Longitudes

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

Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS

  April 2022 cover story on www.lttds.org


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.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
  • Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
  • 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
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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 first MACBA triennial exhibition “Panorama 21. Notes for an Eye Fire(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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              Premios de la 5a edición del Dart Festival de cine documental sobre arte contemporáneo 2021


              La programación de la 5a edición del Festival de Cine Documental sobre Arte Contemporáneo 2021 (25 de noviembre al 3 de diciembre) se muestra por segunda vez en la plataforma online Filmin (accesible para todo el territorio español entre el 25 de noviembre al 12 de diciembre), manteniendo una sesión presencial el 25 de noviembre con el estreno europeo en los cinemes Girona en Barcelona del documental Sergio Larraín, el instante eternoel primer fotógrafo latinoamericano en unirse a la agencia Magnum.


              (Arriba y abajo) Dart Festival 2019 en Cinemes Girona.


              Proyección en la Sala Phenomena del estreno en España del remaster en 4K de “A Bigger Splash” (1973).


              Dart Festival es el primer festival de cine documental dedicado al arte contemporáneo cuyo principal objetivo es entrelazar la cultura y el conocimiento con el gran público, y lo hace a través de documentales sobre fotografía, comisariado de arte, pintura, performance, arquitectura, movimientos artísticos y, en general, sobre arte contemporáneo, prestando especial atención a los artistas, sus procesos de creación y las historias que hay detrás de sus trabajos. 

              Una edición más, Latitudes ha tenido el placer de formar parte del jurado del festival junto al crítico de cine Quim Casas y el periodista cultural Ianko López.

              El jurado ha decidido que los documentales premiados dentro de la sección competitiva de la 5a edición del festival sean “Esther Ferrer: Hilos de tiempo” (2020, ES, 69') del director Josu Rekalde como mejor producción nacional y “Beijing Spring” (2021, EEUU/Suiza,100') dirigida por Andy Cohen y Gaylen Ross como mejor producción internacional.

              Esther Ferrer: Hilos de tiempo” (2020, ES, 69') del director Josu Rekalde.


              Esther Ferrer: Hilos de tiempo de Josu Rekalde (2020, España)

              Es un retrato íntimo, sin ser apologético, que hace un completo ejercicio histórico para situar a una de las figuras más relevantes del panorama artístico nacional. Es una película que destaca por su voluntad coral, en búsqueda de un diálogo constante con el espectador. El uso de material de archivo y el intento de representar la performance como parte integrante del documental permiten apreciar el recorrido histórico de Esther Ferrer y cómo éste se integra en el contexto más amplio del arte performativo y feminista internacional.

              Beijing Spring” de Andy Cohen y Gaylen Ross (2021, EE.UU)

              La película arroja luz sobre un período poco conocido del arte chino de los años 70, contextualizando una acción artística realmente extraordinaria. Gracias a material inédito, vemos un documental dentro un documental que da forma a la importancia de narrar las luchas por la libertad de expresión desde el contexto del arte y los movimientos de vanguardia que surgieron a raíz (o detrás) de la Revolución Cultural. Aún siendo un trabajo sobre un momento histórico específico, lanza reflexiones sobre los derechos y el poder del arte que nos llevan a la contemporaneidad.

              Fotograma de “Beijing Spring” (2021, EEUU/Suiza,100') dirigida por Andy Cohen y Gaylen Ross.


              → CONTENIDO RELACIONADO:
              • Nominator, XI Premio Lorenzo Bonaldi per l’Arte – EnterPrize, GAMeC - Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy, 2021
              • Premios de la 4a edición del Dart Festival de cine documental sobre arte contemporáneo 2020, 3 dic 2020
              • Premios de la 3a edición del Dart Festival de cine documental sobre arte contemporáneo 2019, 1 Dec 2019
              • Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales, 1 Febrero 2018
              • Jurado y equipo tutorial de Barcelona Producció 2017 – Anuncio de los proyectos ganadores, 25 Mayo 2017
              • Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona, 2 Febrero 2016
              • Latitudes-nominee artist Annette Kelm shortlisted for the Aimia | AGO Photography Prize 2015, 24 June 2015
                Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove, 7 Diciembre 2011
              • Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h 16 junio 2008
              • Otros jurados – véase sección "About"
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              Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre

              September 2021 cover story on www.lttds.org

              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.


              → RELATED CONTENTS

              • Archive of Monthly Cover Stories
              • 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
              • Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
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              Participants announced of MACBA's “Panorama 21. Notes for an Eye Fire”


              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 LatitudesAs 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 Fireis 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:

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              Cover Story – April 2021: Lara Almarcegui at La Panera

               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

              → After April 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
              • Archive of Monthly Cover Stories
              • 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 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
              • Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
              • 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
              • ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
              • Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
              • Report from Urdaibai: commission series ‘Sense and Sustainability’, Urdaibai Arte 2012 22 July 2012
              • Launch of the monograph ‘Lara Almarcegui. Projects 1995–2010’, edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
              • Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
              • Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
              • Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
              • Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008, 28 Mayo 2008
              • Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
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              Estreno del vídeo “A knot which is not” [Un nus que no ho és] (2020–21) de Eulàlia Rovira

              (📷 ↑↓) Eulàlia Rovira, “A knot which is not” [Un nudo que no lo es], 2020–21. Vídeo, 12:21min. Audio en catalán. Cortesía de la artista.

