Longitudes

Cover Story–February 2019: Schizophrenic Machine

Latitudes' home page www.lttds.org

The February 2019 Monthly Cover Story “Schizophrenic machine” is now up on Latitudes' homepage: www.lttds.org


Schizophrenic machine, the concluding performance of the Latitudes-curated Joan Morey project COLLAPSE, took place on the freezing evening of 10 January. One hundred and thirteen pre-vetted audience members, each complying with a rigid all-black dress code, were driven by coach to the previously undisclosed location: the former La Model prison in Barcelona’s Eixample neighbourhood. More strictures were barked by a balaclava-clad doorman upon arrival: silence! single file! No mobile phones, no bathrooms, no chance to leave. The reverberation of a door slamming. More than two hours in the darkness and cold.

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


RELATED CONTENT:

  • Archive of Monthly Cover Stories
  • Photo documentation of COLLAPSE.
  • Cover Story—January 2019: “Seesaw” (7 January 2019)
  • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
  • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
  • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018

‘COLLAPSE. Schizophrenic Machine’ site-specific performance by Joan Morey at the former prison La Model, Barcelona, 10 January 2019



‘Schizophrenic Machine’ site-specific performance by Joan Morey at the former Panopticon-inspired prison La Model, Barcelona, 10 January 2019. © All photographs by Noemí Jariod. Courtesy of the artist.







Schizophrenic Machine’ was the closure of the three-part project ‘COLLAPSE’ by Joan Morey. This new site-specific performance took place on January 10, 2019, in the former prison La Modelo, a location that was kept in secret up until the 113 guests were driven in coaches from either Centre d'art Contemporani - Fabra i Coats, or the Centre d'art Tecla Sala

The audience previously registered to attend the closed-door performance and agreed to comply with the strict dress code. The performance script integrated the 1904 chilling architecture of the prison through voice and technological devices such as drones, surveillance cameras, strobe lighting, and an architecture scanning laser. Each one activated and deactivated the building's memories making ‘Schizophrenic Machine’ be Morey's first performance with no human actors as protagonists. ‘Schizophrenic Machine’ continued Morey's long-standing exploration of power structures and control of the body.



Schizophrenic Machine’ took the physical and discursive past of La Model as a scenario for performance where bodies were not acting and the protagonist was the architecture itself. The Panopticon-inspired prison was inaugurated on June 9, 1904, and was conceived as a model for the Spanish penitentiary system: an example of the reintegration of criminals into society through discipline, isolation and religious morality. La Model was one of the main sites of political repression and social control in the city. Followers of all political persuasion passed through its cells, aside from common criminals, yet during the long totalitarian dictatorship of General Franco (1939–1975), it was especially notorious as a site for the repression of political dissidents. La Model closed on June 8, 2017, 113 years after its inauguration


‘Schizophrenic Machine’ took over the unoccupied building and created a phantasmagoric presence that activated and deactivated its own memory. Conceived as an all-encompassing experience the event took on a singular awareness of the building and the site. The sequential dramatisation of its radial spaces articulated a dystopian representational device. A cast of technological interpreters —voices, sound, lights, cameras, drones and other devices— took the place of performing bodies. Moreover, the panopticon architecture itself seemed to address spectators through a female voice that spoke on the principles of control, power and the paradigm of a surveillance society. La Model became a schizophrenic machine, an imperious disciplinary mechanism for the 21st century. 

Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.












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RELATED CONTENT:

  • Wakelet archive of social media content
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey (11 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey (10 December 2018)
  • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 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)
  • Full performance programme
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
  • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018

Public programme of the exhibition "4.543 billion. The Matter of Matter" at the CAPC musée d'art contemporain de Bordeaux

First public event on 30 June to the Salle des Collections de l'Unité de Formation de Biologie, Université de Bordeaux. This and following photos: Latitudes.


On December 14 at 2pm, the mediation department of the CAPC will lead a guided visit to Ilana Halperin’s "The Rock Cycle" (2017) intervention at the Salle des Collections de l'Unité de Formation de Biologie, Université de Bordeaux. 

