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

Cover Story – August 2020: ‘Màquina possible’: going viral at Can Balaguer

Latitudes' homepage www.lttds.org

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

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

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→ After August 2020, this story will be archived here.

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


  • Archive of Monthly Cover Stories
  • Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi 1 Jul 2020
  • Cover Story–June 2020: Mataró Chauffeur Service, since 2010 1 June 2020
  • Cover Story—May 2020: Panama, back through the lens 4 May 2020
  • Cover Story—March-April 2020: The Bolós Cabinet 3 March 2020
  • Cover Story—February 2020: Carioca Incidents 3 February 2020
  • Cover Story—January 2020: Safeguarding Gestures 2 January 2020
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019

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Participants of the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative, Chicago and Detroit, 18–23 September 2019

Photo: Latitudes. 

Latitudes has been invited to join EXPO CHICAGO’s Curatorial Exchange programme. This year their visitor programme has been expanded with the introduction of the Red Bull Arts Global Curatorial Initiative, taking place surrounding the eighth annual exposition between September 18–23, 2019. 

The 2019 Curatorial Exchange will bring ten curators working in countries including Brazil (supported by Red Bull Arts Detroit), Canada (supported by the Consulate General of Canada in Chicago), Denmark (supported by the Ministry of Culture of Denmark and the Ministry of Foreign Affairs of Denmark), Italy (supported by the Italian Cultural Institute in Chicago), the Netherlands (supported by the Dutch Culture USA program by the Consulate General of the Netherlands in New York) and Spain (supported by Red Bull Arts Detroit).


Iben Bach Elmstrøm, independent curator, Copenhagen (Denmark).
Marcella Beccaria, Chief Curator and Curator of Collections Castello di Rivoli Museo d'Arte Contemporanea Rivoli, Torino (Italy)
Zippora Elders, Curator and Artistic Director, Kunstfort Vijfhuizen (the Netherlands)
Bas Hendrikx, Artistic Director, Kunsthalle Amsterdam, Amsterdam (the Netherlands)
Jaimie Isaac, Curator of Indigenous and Contemporary Art, Winnipeg Art Gallery (Canada)
Sarah Robayo Sheridan, Curator, Art Museum at University of Toronto (Canada)
María Inés Rodríguez, Curator-at-Large, Museu de Arte de São Paulo (MASP) (Brazil)
Julia Paoli, Director of Exhibitions & Programs, Mercer Union, Toronto (Canada)
Roberta Tenconi, PirelliHangarBicocca Curator (Italy)
Max Andrews and Mariana Cánepa Luna, Latitudes Co-Founders, Barcelona (Spain).

Conceived as a two-part professionalisation and cultural immersion programme, the Red Bull Arts Global Curatorial Initiative provides 2–4 of the invited curators the opportunity to participate in EXPO CHICAGO’s 2019 Curatorial Exchange programme, followed by the opportunity to visit Detroit (September 21-23) and engage the city’s artists, galleries and institutions in an effort to foster dialogue between global cultures and the greater Midwest.


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Curators: 'I Will Fear No Evil', José Antonio Hernández-Díez, Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), 18 March–26 June 2016

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

Latitudes is curating the solo exhibition 'I will fear no evil' of Venezuelan-born Barcelona-based artist José Antonio Hernández-Díez (Caracas, 1964), which will open at the Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), on March 17.
'I will fear no evil' presents works from the beginning of Hernández-Díez’s career in the late 1980s and early nineties – several of which have not been seen since they were first exhibited – in dialogue with Filamentos (2016), a new series developed especially for the occasion.

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

The present exhibition looks back to Hernández-Díez’s first experimental works with video alongside early iconic screen- and vitrine-based works, including three of those presented at the time of his landmark first monographic exhibition 'San Guinefort y otras devociones', held in 1991 at Sala RG in Caracas. This exhibition heralded what the artist termed as a ‘New Christian Iconography’, offering – as artist-colleague Meyer Vaisman described – ‘a techno-pop view of Catholicism’s most beloved symbols’. 

