Fri, Feb 7 2020 2020, colapso, Exhibition, in photos, installation views, Joan Morey, Latitudes-curated, Solo show
|La exposición individual ‘COLAPSO. Máquina célibe’ de Joan Morey que puede verse en el Casal Solleric, Palma de Mallorca, hasta el 3 de mayo 2020. Fotos: Latitudes.|
Panel introductorio de la exposición y créditos, abajo panel y cartelas del programa de audio.
‘COLAPSO. Máquina célibe’ es la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. Consiste en una revisión de seis grandes proyectos, cuya documentación y otros objetos se expone junto con ocho piezas sonoras. Las doce majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogen este conjunto de materiales, voces y cuerpos que, con su colapso, ofrecen una panorámica de los últimos diez años de la carrera artística de Morey. La exposición es una adaptación de ‘COLAPSO’, un proyecto en tres partes que tuvo lugar simultáneamente en el Centre d’Art Contemporani de Barcelona - Fabra i Coats, el Centro de Arte Tecla Sala de L’Hospitalet de Llobregat y la antigua cárcel Modelo de Barcelona entre 2018 y 2019.
Entrada a la exposición en la planta noble. Acceso a la exposición en orden cronológico.
Entrada al proyecto COS SOCIAL en la planta noble. Acceso a la exposición por orden cronológico inverso.
Poster del proyecto ‘COS SOCIAL. Lección de anatomía’ (2017).
Performance para pantalla ‘COS SOCIAL. Lección de anatomía’ (2017).
(Arriba y abajo) Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017). Al fondo sala dedicada a ‘TOUR DE FORCE’ (2017).
Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017).
En la sala vermella (sala roja) se exhibe la mesa de disección utilizada en la película ‘COS SOCIAL. Lección de anatomía’ (2017) y la vestimenta de la única actriz.
La muestra de este nuevo capítulo, ‘COLAPSO. Máquina célibe’, se organiza en torno a vitrinas y pantallas de vídeo dispuestas a modo de sarcófagos o relicarios. Ocupa un lugar destacado la performance para la pantalla ‘CUERPO SOCIAL. Lección de anatomía’ (2017), así como una selección de cinco proyectos anteriores, producidos entre 2007 y 2017 y desarrollados mediante el lenguaje artístico de la performance. Además, el patio del Casal Solleric alberga un programa continuado de obras de audio: grabaciones de lecturas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.
Inicio cronológico de la muestra: sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7).
Sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7) y conexión a la derecha con la sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
Detalle de los contenidos presentados en la vitrina del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada a ‘GRITOS Y SUSURROS. Converses amb els radicals’ (2009) y al fondo proyección del mismo proyecto (abajo).
Video proyeccion del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada al proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).
Detalle de la vitrina del proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).
|Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). |
Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017).
Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017).
Contenidos de una de las dos vitrinas dedicadas a ‘TOUR DE FORCE’ (2017).
Video teaser del proyecto ‘TOUR DE FORCE’ (2017).
|Sala dedicada al proyecto ‘COS SOCIAL’ (2017).|→ CONTENIDO RELACIONADO:
- Documentación fotográfica de COLAPSO;
- Archivo Wakelet redes sociales;
- Joan Morey awarded the Botín Foundation's International Visual Arts Grant, 22 July 2019
- Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113.
- Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2019
- Performance ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
- Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
- December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
- Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
- November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
- November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
- October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
- October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
- Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
- Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
- NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
Fri, Oct 4 2019 2019, conversations, documentation, Helsinki, in photos, Latitudes-curated, Mercedes Azpilicueta, partner organisation, performance, PUBLICS, report
Poster announcing the festival in a street in central Helsinki. Photo: Latitudes.
Façade of Kaiku, Helsinki. A day earlier, on September 12, 2019, Latitudes and Mercedes maintained an open conversation introducing her artistic practice and, in particular advancing details of both her ‘Yegua-Yeta-Yuta’ performance taking place a day after, as well as her forthcoming solo exhibition at CentroCentro, Madrid, opening October 3, 2019, and her solo presentation as part of Van Abbemuseum's ‘Positions #5’, a series of exhibitions presenting the work of artists working in the Netherlands.
