Longitudes

Helene Romakin interviews Latitudes for artfridge.de



Over the course of the Summer, Helene Romakin (PhD candidate at the Institute for the History and Theory of the Architecture, ETH Zurich) interviewed us for the Berlin-based online platform www.artfridge.de run by the art historian and curator Anna Lena Werner.

As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands. 


RELATED CONTENTS:
  • Conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
  • In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
  • Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
  • Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
  • "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013

Selección de reseñas, videos y entrevistas sobre el proyecto COLAPSO de Joan Morey


Natàlia Farré, ‘Sumisión y frío en la Modelo’, El Periódico, 15 de enero 2019.
Maria Palau, ‘Angoixats a la Model’, El Punt Avui, 13 de enero 2019, pág 23.

Conxita Oliver, ‘El món performatiu de Joan Morey, a revisió’, eltemps.cat, 13 desembre 2018 (Catalán).


Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", núvol.com, 6 desembre 2018 (Catalán).



María Muñoz, ‘Sobre el poder, la performance y el deseo’, Metal magazine, 4 diciembre 2018 (Castellano).




"Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'H digital Mitjans de Comunicació de L'Hospitalet, 29 novembre 2018 (4'57'', Catalán).


Entrevista ‘Joan Morey, artista i performer mallorquí’ con Tania Adam, programa ‘Terrícoles’, canal betevé, 13 novembre 2018 (27', Catalán).
Vanessa Graell, ‘Anatomía de la ‘performance’’, El Mundo, 27 septiembre 2018 (Castellano).
Maria Palau, ‘Contra l'abús de poder’, El Punt Avui, 23 setiembre 2018 (Catalán).
Núria Juanico, ‘L’entrada a l’univers sinistre de Joan Morey’, Ara.cat, 25 setiembre 2018 (Catalán).


CONTENIDO RELACIONADO:
  • Proceso de inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey 11 Diciembre 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 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
  • Wakelet archive of social media content

Reviews of the exhibition "4.543 billion. The matter of matter" at the CAPC musée, Bordeaux

As the ‘4.543 billion. The matter of matter’ exhibition concluded on January 7, 2018, at the CAPC musée in Bordeaux, we finished archiving all the social media posts visitors, the museum and ourselves have published – see our Wakelet feed below – since research phase to the exhibition itself, and below share the most relevant print and online reviews.
Wakelet collection of the "4.543 billion" exhibition.

December 8, 2017: Tom Jeffreys highlighted the exhibition in his "Looking Back: Paris" roundup for frieze magazine – illustrated with two works included in the show by Nicholas Mangan and Alexandra Navratil.

"A little less academic, but no less rigorous, was ‘4,543 milliards’ (4,543 billion), curated by the Barcelona-based Latitudes (co-founded by frieze contributing editor Max Andrews) at CAPC, Bordeaux. Subtitled ‘The matter of matter’, the exhibition provided a material, geological and political response to the building’s former life as a warehouse for colonial commodities and, by extension, the complex entanglement of culture, money, politics and ecological impact. Marble from Trump Tower (Amie Siegel’s "Strata", 2017) was exhibited alongside partially-burnt documents rescued from a fire at the Bordeaux municipal archives and a 1939 mock invitation to the ‘Museum of Standard Oil’, actually MoMA’s new building, issued by the then-publications director, Frances Collins (unsurprisingly fired soon after). Combining archival materials with work by 30 artists, big ideas with specificity and nuance, this was exactly the kind of exhibition I would want to return to again and again. If the selection of the next artistic director the Venice Biennale were a democratic process, I’d be voting for Latitudes."


November 28, 2017Frank Browning, Paris-based Contributor to the Huffington Post author, and former NPR Correspondent, reviewed the recently opened retrospective of Beatriz González and concluded his article with a short mention:

"Meanwhile, around the corner at CAPC there’s an intriguing assembly of stones, papers, paintings, photographs and projections that unite geo-physics, sculpture, and art history, including the conversion of the building itself from a one-time commodities warehouse into its current life as a museum.