An newly text by Latitudes will be published in Spanish as No. 32 of the Quaderns portàtils (Portable Notebooks) series. This MACBA-produced collection is freely distributed and downloadable from the museum website in PDF and ePUB format. An English translation will also be available as a separate PDF.

Exhibition runs between 18 March–26 June 2016 and is organised and produced by the Museu d'Art Contemporani de Barcelona (MACBA).
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"Free Forms: An interview with Lauren Cornell", Curator, 2015 Triennial, Digital Projects and Museum as Hub, New Museum, New York. 9th in the #OpenCurating interview series.

"Free Forms: An interview with Lauren Cornell" is available on ISSUU to view on screen and is also downloadable. It is also available as pdf format via Latitudes' web.
After serving for seven years as Executive Director of new media non-profit Rhizome, in 2012 Lauren Cornell was appointed “Curator, 2015 Triennial, Digital Projects and Museum as Hub” of the New Museum, New York. During her tenure at Rhizome – a New Museum affiliate – Cornell initiated programmes including the annual Seven on Seven conference series, which bridges contemporary art and technology fields by pairing technological innovators with visual artists and challenging them to develop something over the course of a day. At the New Museum, Cornell was part of the curatorial team for The Generational: Younger Than Jesus (2009) and has curated exhibitions including Young-Hae Chang Heavy Industries’ Black on White Gray Ascending (2007), and Free (2010), a group show that examined “how the internet has changed our landscape of information and our notion of public space”. She is currently preparing the 2015 Triennial, the institution’s signature exhibition, which she will curate together with artist and filmmaker Ryan Trecartin.



Drawing on the emerging practices of so-called 'Open Journalism' – which seek to better collaborate with and use the ability of anyone to publish and share#OpenCurating is a research project that investigates how contemporary art projects may function beyond the traditional format of exhibition-and-catalogue. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context.

The project is articulated around a series of ten new interviews with curators, artists, writers and online strategists published as a free digital edition [read here the published ones so far], a Twitter discussion moderated around the hashtag #OpenCurating and an public conversation with Dia Art Foundation curator which took place at MACBA on the 19 February.

#OpenCurating is a research project by Latitudes produced through La Capella. BCN Producció 2012 of the Institut de Cultura de Barcelona. 

Content partners: Walker Art Center


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Report from the 2013 congress of the International Association of Curators of Contemporary Art (IKT) in Madrid, 18–21 April

The programme of the 2013 congress of IKT, the International Association of Curators of Contemporary Art, included meetings at the Centro de Arte Dos de Mayo in Móstoles as well as at Centro Cultural Matadero Madrid and the Museo Nacional Centro de Arte Reina Sofia, where the IKT Members Forum, Symposium and General Assembly were held.

"Curating Value", the topic of this year's symposium organised by Brussels-based independent curator Zoë Gray, included the participation of Barnabás Bencsik (the recently forced-out director of the Ludwig Museum in Budapest), French artist Pierre Bismuth, Spanish curator and consultant María de Corral, London-based curator and theorist Dr. Simon Sheikh and Greek artist and Athens Biennial co-director, Poka-Yio

Following is our photo diary documenting a few moments of these five days in Madrid alongside the organisers' schedule, starting the Pre-Congress programme on Thursday afternoon with a first meeting at Espacio Trapézio at the Mercado de San Antón and ending on Monday morning with the Post-Congress programme which included studio visits to Fernando Sánchez Castillo and Cristina Lucas.

Friday, 19th April 2013
Buses depart from Plaza del Emperador Carlos V/ Atocha (opposite the renowned El Brillante bar) for Centro de Arte Dos de Mayo (CA2M) in Móstoles. 

IKT Members Forum. Opening of the congress, welcome and greetings.

Each of the +/- 120 members and guests had 90 seconds to introduce themselves to the rest and quickly explain what projects they were currently developing.

Exhibition visits: Pop Politics: Activismos a 33 revoluciones curated by Iván López Munuera and Hailil Altindere curated by CA2M Director, Ferran Barenblit.

