We are pleased to announce that Max Andrews and Mariana Cánepa Luna of Latitudes have successfully qualified to be in the first cohort of Active Members of the Gallery Climate Coalition (GCC). To achieve this status we had to demonstrate that our organisation had implemented environmental sustainability best practices in line with GCC’s guidelines.

This initiative marks an evolution in GCC’s strategy from awareness raising and community building to one focusing on the near-term tangible progress of members following three key actions:

• Completing a CO2e report or audit (our 2019 and 2022 emissions are published here).
• Establishing and maintaining a Green Team (Latitudes is also on the Founding Committee of GCC Spain).
• Publishing an Environmental Responsibility Statement.

As part of the initiative, GCC provides qualifying members with a badge (see below) to recognise and celebrate the actions taken. These badges are year-stamped and members have to re-submit annually to retain the latest Active designation. 

Active Membership is neither a certification of sustainability nor a claim that we are doing things perfectly and have all the answers — none of us are at this point. Yet it does entail transparency in the assessment, reporting, and reduction of climate impact, the setting of targets in line with science, and the search for working solutions.

We encourage everyone to visit the Gallery Climate Coalition website to learn more about the initiative and how to get involved.

Moreover, Latitudes is part of the Founding Committee of the recently formed volunteer team, GCC Spain. To get involved, please contact: [email protected]

Active Membership Press Release, 10 May 2023.

RELATED CONTENTS:

• Latitudes’ Environmental Policy Statement – Extended version here.
• Cover Story, March 2023: Art, Climate, and New Coalitions, 1 Mar 2023
• Gallery Climate Coalition (GCC) en el Estado español, 25 January 2023
• Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
• “‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
• 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
• Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
• Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
• Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
• Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
• Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
• Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
• Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
• Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
• Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
• Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
• Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
• Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008.

El 22 de febrero de 2023 a las 16h tendrá lugar una sesión informativa sobre la Gallery Climate Coalition (GCC) en el Exhibitors’ Lounge de ARCOmadrid. 

El encuentro lanza un nuevo grupo semiautónomo y voluntario afincado en el Estado español, GCC Spain – que se suma a los grupos de trabajo alineados con los objetivos de GCC existentes en Berlín, Italia, Los Ángeles, Londres y Taiwán – e inicia su andadura con el fin de desarrollar y compartir buenas prácticas y recursos medioambientales específicos para profesionales del sector artístico español.

Gallery Climate Coalition (GCC) es una organización sin ánimo de lucro que agrupa a distintos agentes del sector artístico en Europa que ofrece directrices de sostenibilidad medioambiental para el sector de las artes visuales. La membresía es totalmente gratuita (actualmente cuenta con +800 miembros de 40 países), tan sólo exige un compromiso sincero y firme con la misión y los fines de la asociación.

Preocupados por reducir y compensar el impacto medioambiental que nuestro sector genera, los principales objetivos de la coalición son facilitar una reducción de las emisiones de gases de efecto invernadero del sector de las artes visuales en un mínimo del 50% para 2030 (en línea con el objetivo del Acuerdo de París de mantener el calentamiento global por debajo de 1.5 °C) y promover prácticas de deshechos cero. 

Información → https://galleryclimatecoalition.org

Contacto → [email protected]

CONTENIDOS RELACIONADOS:

• Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
• “‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
• Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 Aug 2021 
• 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
• Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
• Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
• Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
• Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
• Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
• Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
• Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
• Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
• Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
• Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
• Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
• Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008

December 2022 cover story on www.lttds.org

The December 2022 monthly Cover Story “The Melt Goes On Forever. David Hammons and DART Festival” is now up on our homepage: www.lttds.org

“Latitudes has been collaborating with Dart, the documentary film festival that focuses exclusively on contemporary art, since its inception in 2017. Its sixth edition has just taken place in Barcelona at Sala Phenomena, Cinemes Girona, and MACBA (24-30 November).” Continue reading 

After December 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.

The April 2022 monthly Cover Story “Mix & Match: Laia Estruch at PUBLICS” is now up on our homepage: www.lttds.org

“On 17 March 2022, the first event of a year-long “Parahosting” collaboration between Latitudes and PUBLICS took place in Helsinki. The Parahosting programme of PUBLICS began in 2018, and it has grown into a key method of decentering the authorship of the curatorial agency through a flexible, evolving, expanding, and sometimes messy, practice of working together.” Continue reading

→ After April 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.

The September 2021 monthly Cover Story “Erratic behaviour—Latitudes in conversation with Jorge Satorre” is now up on our homepage: www.lttds.org

“In 2008 the Port of Rotterdam in the Netherlands, the largest in Europe, began a dramatic project to extending its land by 20% into the sea. Known as Maasvlakte 2, the construction involved bringing more than 5 million tons of rock from Scandinavia for the construction of dikes and dams, alongside a programme of ecological offsetting. ”

→ Continue reading

→ After September 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.