September 12, 2019, 5:30–6:30h: (Above and below) Mercedes, Mariana and Max (Latitudes) in conversation at Club Kaiku. Photo: Jonni Korhonen/PUBLICS.
Photo: Jonni Korhonen/PUBLICS.
Photo: Aman Askarizad/PUBLICS.Azpilicueta performed ‘Yegua-yeta-yuta’ (2015-ongoing), an evolving solo performance that is part scripted, part improvised. Composed from a litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina, it transforms the everyday language of misogyny and harassment into a kind of tragicomic exorcism. Many of the words derive from the street slang of Buenos Aires, especially Lunfardo, a colloquial and cryptic dialect that first arose among working-class Italian-immigrant and tango communities in Argentina and Uruguay during the late 1800s. For example, yegua literally means a mare – a female horse, a slur for a “difficult” woman. A yeta is a person who brings bad luck, while a yuta is someone corrupt or unscrupulous, and slang for the police. Accompanied by a percussive beat, Azpilicueta reclaims the power to offend, distorting and distending the epithets into something powerful and playful rather than weak and degrading. Azpilicueta performed to the beat of a new soundtrack produced for the occasion in collaboration with Chilean choreographer Rodrigo Sobarzo de Larraechea. See documentation on our photo gallery.
Photo: Aman Askarizad/PUBLICS.
Mercedes Azpilicueta during her performance ‘Yegua-Yeta-Yuta’ (2015-ongoing) for TODAY IS OUR TOMORROW festival, organised by PUBLICS, Helsinki. Photo: Latitudes.
Photo: Jonni Korhonen/PUBLICS.
Photo: Aman Askarizad/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Photo: Kush Badhwar/PUBLICS.
Mercedes Azpilicueta is an Argentinian visual and performance artist based in Amsterdam. Her practice has spanned theatrical mises-en-scènes and video installations, textile sculptures and drawing, sound works and 3D animation. With a particular interest in notions of the vulnerable or collective body, and the primal or dissident voice, her works have drawn inspiration from sources as diverse as Baroque painting, text messaging, medieval tapestries, street slang, and literary fiction, as well as singular figures including the Italian art critic and feminist activist Carla Lonzi (1931–1982), the Argentine-French performance artist Lea Lublin (1929–1999), the French futurist Valentine de Saint-Point (1875–1953), and the Costa Rican-born Mexican ranchera singer Chavela Vargas (1919–2012). A major survey of Azpilicueta’s work to date, ‘Cuerpos Pájaros’ (Body-birds) was recently staged by the Buenos Aires Museum of Modern Art (November 2018–April 2019 — see Latitudes' Buenos Aires report). On October 3, 2019, she presents ‘Bestiario de Lengüitas’ (Bestiaire of Tonguelets), curated by Virginie Bobin, at CentroCentro, Madrid, an exhibition which will then tour to Museion, Bozen, and CAC Brétigny in 2020. Later in 2019, she will have a solo presentation as part of ‘Positions #5’ at Van Abbemuseum, Eindhoven.
(Above) Mercedes during her performance ‘Oh, Eduarda!’ on April 14, 2019, presented at the Museo de Arte Moderno in Buenos Aires. Photo: Latitudes.
- PUBLICS website,
- Partner organisation in ‘Today Is Our Tomorrow’, Helsinki, 12–14 September 2019 2 September 2019
- e-flux announcement 31 August 2019,
- Participating organisation: No Soul for Sale – A Festival of Independents, with Martí Anson, Tate Modern Turbine Hall, London, United Kingdom, 14–16 May 2010,
- Participating organisation: No Soul for Sale – A Festival of Independents’, with The Bruce High Quality Foundation, X Initiative, New York, 24–28 June 2009,
- Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018.
Wed, Oct 17 2018 2018, Banu Cennetoglu, biennale, Francis Alÿs, haegue yang, immigration, in photos, Liverpool, report, Tate, The Bluecoat
The Liverpool Biennial 2018: Beautiful world, where are you? (14 July–28 October 2018) presented the work of over 40 artists in locations across Liverpool including public spaces, civic buildings and the city’s leading art venues: Blackburne House, Bluecoat, FACT, Open Eye Gallery, Liverpool John Moores University’s Exhibition Research Lab, Liverpool Metropolitan Cathedral, the Oratory, the Playhouse theatre, RIBA North – National Architecture Centre, St George’s Hall, Tate Liverpool, Victoria Gallery & Museum (University of Liverpool), public spaces and online.