Lyota Yagi, Vinyl (2005) plays the melodies of Debussy's “Clair de Lune” and “Moon River” by Johnny Mercer and Henry Mancini on a record player from a record made of ice created with a silicon mould.

Lunch offered by CA2M at the Terrace.

Buses depart for Fundación Banco Santander (Boadilla del Monte) to visit the exhibition "Out of the House. Contemporary Art Cranford Collection", curated by Anne Pontégnie and Muriel Salem.

 Sci-Fi-like building of the Fundación Banco Santander in the Ciudad Financiera, Boadilla del Monte.

The exhibition space holds a collection of Spanish currency. Here, the last pesetas notes that used to circulate before 2002.

 View of the galleries presenting London's Cranford Collection. Holdings include mostly British art (Sarah Lucas, Rachel Whiteread, Damien Hirst, Phil Collins, Paul Noble, Eva Rothschild, Rebecca Warren, Gillian Wearing), but also pieces by Franz West, Albert Oehlen, Martin Kippenberger, Pierre Huyghe and Thomas Schütte. 
You can also visit it virtually.

 More blue chip works, by Damien Hirst (Something or Nothing, 2004).

 Our Love Is Like the Flowers, the Rain, the Sea and the Hours, 2002 by Martin Boyce.

 (Foreground) Jim Lambie's Sweet Exorcist, 2005.

 (Foreground) Rebeca Warren, Log Lady, 2003.

Franz West, Appartment (2001)

Buses depart for Ivory Press. Exhibition visit: Ilya & Emilia Kabakov.

 Tour through Ivory Press' artist books production with heavy weights like Noguchi, Chillida, Kapoor, Kiefer, Bacon...

...and of course Damien Hirst (again). Here The Holy Trinity explained in percentages, a part of a much larger sculptural/archive piece produced by Ivory Press.

View of Ilya & Emilia Kabakov's show Vertical Paintings and Other Worlds.

Walk to Galería Liebre. Exhibition visit: Ideas y presupuestos. Curator: Martí Manen. 

Ideas and budgets for possible artworks by artists Sebastian Beyro, Black Tulip, Bonus Extra, Kalle Brolin, Priscila Fernandes, Guillem Juan Sancho, Sandra Paula Fernández, Ana García Pineda, Luis Pérez Calvo, Iratxe Jaio & Klaas van Gorkum, Laramascoto, Connie Mendoza, Carlos Motta, Carl Palm, Pepo Salazar, Yes.

Visit to the Tabacalera Espacio Promoción del Arte. Exhibition visit: José Manuel Ballester “Bosques de Luz”. Curators: María de Corral and Lorena Martínez de Corral.

Entrance to Tabacalera, Espacio Promoción de Arte.

Tabacalera also shares spaces with La Tabacalera Centro Social Autogestionado (follow @latabacalera), where over 30 organisations self-manage their own spaces sharing, garden areas, storage, a stage, bar facilities, etc.

Saturday, 20th April 2013

Caixaforum. Exhibition: 'Maestros del Caos. Artistas y Chamanes'.

Walk to Medialab Prado, Calle Alameda 15, which officially opened its doors a day before our visit.

Walk to La Casa Encendida, Ronda de Valencia 2.
Exhibitions: Generaciones 2013. Proyectos de Arte Caja Madrid.
Albert Oehlen, Moderne Farbkonzepte. Curator: Christian Domínguez.

Lunch offered by La Casa Encendida in their terrace.

Buses depart for Matadero Madrid, Plaza de Legazpi 1, 28045 Madrid. 

Manuela Villa, Head of Contents at Matadero introduces the different areas of the 80,000m2 of the former slaughterhouse and its programmes, including the Programa de Pensamiento Matadero Madrid; Intermediae Laboratory for the production of projects and social innovation and Archivo de Creadores (Documentation of 150 Madrid-based contemporary artists).

   Fernando García-Dory of Campo Adentro working at Matadero Madrid.

