioteca Pública Arús
              Passeig de Sant Joan, 26
              08010 Barcelona

              Opening hours:
              Thursday 29 September: 5–9pm;
              Friday 30 September: 11am–7pm;
              Saturday 1 October: 11am–2pm;
              Sunday 2
              October: CLOSED;
              Monday 3
              October: 11am–6pm;
              Tuesday 4
              October: 11am–6pm.
               
              Public transport:
              Metro: Arc de Triomf (L1)
              Rodalies: R1, R3, R4 Arc de Triomf
              Bus: 19, 51, 55, B20, B25, N4, N11


              For her intervention for the Compositions programme, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with an outstanding collection related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings that form a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

              Thursday 29 September, 6pm: 

              Free guided visit by Lola Lasurt and Latitudes at the Biblioteca Pública Arús, Passeig de Sant Joan, 26.

               Interior of Can Trinxet factory in L'Hospitalet de Llobregat.
               Zoom in a map here.
              Intervention by Regina Giménez will take place at the Antigua fábrica textil Can Trinxet
              c/ Santa Eulàlia 182–212
              08902 L’Hospitalet de Llobregat (Barcelona)

              Opening hours:
              Thursday 29 September: 5–8pm

              Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

              Public transport:
              Metro: Santa Eulàlia o Torrassa (L1)
              Bus: L16, L52, L82, L85, LH1, N13

              The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpin Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprise Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project "La Constancia" (2016) in tribute to the labour union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

              Friday 30 September, 12am:

              Free guided visit by Regina Giménez and Latitudes at Can Trinxet, c/ Santa Eulàlia 182–212, L’Hospitalet de Llobregat.

              Zoom in map here.

              Robert Llimós' intervention will connect all the participating galleries of the Barcelona Gallery Weekend. 

              Hours:
              Thursday 29 September: 5–9pm
              Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

              Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, "Los Corredores" (The Runners) was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Encounters). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes 

              Friday 30 September, 5pm:  
              Free guided visit by Robert Llimós and Latitudes. Meeting point: BlueProject Foundation, c/Princesa 57.
              Façade of the Unitat Muntada de la Guàrdia Urbana de Barcelona in Parc de la Ciutadella.
              Location of the Unitat Muntada in the southeastern part of the Parc de la Ciutadella. Zoom in a map here.

              The intervention by Wilfredo Prieto will take place at the Unitat Muntada de la Guàrdia Urbana de Barcelona (Barcelona City Police Stables)
              c/ Wellington s/n 
              08018 Barcelona

              Public transport:
              Metro: Vil·la Olímpica (L4)  
              Tram: Ciutadella–Vil·la Olímpica (just opposite)
              Bus: 36, 59, 92, N0, V21, V27

              Opening hours:
              Thursday 29 September: CLOSED
              Friday 30
              September, Saturday 1 and Sunday 2 October: 11–12am*
              [*] Doors open daily at 10:30am. Kindly note that a photo ID (DNI or passport) is required to enter.]
                
              Conceived by Wilfredo Prieto as his project for the Composiciones programme, "Pantalones rotos" (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work, Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in "Pantalones rotos", this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes  

              Saturday 1 October, 12am:
              Free guided visit by Latitudes at the Unitat Muntada de la Guàrdia Urbana. Meeting point: c/ Wellington s/n. (Opposite the tram stop Ciutadella–Vil·la Olímpica)

              Follow + Share: 
              @Barcelona_Gallery_Weekend
              #BarcelonaGalleryWeekend
              #Composiciones2016
              #LosCorredores1972   
              @LTTDS 
              #LatitudesBarcelona  



              The Barcelona Gallery Weekend is an initiative of the de Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ajuntament de L’Hospitalet de Llobregat and Acción Cultural Española (AC/E), as well as by private sponsors and individual patrons. http://www.barcelonagalleryweekend.com/


              Related content:

              • Composiciones 2015 commissions;
              • 2015 social media archive;
              • Instagram of the Barcelona Gallery Weekend;
              • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
              • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015;
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              Barcelona Gallery Weekend 2016 – Artists and locations of the programme "Composiciones" announced


              A "Save The Date" press release (scroll down for different languages) has been sent out with information on the participating galleries and spaces and their exhibitions for the forthcoming Barcelona Gallery Weekend (29 September–2October 2016)

              Returning for its second edition in 2016, Latitudes will curate "Compositions" (Composiciones), a series of artistic interventionsin unique sitesacross the neighbourhoods of the city. Each of the commissioned artists is represented by a gallery participating in the Barcelona Gallery Weekend. 

              Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.  

              The invited artists are Lúa Coderch  (Iquitos, Perú, 1982), Regina Giménez (Barcelona, 1966), Lola Lasurt  (Barcelona, 1983), Robert Llimós  (Barcelona, 1943), and Wilfredo Prieto (Santi Spiritus, Cuba, 1978), and the spaces where their interventions will take place are: 
              The full schedule of routes, guided tours and parallel programming will be announced in September.

              'Composiciones', five new commissions for the Barcelona Gallery Weekend, 1–4 October 2015.

              "Compositions" is a programme of artists’ interventions originally conceived and curated by Latitudes for the first Barcelona Gallery Weekend in 2015, when it produced five projects by David Bestué (in the former ceramics factory Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano de Barcelona); Jordi Mitjà (in the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the house of the former priest, gardens of La Central del Raval) y Daniel Steegmann Mangrané (in the Umbracle – Shadehouse – at the Parc de la Ciutadella). 

              #BarcelonaGalleryWeekend
              #Composiciones2016

              Related content:

              • Composiciones 2015 commissions;
              • 2015 social media archive;
              • Instagram of the Barcelona Gallery Weekend;
              • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
              • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015
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