The 2018 edition was curated by Kitty Scott (Carol and Morton Rapp Curator, Modern and Contemporary Art at the Art Gallery of Ontario) and Sally Tallant (Director, Liverpool Biennial) with the Liverpool Biennial team.
The following texts are from the Liverpool Biennial website. All photos by Latitudes.
Above and below. Banu Cennetoğlu's "The List" on a 280-metre hoarding on Liverpool's Great George Street.
Compiled and updated each year by UNITED for Intercultural Action, an anti-discrimination network of 550 organisations in 48 countries, "The List" traces information relating to the deaths of more than 34,000 refugees and migrants who have lost their lives within, or on the borders of Europe since 1993. Since 2007, in collaboration with art workers and institutions, Banu Cennetoğlu has facilitated up-to-date and translated versions of "The List" using public spaces such as billboards, transport networks, and newspapers. An updated edition of The List is presented on Great George Street in Liverpool and can be accessed online at guardian.co.uk. Copies of "The List", which were distributed by The Guardian newspaper on World Refugee Day on 20 June, are also available at exhibition venues.
Installed on a 280-metre hoarding on Liverpool's Great George Street, "The List" has been vandalised twice since the biennial opened in July. Cennetoğlu decided not to install it for a third time, leaving the ripped remains as a “reminder of the systematic violence exercised against people”.
Screened within a specially designed structure, Mathias Poledna’s new film "Indifference" (2018) further advances his exploration of modernity’s visual imaginary. The work is set against the backdrop of early 20th-century European history, a period of traumatic modernisation and conflict.
Conceived as a visual translation of the Korean musical notation ‘Jeongganbo’, Land Sand Strand is a new multi-part installation by Suki Seokyeong Kang. The work transforms the exhibition space into a grid. Building on the concept of the hwamunseok – a traditional Korean woven mat, interpreted as the minimum space provided for each individual in society – it is activated by performers and the audience. The choreography, inspired by the Spring Oriole Dance and traditionally performed on the hwamunseok, is shared with visitors. The movements on the mat serve as the blueprint for the wider installation consisting of painting, sculpture and video.
Brian Jungen carves ‘feathers’ from the soles of Nike trainers to create a series of sculptures that resemble Cheyenne-style war bonnets. These headdresses, familiar from countless Westerns, address a long history of conflict and the lingering effects of colonisation. They signify the strength and pride of indigenous people today.
The sculptural works of Duane Linklater consider the notions of cultural loss, social amnesia and identity from the perspective of the indigenous peoples in Canada. Commenting on the economy of the fur trade, they suggest that animals, even in death, might retain their spirits or selfhood beyond the value they possess as commodities.
Haegue Yang presented her sculpture series "The Intermediates" (2015-ongoing) in Tate Liverpool's Wolfson Gallery. Made from artificial woven straw, The Intermediates allude to both traditional arts and crafts techniques and modern industrial production methods. Representing figures and sites from folk tales and ancient traditions, they question definitions of ‘paganism’. Yang’s environment for these works includes recordings of wildlife taken from the British Library’s sound collection, a wallpaper juxtaposing pagan traditions and modern history, and suspended ribbons that evoke folk traditions such as maypole dancing. Her multisensory, hybrid environments suggest fleeting connotations of time, place, figures and experiences that connect ‘folk’ traditions and contemporary culture.
Not as part of the biennial programming, but this conversation coincided with our visit.
The White Pube's Zarina Muhammad and Gabrielle de la Puente were in conversation with Tate Liverpool's new director Helen Legg about their origins as "embodied art critics", their practice and the challenges art criticism presents today.
Tracing the struggles and turbulent histories of the Chechen people, Aslan Gaisumov’s most recent work Keicheyuhea (2017) follows the artist’s grandmother as she returns to her lost homeland in the mountainous scenery of the North Caucasus for the first time since the displacement of her family 73 years earlier.