              [CAT] 

              Avui a les 18h (CET) s'estrena el nou vídeo d'Eulàlia Rovira “A knot which is not” [Un nus que no ho és] (2020-21), al canal Youtube de Fabra i Coats

              El vídeo és fruit d’una recerca que l'artista va iniciar amb la inauguració de l’exposició “Coses que les coses diuen” (17 d’octubre de 2020 – 17 de gener de 2021), comissariada per Latitudes a Fabra i Coats: Contemporary Art Centre of Barcelona, i que es fa pública un cop s’ha clausurat i les sales del centre d'art són novament buides. El vídeo podrà veure's en qualsevol moment després de l'emissió en directe.

              “Si bé la línia recta és còmplice de l’abaratiment i l’estandardització de molts productes, a on ens du la corba, o encara millor, el nus? Donant girs a les històries de la mateixa fàbrica tèxtil de la Fabra i Coats i als objectes que en sortien, la llengua que ens parla exercita paraules que les mans semblen haver deixat de reconèixer.” –  Eulàlia Rovira


              [ES] 

              Hoy a las 18h (CET) se estrena el nuevo vídeo de Eulàlia Rovira “A knot which is not” [Un nudo que no lo es] (2020-21), en el canal Youtube de Fabra i Coats.

              El vídeo es fruto de una investigación que la artista inició con la inauguración de “Cosas que las cosas dicen” (17 de octubre de 2020–17 de enero de 2021), la exposición comisariada por Latitudes en Fabra i Coats: Centre d’Art Contemporani de Barcelona, y que se hace pública una vez ha finalizado y las salas expositivas están nuevamente vacías. El vídeo podrá verse en cualquier momento después de la emisión en directo. 

              “Si bien la línea recta es cómplice del abaratamiento y la estandaritzación de muchos productos, ¿adónde nos lleva la curva, o aún mejor, el nudo? Dando giros a las historias de la propia fábrica textil de la Fabra i Coats y a los objetos que de ella salían, la lengua que nos habla ejercita palabras que las manos parecen haber dejado de reconocer.” – Eulàlia Rovira


              [UK] 

              Today at 6pm (CET) Eulàlia Rovira's new video “A Knot which is Not” [Un nudo que no lo es] (2020-21) is premiered on the YouTube channel of Fabra i Coats.

              “A Knot which is Not” is the result of Rovira's research that began with the opening of “Things Things Say” (17 October 2020–17 January 2021), curated by Latitudes at Fabra i Coats: Contemporary Art Centre of Barcelona, and made public once the exhibition finished and the art centre galleries are empty once again. The video will be available for viewing at any time after the live broadcast. 

              “Whilst the straight line is complicit in the price decrease and standardisation of many products, where does the curve, or better still, the knot, lead us? Putting a new spin on the stories of the Fabra i Coats textile factory and the objects found there, the language they speak to us uses words that our hands seem to have stopped recognising.” – Eulàlia Rovira

              → CONTENIDO RELACIONADO:
              • ‘Things Things Say’ en las redes sociales
              • Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 11 January 2021 
              • Trailer and photo documentation of the exhibition ‘Things Things Say’, 4 Nov 2020
              • 6 de noviembre, 17:45h: Proyección ‘Popcorn’ [Palomita] (90', 2012) de Adrià Julià en el Zumzeig Cinema, 29 Oct 2020
              • Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021, 9 Oct 2020

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              Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022

              ↑ Robert Mitchell, “Plans, and Views in Perspective, with Descriptions of Buildings Erected in England and Scotland; and ... an Essay to Elucidate the Grecian, Roman and Gothic Architecture. (Plans, Descriptions Et Vues En Perspective, Etc.)”, 1801, London. Held at the British Library


              PRESS RELEASE

              Museu d'Art Contemporani de Barcelona (MACBA)
              Plaça dels Àngels 1
              08001 Barcelona
              www.macba.cat

              “Panorama 21: Notes For An Eye Fire”
              22 October 2021–27 February 2022
              Opening: 21 October 2021

              Panorama 21: Notes For An Eye Fire” is a project that aims to reaffirm the commitment of the Museu d'Art Contemporani de Barcelona (MACBA) to the vitality of local production, by supporting site-specific creation and reconsidering what it can offer – and how it can be best used – through a new generation of artists and audiences. Conceived as a long-term commitment by the museum to support local practices, this is an initiative that aspires to make an enduring contribution to the resilience of Barcelona’s cultural ecosystem.