Entitled “The Matter of Matter,” [missing "4.543 billion" years, the age of the Earth, and the first part of the exhibition title] it includes the work of 30 artists, assembled and mounted by a Spanish team, Max Andrews and Mariana Cánepa Luna. They call themselves Latitudes [wrongly published with two "T"]; they aim to excavate the world we inhabit daily, be it through the history indigo mining in Mexico and southern France (vital for fine pottery and coloring bluejeans) or oil extraction in Venezuela, gas infused sculptures or open pit diamond mining in southern Africa. All that we do, all that we eat, all that we create derives from one form of excavation or another. Simple truism as it may seem, Latitudes takes us into the intimacies of our relation with this earth and calls us to meditate on our physical and aesthetic relation to the steadily warming round rock that is our home."




September 20, 2017: Emmanuel Labails of RCF Radio did a 9-minute interview with Pedro Jiménez Morras, Head of Press of CAPC, who discussed the premises of the exhibition and some of its works. (Listen between minute 4:39 and 13:36).

August 19, 2017: Bea Espejo's ‘Cambio de tiempo’, on the Spanish national cultural supplement Babelia, in El País newspaper begins:

˝A ese pensamiento geológico del tiempo conduce la exposición 4.543 millones. La cuestión de la materia en el CAPC de Burdeos. La muestra aborda obras de arte, colecciones e historias culturales con relación a procesos ecológicos y la escala geológica del tiempo. En total, más de 35 artistas que dan valor a las discontinuidades, a las derivas y a las ausencias. La muestra almacena el tiempo como una batería almacena la energía. Y lo hace en varias capas de lectura. Una de ellas es el tiempo que lleva Latitudes, la oficina curatorial de Mariana Cánepa Luna y Max Andrews, trabajando en este proyecto, seguramente el más complejo y ambicioso, aunque esta investigación en torno a las complejas relaciones entre la ecología y el arte contemporáneo está en la base de todos sus proyectos desde 2005. Aquí no pueden ser más rotundos. Abordan la cuestión de la materia desde el lado más inmaterial, que es la memoria. Para ello, estudiaron a fondo el contexto de la ciudad bajo un programa de residencias del museo. Hablamos, pues, de un proyecto de investigación, algo que se traduce en cada pequeño gesto que recoge la muestra, y que lo expande todo. De ahí las relaciones de algunas obras con el departamento de zoología de la universidad (Ilana Halperin), el Museo de Bellas Artes (Stuart Whipps, o el préstamo de Alfred Roll), así como los muchos documentos y objetos que se incluyen de los archivos Métropole, de la Gironde y la colección geológica de la UFR Sciences de la Terre et de la Mer, de la Universidad de Burdeos.˝




July 12, 2017: Catherine Darfay's ‘Le CAPC remonte le temps’ on the local newspaper "Sudouest", was the first feature. The article was illustrated with a with an image showing Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) chartering the daily price of carbon dioxide emissions allowances in the world’s largest carbon market —a changing value documented in this blog post.


RELATED CONTENT:
  • 4.543 billion. The Matter of Matter” exhibition
  • Archive of social networks posts related to "4.543 billion"
  • Photo gallery of the exhibition 
  • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
  • Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
  • Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
  • Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017 
  • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
  • Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
  • Second research trip to Bordeaux 16 July 2016

Reseñas sobre la exposición "No temeré mal alguno" de José Antonio Hernández-Díez en el MACBA

A una semana de concluirse la exposición de José Antonio Hernández-Díez en el MACBA (finaliza el 26 de junio), hacemos revisión de la cobertura de prensa más relevante que ha recibido (por orden cronológico) y que encontraréis bajo la pestaña "Contenidos relacionados" en la sección final de ésta y en todas nuestras páginas, espacio desde donde también compartimos entradas al blog.

Compartimos una vez más el registro fotográfico de la exposición y el archivo de redes sociales (reseñas, instagrams, tweets) que diferentes usuarios han ido publicando a lo largo de los tres meses que ha durado la exposición. 