Archivo de Creadores de Madrid, offering "physical and online documentation on 150 young artists or collectives of 17 different nationalities with links to the city of Madrid."

 IKT Symposium “Curating Value” at the Cineteca.  

"Curating Value" symposium at the Cineteca, Matadero Madrid. 
Left to right: Zoë Gray, Pierre Bismuth, Dr. Simon Sheikh Poka-Yio, Maria de Corral and Barnabás Bencsik.

Exhibition visits. Abierto x Obras: Candela. Los Carpinteros . Curator: Manuela Villa; and Arqueológica, curated by Virginia Torrente. Followed by a dinner and party offered by Matadero Madrid.

Candela, site-specific work by Los Carpinteros at the Abierto x Obras space.

 Pedro Barateiro's piece The Negative Reader, 2012-13, included in the group exhibition Arqueológica in Nave 16.

  Mariana Castillo Deball, five dance costumes produced by artisans in Yautepec in Morelos, used to perform the Brinco de los Chinelos dance during the Carnival. Part of the group exhibition Arqueológica in Nave 16.

Sunday, 21th April 2013

IKT General Assembly in the Auditorio 200, Museo Nacional Centro de Arte Reina Sofía (MNCARS).  

One of the issues to discuss during the General Assembly was to decide on the next venue/city to host the IKT Congress 2014 and 2015. The members voted that CCA Derry-Londonderry would host the 2014 event (the bid included visiting the biennial Eva International in Limerick) and that Vienna's Kunsthalle Wien to host the following year.

Here Johan Lundh co-director of CCA Derry-Londonderry during his presentation for Derry-Londonderry to host the 2014 IKT Congress.

Exhibition visits: Colección I. 1900-1945; Colección II. 1945-1968; Colección III. 1962-1982; Cristina Iglesias; Robert Adams. el lugar donde vivimos. Una selección retrospectiva de fotografías; La invención concreta. Colección Patricia Phelps de Cisneros; and Azucena Vieites. (Programa Fisuras).

 Favourite Gego mobile, "Reticularea" (1973–76), in the Colección Patricia Phelps de Cisneros. 

 Favourite Jesús Soto, "Pre-penetrable" from 1957 in the Colección Patricia Phelps de Cisneros. 
Wonderful 1967 Tropicália by Hélio Oiticica in the "Colección III, 1962-1982" (above and below).

(End of congress & beginning of Post-Congress)

Afternoon gallery visits around c/ Doctor Fourquet:

NoguerasBlanchard, with the exhibition "Can’t Hear My Eyes" curated by Niekolaas Johannes Lekkerkerk.

MaisterraValbuena, with the exhibition "Entre lo fugitivo y lo infinito" curated by Anja Isabel Schneider.

Isidoro Valcárcel–Medina, Conducto, 2013. From the press release: "On the occasion of this exhibition project, Isidoro Valcárcel Medina proposes a site-specific intervention on the floor in the gallery’s entrance zone. With a critical, at times provocative stance towards the art market, voiced among others in Ley del Arte - Ley reguladora del ejercicio, disfrute y comercialización del Arte (1992), Valcárcel Medina’s work sees art and life interrelated, inviting the spectator above all to an experience."

García Galería with the exhibition "En la zona gris" curated by Virginia Torrente.

Joaquín García of García Galería introducing the meteorite piece by Belén Rodríguez González

Moisés Pérez Albéniz with an exhibition of Antoni Muntadas (below).

Helga de Alvear with an exhibition of works by Prudencio Irazabal.

Fúcares, with the exhibition "Escópico-Esconder(se)-Escaparcurated" by Juan Francisco Rueda.

Visit to artists studios at Rampa in the Carabanchel neighbourhood, Madrid.

Found photograph in the former car repair shop that existed before Rampa.
IKT members listening to Rampa's presentation and questions on curating and the artist-curator relationship.

Bus departs for Colección Inelcom at the Ciudad de la Imagen, Pozuelo de Alarcón, Madrid. Artistic direction of the collection: Vicente Todolí.