              Panorama 21: Notes For An Eye Fire”, which takes its title from the third book of poems by Gabriel Ventura (“Apunts per a un incendi dels ulls”, Documents Documenta, 2020), will be co-curated by Hiuwai Chu (Curator, MACBA) together with Latitudes, the curatorial duo formed in 2005 by Max Andrews and Mariana Cánepa Luna. This type of collaborative work aims to widen institutional practices and bring independent perspectives, through a scheme that it is hoped will be maintained in the future. 

              Occupying the entire second floor of MACBA’s Meier Building, it will consist of a group exhibition featuring a number of newly realised projects alongside recently produced works. Moreover, Hiuwai Chu and Latitudes conceive this inaugural edition as a curatorial, editorial and communication channel where in-venue displays encompass a wider spectrum of online programming, publishing, streaming and engagement with MACBA’s users beyond the Museum walls. 

              Borrowing from the practices of an increasingly socially engaged generation of artists, “Panorama 21: Notes For An Eye Fire” is not guided by a top-down thematic focus. Instead, it is growing in a cumulative and responsive way from a ground-up perspective on Barcelona, the region and its imaginary. It aspires to amplify the voices of artists and cultural producers that are working in unprecedentedly challenging times.

              The project will draw from the panoramic notion of a wide view seen from a fixed point, as well as the innovation that was the origin of the word itself – a neologism coined by the Irish artist Robert Barker from the Greek pan (all), and horama (view) to describe his paintings of Edinburgh, Scotland, at the end of the eighteenth century. Long before the invention of cinema and the proliferation of screens that now characterise contemporary life for many of us, panoramas offered one of the most surprising and popular visual spectacles. 

              A panorama was an immersive combination of painting, theatre and architecture. A vast 360° depiction of a city, landscape or battle scene that was presented in a purpose-built circular building. Viewers entered through a tunnel and emerged onto a platform at the centre of the structure and into a startling wrap-around experience. Panoramas could offer a vicarious form of travel. The first such presentation opened to the public in London in 1791, yet the invention really took off in Europe during the following two decades when international travel was severely restricted due to the Napoleonic Wars. Barcelona’s 1888 Universal Exposition presented no less than three panoramas in the city, representing views of the fabled peaks of Montserrat, the Siege of Plevna and the Battle of Waterloo. 

              Resonating with the trans-disciplinarity of these display devices, and their desire to inform and captivate, “Panorama 21: Notes For An Eye Fire” nevertheless turns the page on their seamless vista of past conflicts and decisive victories, to imagine instead a structure for supporting a fertile and diverse landscape of many complex artistic positions of the present. 

              @macba_barcelona
              #PanoramaMACBA
              #macbaBCN
              #apuntsperunindencidelsulls


              RELATED CONTENT

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              Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona

              Anuncio en e-flux de la nueva temporada de exposiciones en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 17 octubre 2020.
              Clàudia Rius, “4 novetats de la Fabra i Coats”, Núvol.com, 19 octubre 2020.
              Teresa Sesé, ‘Los objetos hablan: ¡escúchalos!’, La Vanguardia, 20 octubre 2020.


              Montse Frisach, “Coses que les coses diuen”, catorze.cat, 21 octubre 2020.

              Roberta Bosco, ‘La voz de los humanos y de las cosas’, Mirador de les Arts, 21 octubre 2020.
              Ramon Casalé Soler, El Temps de les Arts, 27 octubre 2020. 

              Cabe aclarar que, tal y como publicamos en Twitter el pasado 27 de octubre, ‘Cosas que las cosas dicen no se presentó anteriormente en el CAPC musée d'art contemporain de Bordeaux como menciona el articulista, sino que la exposición ha sido un encargo y una producción de Fabra i Coats: Centre d'Art Contemporani de Barcelona


              Eduardo de Vicente, ‘Historias explicadas por objetos’, el periódico, 16 diciembre 2020.


              c/ Sant Adrià, 20
              08030 Barcelona

              #CosesQueLesCosesDiuen
              #CosasQueLasCosasDicen
              #ThingsThingsSay

              📽Tráiler 

              🗺Guía 

              🎧 Audioguía  
              Narrada por la artista Eulàlia Rovira (click y escoge idioma)



              CONTENIDO RELACIONADO:
              • ‘Things Things Say’ en las redes sociales
              • 6 de noviembre, 17:45h: Proyección ‘Popcorn’ [Palomita] (90', 2012) de Adrià Julià en el Zumzeig Cinema, 29 Oct 2020
              • Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021, 9 Oct 2020

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              2020 in 11 monthly Cover Stories

              Since Spring 2015, Latitudes has published a monthly cover story on its homepage www.lttds.org featuring past, present or forthcoming projects, as well as ongoing research, texts, artworks, exhibitions, films, objects or travel related to our curatorial practice. Here's how 2020 looked like on our homepage.

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