‘Panorama 21: Notes for an Eye Fire’
Museu d'Art Contemporani de Barcelona (MACBA)
Exhibition: 22 October 2021–27 February 2022
Private view: 21 October 2021

With the participation of Ana Domínguez, El Palomar (Mariokissme & R. Marcos Mota), Laia Estruch, Arash Fayez, Antoni Hervàs, Rasmus Nilausen, nyamnyam (Ariadna Rodríguez & Iñaki Álvarez) with Pedro Pineda, Claudia Pagès, Aleix Plademunt, Marria Pratts, Stella Rahola Matutes, Eulàlia Rovira, Ruta de autor (Aymara Arreaza R. & Lorena Bou Linhares), Adrian Schindler, Rosa Tharrats, Gabriel Ventura, and Marc Vives.

MACBA is launching a new series of exhibitions entitled “Panorama”, with a focus on contemporary art practices in and around Barcelona. With an emphasis on collaborative practices and presenting diverse perspectives, each edition of “Panorama” will be led by a different curatorial team, composed of a member of the MACBA team together with an independent curator or collective.

Occupying the entire top floor of the Meier Building, the first edition of “Panorama”, will open with the group exhibition “Notes for an Eye Fire”, curated by Hiuwai Chu (MACBA) and Latitudes. As the “notes” of the title suggests, this exhibition attempts to jot down, to lay out and to connect without seeking to be in any way definitive.

The group show is not driven by one overarching subject, yet the works on display weave together diverse and interconnected themes that have emerged from the curators’ studio visits and conversations with the artistic community, whether addressing the self-image of the city, notions of reparation and belonging, gender dissidence, or our relationship with non-human life.

“Notes for an Eye Fire” brings together works that have been specially commissioned for the occasion, along with recent productions—all being shown in Barcelona for the first time. It comprises a wide range of disciplines, including painting, sculpture, works on paper, video installation, performance, photography, and textiles, and is driven by a desire to defend and verify the making of on-site exhibitions as experiences that envelop us as whole sensing bodies in space.

The title, borrowed from a 2020 book of poetry by Gabriel Ventura, conjures up a powerful metaphor that provokes a questioning of the dominance of vision, urging us to explore an expanded definition of seeing that engages our other senses and entails new ways of navigating the world, of remembering and of producing knowledge.

This broader consideration of the sensorial in the exhibition has developed in parallel to an exploration of the conceptual and historical underpinning of the panorama itself. The word panorama was coined in the 18th century to describe vast 360-degree paintings housed in purpose-built cylindrical buildings. Looking out from a raised platform, the public enjoyed a commanding view that was nevertheless a disorientating visual experience. Long before the invention of cinema and the proliferation of screens that now characterises contemporary life for many of us, the panorama was the virtual reality headset of its time and became mass entertainment in Europe at a time when travel had not been possible due to the Napoleonic wars. Barcelona hosted three such panoramas during the Universal Exposition of 1888.

The circular form of the eye takes on a life of its own in the exhibition’s imagination, whether through projects that address theatre or performance, the spatial relationship between stage and auditorium, or the loop as narrative. Such perspectives and scales also encircle how the museum establishes a connection with its neighbourhood, and vice versa, in a time in which we are perhaps all questioning and seeing again what our own place in the world might be. 

PUBLIC PROGRAMMES, WEB and PUBLICATION

The public programming around Notes for an Eye Fire will be a mix of in-person and online activities, from workshops, performances and events in the exhibition galleries to in-person and online conversations between participating artists.

The exhibition will also have an expanded presence on the museum’s website, which will feature a webpage dedicated to each artist with complementary material of varied formats related to their artistic practice and production. The website will be updated with new content throughout the exhibition period.

A publication, designed by Ana Domínguez, will be released in Spring 2022 and will include a conversation between the curators, a text by Gabriel Ventura, and texts about the participating artists, accompanied by reproductions of their work.

“Panorama” is an exhibition organised and produced by MACBA Museu d’Art Contemporani de Barcelona. Its inaugural edition, “Notes for an Eye Fire” is curated by Hiuwai Chu (Head of Exhibitions, MACBA) and Latitudes (Max Andrews and Mariana Cánepa Luna), and coordinated by Berta Cervantes.

#PanoramaMACBA #apuntsperaunincendidelsulls 📝🔥👁👁

→ RELATED CONTENT:

 April 2021 cover story on www.lttds.org

The April 2021 monthly Cover Story ‘Lara Almarcegui at La Panera’ is now up on our homepage: www.lttds.org

“Latitudes participated in a roundtable and wrote the exhibition text for Lara Almarcegui’s ‘Graves’ (Gravels), currently on view at the Centre d'art la Panera, Lleida, until 30 May. “What possibilities begin to emerge when the excavation at a quarry is stopped?”, the text wonders.”

→ Continue reading