The circa 3,000m2 headquarters at Ciudad de la Imagen, hold 72 works by 24 artists, including Pavel Büchler, Anthony McCall, Markus Schinwald, Ernesto Neto, Sophie Calle, Kader Attia, Candice Breitz, Ceal Floyer, Fiona Tan and Fernando Bryce's 'Work in Progress' (2006) a suite of 80 ink drawings (below).

Monday, 22th April 2013 

Visit artists studios: Fernando Sánchez Castillo and Cristina Lucas.

How many curators can you fit in an artist studio?

Espacio Valverde group show included a work by Antonio R. Montesinos, one of the members of Rampa.

AVE back to Barcelona... end of journey.

All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)

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Latitudes participates in the fifth annual March Meeting organised by Sharjah Art Foundation, 17–19 March 2012, Dar Al Nadwa, Heritage Area, Sharjah

Latitudes' 3-month residency at the New Museum in 2010. Photo: Latitudes

 FGA month residency at the Maasvlakte in 2009. Photo: FGA

March Meeting, a three-day symposium featuring presentations by artists, art professionals and institutions on the production and dissemination of art. March Meeting 2012: Working With Artists and Audiences on Commissions and Residencies will take place March 17–19, in Sharjah's scenic Heritage Area.

Latitudes will present two case studies of commissions and residencies. Firstly, a Latitudes commission in the context of 'Portscapes' that was developed from their invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA). Based from a shipping container the extremity of Rotterdam port for a month, FGA initiated a temporary web radio and research station. And secondly, a commission addressed to Latitudes in the context of 'The Last Newspaper' in which the curatorial duo worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition. Both residencies explored editorial and curatorial approaches as well as formats of publishing or broadcasting and highlight how small organisation can operate flexibly and critically within a larger structure – whether a huge industrial infrastructure project or a museum exhibition.

Speakers of the three-day symposium include: Abed Al Ju'beh, Director, Khalil Sakakini Cultural Centre (KSCC) (Palestine); H.E. Abdul Rahman Al Owais, UAE Minister of Culture; Noura Al-Sayeh, Architect & Curator (Bahrain); Palmina D'Ascoli, Manager of Department of Residencies, Institut Français (France); Shezad Dawood, Artist; Peter Eleey, Curator, MoMA/PS1 (USA); Amal Khalaf, Edgware Road Project: Assistant Curator of Serpentine Gallery (UK); Yuko Hasegawa, Chief Curator, Museum of Contemporary Art, Tokyo (MOT) (Japan); Louise Hui-Juan Hsu, Curator, Museum of Contemporary Art Taipei (Taiwan); Danda J, Director, Kuona Trust Centre for Visual Arts (Kenya); Lu Jie, Founder & Director, Long March Space (China); Eungie Joo, Curator, New Museum (USA); Riyas Komu, Director of Programmes, Kochi-Muziris Biennale (India); James Lingwood, Co-Director, Artangel (UK); Salwa Mikdadi, Head of Arts & Cultural Program, Emirates Foundation (UAE); Ayeh Naraghi, Cultural Programmes Specialist, UNESCO Doha Office (Qatar); Susan Pfeffer, Curator, KW Institute for Contemporary Art (Berlin); Andrea Rose, Head of Visual Arts, British Council (UK); Beatrix Ruf, Director/Curator, Kunsthalle Zürich (Switzerland); Anri Sala, Artist; Ramin Salsali, Founder, Salsali Private Museum (UAE).

The March Meeting and related events are free and open to the public. Registration is recommended at [email protected] Read more here

March Meetings 2012
Dar Al Nadwa, Heritage Area
United Arab Emirates
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Sala Rekalde de Bilbao

Desde el blog de 'Sala Rekalde: arte contemporáneo y responsabilidad pública' siguiendo al comunicado enviado el 21 Abril, donde se expresaba la preocupación por el cese de la directora de la sala Rekalde.