Recordad que quedan dos activides más: el 22 de junio, 19h, se proyectará "Vampyr" de Carl Theodor Dreyer (1932, Francia y Alemania, 75 min, b/n, sin sonido) dentro del ciclo "Sombras y silencios o los fantasmas que vuelven como la primera vez" que comisaría el cineasta Andrés Duque para la exposición y el sábado 25 de junio, 19h, Nieve Fuga realizará un concierto en vivo en la sala de exposiciones en el contexto de la programación #MACBAesviu, un collage sonoro inspirado en las obras de la exposición
 
“Las obras de José Antonio Hernández-Díez toman el MACBA”, eldiario.com, 17 marzo 2016.


“El MACBA acull una exposició amb instal·lacions experimentals de José Antonio Hernández-Díez”, Vilaweb.com, 17 març 2016.

Núvol, video by Ester Roig, 17 març 2016.
 

Sonia Ávila, "José Antonio Hernández-Díez mira a su pasado”, El Periódico, 17 marzo 2016.

Carlos Sala “Cuando el video era el rey”, La Razón, 18 marzo 2016.
 

Griselda Oliver, "Viu o mort. El gos d’Antonio Hernández-Díez", Núvol.com, 19 març 2016.


Eugènia Sendra, “Com recuperar la fe perduda”, revista Time Out, 23 març 2016.

Javier Díaz-Guardiola, “La obsolescencia artística programada también existe”, ABC Cultural, 25 marzo 2016.
Antoni Ribas Tur, "Nova iconografia religiosa i un gos sant, al Macba”, www.ara.cat 29 març 2016.

Jaume Vidal Oliveras, "Hernández-Díez, líbranos de todo mal", El Cultural, El Mundo, 1 abril 2016.

Maria Palau, "Art, vida i mort", El Punt/AVUI, 7 abril 2016.

Roberta Bosco, "Arqueología contemporánea", El País (Catalunya),17 abril 2016.

Contenido relacionado:

Photodocumentation of the five commissions 'Composiciones' now on flickr

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

We just uploaded photos of the five new commissions "Composiciones" on Latitudes' flickr. These projects by artists active in the Barcelona art scene complemented the first Barcelona Gallery Weekend (1–4 October 2015) programme of exhibitions and events

Each intervention responded to site and context-specific private and public location outside the contemporary art circuit – a private psychoanalytic library, the former home of the director of a ceramics factory, a public botanical collection, the home of a former priest and an invertebrate fossile collection.

Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Composiciones offered moments of interruption, intimacy and immersion throughout the weekend.


 Map of the five locations for the temporary projects. 

Also on our website (highlighted in yellow where to locate it) you'll find the links to the audio and video documentation of the three talks led by Dora García as part of her intervention at the Biblioteca del Campo Freudiano. We recommend you read a nicely written account of these three sessions (in Spanish) by two of its participants.



On the same page and under 'Related content' you will find links to the press coverage related to 'Composiciones'. The most extensive and in depth review so far has been this considered and detailed blog entry by Barcelona-based art critic and curator Fede Montornés, which of course made us really happy

And last but not least, we gathered the many tweets, instagram, press links, etc. that appeared in the last few weeks in Storify.






#BarcelonaGalleryWeekend
#Composiciones

Related content:


Storify – Social media archive 

Details of the Barcelona Gallery Weekend programme

Instagram of the Barcelona Gallery Weekend
 
PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015 


NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015



This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption).

Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Selected press coverage of 'The Dutch Assembly' at ARCOmadrid 2012

Rubén Grilo during his performance at 'The Dutch Assembly'. Space designed by Jasper Niens and Thijs Ewalts. Photo: Latitudes | www.lttds.org

(ES) Bea Espejo, "ARCO 2012, cifras y letras", El Cultural online, 23 November 2011


(UK) The Netherlands is the guest country at ARCOmadrid 2012, art-agenda.com, 13 February 2012

(ES) "ARCO 2012: Entrevista a Latitudes, comisarios de "The Dutch Assembly", Blog www.camilayelarte.blogspot.com, 15 Febrero 2012

(ES/UK) Álvaro Calleja, 'Un puente entre dos naciones/A bridge between two nations', ABCDArco, 16 Febrero 2012, p.7

(ES) Roland Groenenboom, "Holanda, reinventarse para sobrevivir", El Cultural, 17 Febrero 2012

(ES/UK) 'Kunstbeeld interviews Latitudes', special ARCOmadrid 2012 issue y en español aquí

(UK) Jolien Verlaek, "State of the arts: Spain - the Netherlands. Interview Mariana Cánepa Luna", Metropolis M, 18 February 2012

(ES) Entrevista con Mariana Cánepa, www.masdearte.com, 18 Febrero 2012

Videos ('The Dutch Assembly' related events/participants):

(ES) Entrevista a Lara Almarcegui, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Mariana Cánepa, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Adrià Julià, www.hoyesarte.tv, 18 Febrero 2012

'Care', performance by Rory Pilgrim at 'The Dutch Assembly' at ARCOmadrid, Metropolis M


+ info: 
The Dutch Assembly and programme details here.

Pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona

Selección de artículos recientes entorno al pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona:

"Fontcuberta dice que cancelar el Canòdrom es un paso hacia un sistema artístico "totalitario", La Vanguardia, 6 Febrero 2012 (incluye video acción reivindicativa)

Roberta Bosco, "Los artistas visuales consideran pedir la dimisión de Ciurana", El País, 6 Febrero 2012

Bea Espejo, "El Canódromo en blanco", El Cultural, 6 Febrero 2012

(...) A las 16h, una manifestación convocada por la Asociación de Artistas Visuales de Catalunya pretende presionar a los políticos y hacerlos cambiar de opinión. Se leerá un manifesto y se pintarán de blanco los cristales del Canódromo, como se hace con los escaparates de los establecimientos cerrados. – Bea Espejo

Fotos: Latitudes | www.lttds.org


Se empiezan a pintar los cristales del Canòdrom...

 
Lectura del manifiesto (leer aquí, en catalán) por Joan Fontcuberta, Presidente de l'Associació d'Artistes Visuals de Catalunya (AAVC):

 

Los medios entrevistan a Francesca Llopis, Vocal de l'Associació d'Artistes Visuals de Catalunya (AAVC):


...y una hora después...llegan los camiones de BCN neta



Elena Vozmediano, El día después, blog 'Y que tú lo veas', 3 febrero 2012

Acció en defensa del Canòdrom com a Centre d’Art Contemporani, blog Associació d’Artistes Visuals de Catalunya

Roberta Bosco, "Moritz Küng, el director amordazado", El País, 1 Febrero 2012


"El arte en Barcelona", Cartas al director, La Vanguardia, 23 Enero 2012

Elena Vozmediano, El neodirigismo catalán, blog 'Y que tú lo veas', 21 Noviembre 2011


CONTENIDOS RELACIONADOS:
  • Gone with the wind: on the 'art crunch' and the Centre d'Art de Barcelona, the saga continues... 16 December 2008
  • Notas presentación de Latitudes expuestas durante las "Jornadas internacionales de debate para El Canòdrom, el nuevo Centro de Arte en Barcelona", 6–7 Julio 2009 (10 julio 2009)
  • Jornadas entorno al Canòdrom, el futuro Centro de Arte en Barcelona, 6–7 Julio 2009 (3 julio 2009)

Latitudes' 'The Last Newspaper' exhibition featured in the May issue of Shanghai-based magazine 'Art World Magazine'