Naeem Mohaiemen at the St George’s Hall.
Screened in the courtroom at St George’s Hall is "Two Meetings and a Funeral" (2017), a three-channel film by Naeem Mohaiemen – currently nominated for the Turner Prize 2018. The work revisits the Cold War-era power struggles between the political coalitions of the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). The project navigates alliances of convenience made during Bangladesh’s fight for UN recognition, as well as parallel decolonisation struggles in Palestine-Israel, the Portuguese colonies and South Africa.
Display of the Brendel Plant Models of World Museum anatomical models of plants, made for display and teaching purposes by the Berlin firm of R Brendel & Co in Germany around the turn of the 20th century.
Francis Alÿs' paintings at the Victoria Gallery & Museum.
Francis Alÿs presents a selection of postcard-size paintings from the 1980s to today under the title Age Piece. Executed in the tradition of classic à plein air painting, these works allude to the condition of global tourism in the contemporary art scene. Many of the paintings were done while scouting new locations for future film projects, often in conflict zones such as Israel and Palestine, Afghanistan and Iraq.
Liverpool Metropolitan Cathedral Plateau.
Five bench-like sculptures can be found on the plateau behind the Liverpool Metropolitan Cathedral. For this new commission, Ryan Gander dissected a model of architect Frederick Gibberd’s modernist cathedral into a series of simple ‘building blocks’. The blocks were then reassembled into different configurations by schoolchildren from Liverpool: Jamie Clark, Phoebe Edwards, Tianna Mehta, Maisie Williams and Joshua Yates. The maquettes that Gander and the children created have been reproduced on a larger scale to produce this new public seating arrangement within the cathedral grounds. This presentation is part of a larger project, Time Moves Quickly.
John James Audubon at the Central Library.
One of the only 120 complete edition copies of The Birds of America by John James Audubon at the Central Library. The 19th-century book contains exquisite illustrations of a wide variety of birds of the United States.
Paul Elliman's work at the Exhibition Research Lab.
Paul Elliman presents the "Vauxhall Astra 2020", the forthcoming and newest model of a car available since 1979 when General Motors launched the Vauxhall/Opel Astra, now the only car produced at Ellesmere Port. The Astra 2020 is offered as a constellation of raw materials, half-a-dozen boulders and rock-like lumps of the car’s constituent parts at original scale, made of steel (iron ore), glass, plastic, aluminium, rubber, and electrical components.
Mohamed Bourouissa has created a garden working with local people, gardeners, school pupils, teachers and artists. The artist was inspired by a garden made by a patient of the psychoanalyst and writer Frantz Fanon at the Blida-Joinville Psychiatric Hospital in Blida, Algeria. Fanon’s patient created the garden as occupational therapy, reflecting the organisation of his mental space through its structure. Bourouissa researched and learned the patient’s approach to botany, architecture, and therapy in order to create a similar garden in Liverpool. The garden has been conceived as a space of ‘resilience’. Some of the plants are native to Algeria and others have healing effects. A film documenting the garden and its evolution are presented at FACT.
|Very close to Bourouissa's Resilience Garden is Assemble's ongoing project at Granby's Street.|Assemble's ceramic workshop in Granby Street, "a manufacturer of architectural ceramics, based in Liverpool and established in 2015. The workshop is part of Assemble's ongoing involvement with the Granby Four Streets neighbourhood."
Work by Taus Makhacheva at Blackburne House.
Taus Makhacheva has created a ruin-like sculptural installation that serves as a spa, in collaboration with artist Alexander Kutovoi. The installation incorporates ASMR (Autonomous Sensory Meridian Response) techniques and video.
- Report from Athens: "AGORA", 4th Athens Biennale 2013 4 November 2013
- (Post 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013 9 June 2013
- (Part 2/3) "The Encyclopedic Palace", 55th Venice Biennale in tote bags 14 June 2013
- (Post 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013 17 June 2013
- Manifesta 9, "The Deep of the Modern", Genk, Belgium, 2 June – 30 September 2012 in pictures and seen by the critics 12 June 2012
- dOCUMENTA (13) in pictures & as seen by the critics, 9 June–16 September 2012 12 June 2012