Más información en


Estimad@ amig@,

Nos tomamos la libertad de responder con este mail a tu apoyo al texto del 21 de abril de 2009 (www.rekaldeadhesiones.com) con el que exponíamos nuestra preocupación ante una serie de decisiones políticas con respecto a la Sala Rekalde de Bilbao. Lo hacemos ahora, en la confianza de contar con tu interés y porque es cuando algunas de las consecuencias de aquellas decisiones empiezan a hacerse efectivas.

La carta de apoyo convocó la adhesión de 647 personas relacionadas con la realidad del arte contemporáneo desde un gran número de países. Fue publicada en prensa y enviada a los representantes de los diferentes partidos políticos integrantes de la Comisión de Cultura de las Juntas Generales de Bizkaia, encargada de evaluar la situación.

Si bien las primeras reacciones por parte de la Diputada de Cultura de la Diputación Foral de Bizkaia, responsable de la sala Rekalde, parecían responder positivamente a través de pronunciamientos en la prensa a nuestra demanda de refrendar el programa realizado por la sala, es sólo ahora que se hace pública la conclusión real del problema:

El cese de la directora de su cargo ha supuesto su vuelta al puesto de comisaria que ocupaba antes de su designación y que es el puesto que han venido ocupando las sucesivas responsables de la programación de la sala. La situación administrativa creada supone en la práctica que Leire Vergara, responsable del programa desde 2006, y ajena al cese decretado en abril, ha sido despedida de su puesto. Es clara la incoherencia en la que incurre la Diputada de Cultura, Miren Josune Ariztondo, que ha mostrado a través de los medios y ante la Comisión de Cultura de las Juntas Generales de Bizkaia su respaldo al programa realizado, pero que cesa por supuesta razón administrativa a quien es responsable de ese programa.

En su momento, distintas agrupaciones de profesionales (entre otros, la Asociación de directores de Arte Contemporáneo de España, el Instituto de Arte Contemporáneo y el Consejo de Críticos de Artes visuales) exigieron a la Diputada de Cultura que aplicara las recomendaciones del Documento de Buenas Prácticas en museos y centros de arte firmado por distintas agrupaciones profesionales y el Ministerio de Cultura. La Diputada de Cultura no ha anunciado, hasta la fecha, concurso público alguno para cubrir la dirección artística de la sala Rekalde. Entendemos, de acuerdo con las citadas agrupaciones, que la sala Rekalde ha adquirido una posición entre las instituciones artísticas en la que no se puede permitir prescindir de un procedimiento estimado como básico por la totalidad de los agentes e instituciones del sector.

En nuestro anterior escrito, quisimos dejar fuera de toda duda el contrastado valor que ha tenido el programa de la sala Rekalde. Ahora que incluso quienes han causado esta situación han reconocido públicamente este valor, sólo nos queda pedir que se tomen decisiones en consecuencia y que se evite la irresponsabilidad de dilapidar el prestigio internacional que Rekalde ha conseguido en estos años. Quienes hemos valorado este hecho somos además conscientes de la dificultad y la fragilidad de tales logros, sólo posibles en situaciones de confianza mutua entre los agentes del arte y los gestores de la cultura. Tras tantas equivocadas decisiones, esta confianza no puede darse ya por hecha. Seguiremos atentos a las consecuencias de este proceso con gran preocupación y determinación.

Te haremos saber si surge alguna iniciativa pública de respuesta a esta situación e intentaremos mantenerte al corriente de la conclusión de este lamentable proceso.