In their May issue, Shanghai-based Art World Magazine featured 'The Last Newspaper' (New Museum, 6 October 2010–9 January 2011) exhibition focusing on Latitudes' 10-week-long editorial project and re-publishing and translating four articles originally published in issues: #2 The Last Gazette (focus article on Hans Haacke's "News" by Julienne Lorz), #5 The Last Monitor (an essay on paperweights and newsstands by Harley Spiller), #6 The Last Observer (interview with Wolfgang Tillmans by Lorena Muñoz-Alonso), #7 The Last Evening Sun (focus article on Luciano Fabro's 'Pavimento-Tautologia' by Simone Menegoi) and #8 The Last Journal (an interview with Rirkrit Tiravanija by Desiree B. Ramos).
  Thank you to Michelle Ding from Art World Magazine and to all the writers for giving permission to reprint in Chinese.

Photos: Latitudes | www.lttds.org

Selection of press coverage of Latitudes' weekly newspaper for 'The Last Newspaper' exhibition at the New Museum

Following is a selection of press reviews that has appeared in relation to 'The Last Newspaper' exhibition (New Museum, 6 October 2010–9 January 2011), in particular those who focused on Latitudes' edition of a weekly newspaper as catalogue-in-formation:

Holland Cotter, 'Art and News, Intersecting in the Digital Age', The New York Times, 7 October 2010:

"And at the behest of the
New Museum a print-savvy group called Latitudes from Barcelona is issuing another tabloid, this one weekly and edited from the third-floor gallery, that will double as an exhibition catalog. That publication would, of course, be the ideal place for the curators and participating artists to go on the record, at un-Twitterish length and polemical breadth, about the viability of analog journalism — and analog art — in the digital age. (...) Meanwhile the Latitudes news team — Max Andrews and Mariana Canepa Luna are the editors — has invited everybody and anybody, meaning you and me, to submit editorial suggestions and pitch stories, either in person or by e-mail ([email protected]). In the loosey-goosey spirit of the show, their paper will change names weekly, from the “The Last Post” to “The Last Gazette” to “The Last Register,” etc. But a genuinely “last newspaper” is still nowhere in sight. And you read that here."


Danielle Aronowitz, 'New Museum exhibit is black and white and read all over', Columbia Spectator, 8 October 2010:

(...) "A second group, Latitudes—a curatorial organization based in Barcelona, Spain—will compile, edit, and publish a weekly newspaper that will catalogue information about the exhibit and the contributing artist groups over the next 10 weeks. To emphasize its importance, [exhibition curator Richard] Flood referred to this publication as “the journal of the exhibition.”

Luc Sante, 'Disappearing Ink', The New York Review of Books's blog, 1 November 2010:

(...) and a tabloid, edited by the Barcelona-based curatorial office Latitudes, that has been variously called The Last Post, The Last Gazette, and The Last Register. (...) The tabloid, which focuses on newspapers, as well as on the show itself, is rather puckish. The Last Gazette includes, for example, a record of a quixotic attempt by Ines Schaber to approach the underground facility in western Pennsylvania where the photo agency Corbis keeps its archive of some 70 million pictures. The story evokes the cold-war espionage genre—an unremarkable setting masks a culture of such militant secrecy that the best the author could manage is a murkily distant photo of the facility’s parking lot. Its meandering text and bland snapshots, on the other hand, evoke the whimsical record-keeping of 1970s conceptual art, which is rather more in keeping with the spirit of the show.


Valerie Seckler, 'Hyper-local Newspaper as Museum Piece? Not exactly', The Urban Times, November 2010:

“How is a museum, such as New Museum, no longer (just) in the artwork display business?” asks an editorial in The Last Post. “Is it a producer, a publisher or a distributor? Should a museum or a newspaper be a community, a platform or a network, for example?” The newspapers themselves are hybrids: actual publications and art object. (...) The Last…” newspaper series comprises “final” editions with names like “The Last Observer,” “The Last Monitor,” and (the first edition) “The Last Post.” They are dedicated to illuminating “The Last Newspaper” fine art on exhibit. Some of the reportage ranges beyond it. (...) The Last Post” itself is an arch reference to the never-ending practice of posting 21st century news online. “The Last Post’s” Oct. 6th edition’s screaming front page headline makes the humorous proposition: “Ink vs Link.” Smaller decks stacked below it read: “Lippmann vs Dewey, Fact vs Interpretation, Editor vs Curator,” and conclude with the query: “How do you get your information?”

Adam Chadwick, 'Art and journalism …sometimes a fine line…', http://fittoprintfilm.wordpress.com, 1 December 2010:

This past Saturday members of the group Latitudes – an independent Barcelona-based curatorial office – hosted an event for the “Fit to Print” production team at the New Museum in the Bowery neighborhood of lower Manhattan. (...) I was too intrigued by the wall-to-wall displays of vintage newspaper front pages in one of the rooms. It was hard not to examine the way in which newspapers implemented multiple sub-headlines back in the early part of the twentieth century. In a way, many start-up news websites are creating similar sub-heads to draw reader attention in the vast wild west of search engine optimization. This would be a topic our guest speaker, Jason Fry, would speak about during our panel discussion.

[Read an edited transcription of the event here.]

This is tomorrow, 'The Last Newspaper', 5 December 2010:

Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers.

'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... is the evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited during a 10 week editorial residency by Latitudes. Produced from a micro-newsroom placed on the third floor of the museum the tabloids will be an archive in formation companioning The Last Newspaper’s exhibition, artworks and events, as well as being a platform for critical reflection on the wider agency of art and artists with respect to concerns about how information is produced, managed, recorded, re-ordered, and disseminated.

With kind permission from Latitudes we are reproducing two selected text from their catalogue/newspapers, written by The Last Newspaper London correspondent and 'this is tomorrow' features editor Lorena Muñoz-Alonso (continue reading...)

Kristin M. Jones, 'Chronicles of a Medium in Crisis', The Wall Street Journal, 16 December 2010:

(...) Via a micronewsroom, Latitudes, a Barcelona-based curatorial team, produced a tabloid whose name changed each week. The spirited articles include stories on artists, filmmakers and topics ranging from ProPublica to the history of cast-iron newsstand paperweights; its issues will be bound together after the show ends in lieu of a catalog. The editors commissioned profiles and interviews related to the show but also solicited story ideas, headlines inspired by personal events and other information from the public.

Read more articles and reviews here.

Artículo en abc.es sobre el 10º aniversario de Tate Modern y el proyecto 'Mataró Chauffeur Service' de Martí Anson en colaboración con Latitudes

Link al artículo aquí. Extracto del texto de Javier Díaz-Guardiola publicado en la web del ABC.es, 6 Mayo 2010:

"Un taxi de ida y vuelta"
El evento, de carácter gratuito y abierto a todo el mundo, iniciativa del artista Maurizio Cattelan y comisariado por Cecilia Alemani y Massimiliano Gioni, llevará por nombre «No Soul for Sale. A Festival of Independents», y entre los más de sesenta espacios de arte independientes convocados (de White Columns de Nueva York a e-flux de Berlín o la Mountain School of Arts de Los Ángeles) habrá participación española, y no nos referimos a su director, Vicente Todolí.


Así, la oficina curatorial Latitudes colaborará con el artista catalán Martí Anson, que, con el proyecto «Mataró Chauffeur Service», se convierte –convenientemente dado de alta y pertrechado como tal– en taxista, para trasladar su coche tuneado como un Spanish cab hasta Londres y empleando la Sala de Turbinas como aparcamiento del mismo. Durante los días que dure el festival, el vehículo se transformará en sala de proyecciones de los vídeos de creadores como Jan Dibbets, Roman Keller o Bik van der Pol, con los que ha trabajado Latitudes. La ruta del viaje y sus andanzas pueden seguirse en el blog http://lttds.blogspot.com Es su particular manera de celebrar estos últimos diez años que serán analizados este fin de semana en las páginas de ABCD."

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

Latitudes | www.LTTDS.org (except when otherwise noted).

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Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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Latitudes
2005—2019