Otra vez gracias y un saludo,

Peio Aguirre, José Ramón Amondarain, Ricardo Antón, Xabier Arakistain, Ibon Aranberri, Aimar Arriola, Txomin Badiola, Haizea Barcenilla, Daniel Castillejo, Guadalupe Echevarría, Miren Eraso, Santiago Eraso, Inazio Escudero, Oier Etxeberria, Jon Mikel Euba, Esther Ferrer, Charo Garaigorta, Iñaki Garmendia, Beatriz Herráez, Eduardo Hurtado, Fernando Illana, Iñaki Imaz, Pello Irazu, Miren Jaio, Iratxe Jaio/Klaas van Gorkum, Abigail Lazkoz, Maider López, Asier Mendizabal, Juan Luis Moraza, Ignacio Múgica, María Mur, Isabel de Naverán, Itziar Okariz, Lucía Onzain, Moisés Pérez de Albeniz, Sergio Prego, María Ptqk, Josu Rekalde, Natxo Rodríguez, Arturo f. Rodríguez, Xabier Sáenz de Gorbea, Xabier Salaberria, Azucena Vieites


Dear friend,

By means of this email we are taking the liberty of responding to your support for the text of April 21st 2009 (www.rekaldeadhesiones.com), in which we expressed our concern over a series of political decisions concerning the Sala Rekalde of Bilbao. We are doing so now as we trust in your interest in this question, and because some of the consequences of those decisions are beginning to come into effect.

The letter of support was signed by 647 people related to the reality of contemporary art from a great number of countries. It was published in the press and sent to the representatives of the different political parties who form part of the Cultural Commission of the Representative Assembly of Biscay, which was responsible for evaluating the situation.

While the first reactions, in statements to the press, by the Representative for Culture of the Provincial Council of Biscay, responsible for the Sala Rekalde, seemed to respond positively to our demand for endorsement of the programme developed by the Sala Rekalde, it is only now that the real conclusion of the question is being made public:

The dismissal of the Director from her post has meant her return to the curatorial position she held before her appointment, a position that has been occupied successively by the persons responsible for designing the Sala Rekalde’s programme. The administrative situation created has in practice meant that Leire Vergara, who has been responsible for the programme since 2006 and who has no connection with the dismissal decreed in April, has been dismissed from her position. What is clear is the inconsistency of Miren Josune Ariztondo, the Representative for Culture: after expressing, in the press and before the Cultural Commission of the Representative Assembly of Biscay, her support for the programme developed, she has dismissed the person responsible for that programme for a supposedly administrative reason.

At their time, different professional groups (amongst them the Association of Directors of Spanish Contemporary Art, the Institute of Contemporary Art and the Council of Visual Art Critics) demanded that the Representative for Culture should apply the recommendations of the Document of Good Practices in Museums and Art Centres, signed by different professional groups and the Ministry of Culture. To date, the Representative for Culture has not announced any open public competition to fill the position of artistic director of the Sala Rekalde. We understand, together with the abovementioned groups, that the Sala Rekalde has acquired a position amongst the artistic institutions in which it is not permissible to dispense with a procedure considered as basic by all the agents and institutions of the sector.

In our earlier communication, we wished to leave beyond all doubt the proven value of the programme of the Sala Rekalde. Now that even those who brought about this situation have publicly recognised this value, all we can do is ask that they take decisions accordingly and avoid the irresponsibility of squandering the international prestige that Rekalde has won in recent years. Such achievements are difficult and fragile, and are only possible in situations of mutual trust between the agents of art and the managers of culture. In the wake of so many erroneous decisions, this trust can no longer be taken for granted. We will continue to monitor the consequences of this process with great concern and determination.

We will let you know if any public initiative arises in response to this situation, and we will try to keep you informed about the conclusion of this lamentable process.

Thank you once again, and best wishes,
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Presentación de la web www.plataformacuratorial.es durante las segundas jornadas de 'Producir, Exponer, Interpretar...', Matadero Madrid

Presentada durante las segundas jornadas de 'PRODUCIR, EXPONER, INTERPRETAR. Estrategias y conflictos en la práctica curatorial', Matadero, Madrid, 25-27 Septiembre 2009) la web www.plataformacuratorial.es recoge resumenes de las presentaciones de la primera parte de estas jornadas que tuvo lugar en MUSAC (Mayo 2009), textos, links de interés, comentarios en formato twitter sobre las segundas jornadas, fotografías, etc. También existe una página en facebook.

Abajo imágenes de las jornadas.

[Fotos: Latitudes | www.lttds.org]
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