The event is the third visit (earlier ones took place on October 19 and November 16) programmed in the context of her participation in the exhibition ‘4.543 billion. The matter of matter’ on view at the CAPC musée d'art contemporain de BordeauxThe next (and final one) will be taking place on January 4, three days before the exhibition closes on January 7, 2018. 

These events are free. Booking is recommended via Léo Correa [email protected] T. (+33) 05 56 00 81 60.


Ilana Halperin’s new project for the exhibition '4.543 billion' deals with geological intimacy and vivacity, and the uncanny fact that something as apparently inert and certain as the stone walls of the CAPC building were once marine life from a tropical ocean of the Oligocene epoch, around 32 million-years-ago. This Calcaire à Astéries (asteriated limestone) characteristic of Bordeaux takes its name from the countless tiny fossil organisms of the genus asterias (a type of sea star) that can be found in the stone alongside fossil mollusks and coral.

Halperin addresses stone, not as dead matter or a mere resource, but as a story-laden substance that both surpasses and partners in humans’ view of the world. 'The Rock Cycle' incorporates the reading of a letter and the hosting of a number of the artist’s geological sculptures within the displays of the zoology collection of the University of Bordeaux. These ‘curios’ originated as fragments of sea-weathered brick from the Isle of Bute in western Scotland, as well as waterjet-cut sandstone, that the artist left for three months in Fontaines Pétrifiantes in Saint-Nectaire. For generations, the mineral-rich waters that percolate through the rock at this site in central France have been used to create sculptures using the same process by which stalactites form, only one hundred times faster. Objects become rapidly encrusted with new layers of stone. 


—Latitudes 
[Excerpt from the exhibition guide]


Three other events have been programmed in the context of the exhibition.

Visit with Terence Gower (participating artist) and Prof. Bruno Cahuzac. Photo: CAPC musée/Département des publics.

8 November 2017, 5:30–7pm
Jam Session #1—Guided tour by Terence Gower (participating artist) and Prof. Bruno Cahuzac (UFR Sciences de la Terre et de la Mer, Université de Bordeaux Montaigne).

Guests during “The Return of the Earth: Ecologising art history in the Anthropocene” event. Photo: Latitudes.

15 November 2017, 4:30–8pm
The Return of the Earth: Ecologising art history in the Anthropocene”—Lecture by Jean-Baptiste Fressoz, a conversation between Xavier Ribas and Ângela Ferreira, debate convened by Latitudes. Free access. Simultaneous translation English-French.



During Jam Session #2 event. Photo: CAPC musée/Département des publics.

6 December 2017, 5:30–7pm
Jam Session #2—Guided tour by Isabelle Kanor (Head association "Le Labo de Lettres” dealing with cultural issues in the Antilles and colonization), and Charlotte Bouvier and Rémi Cazamajour (Inélia, company that supplied the solar panels feeding the video installation "Ancient Lights" (2015) by Nicholas Mangan). Sign up: Stéphane Mallet, [email protected]


Photo: Latitudes/RK.

The exhibition ‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017. Between September 11–October 6, 2017, and within the exhibition framework, Latitudes led the month-long residency programme ‘Geologic Time’ at Banff Centre for Arts and Creativity, Alberta, Canada.

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#4543milliards
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RELATED CONTENT:
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  • Photo gallery of the exhibition 
  • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
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  • 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
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Barcelona Gallery Weekend 2016 – Artists and locations of the programme "Composiciones" announced


A "Save The Date" press release (scroll down for different languages) has been sent out with information of the participating galleries and spaces and their exhibitions for the forthcoming Barcelona Gallery Weekend (29 September–2October 2016)

Returning for its second edition in 2016, Latitudes will curate "Compositions" (Composiciones), a series of artistic interventionsin unique sitesacross the neighbourhoods of the city. Each of the commissioned artists is represented by a gallery participating in the Barcelona Gallery Weekend. 

Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.  

The invited artists are Lúa Coderch  (Iquitos, Perú, 1982), Regina Giménez (Barcelona, 1966), Lola Lasurt  (Barcelona, 1983), Robert Llimós  (Barcelona, 1943), and Wilfredo Prieto (Santi Spiritus, Cuba, 1978), and the spaces where their interventions will take place are: 
The full schedule of routes, guided tours and parallel programming will be announced in September.

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

"Compositions" is a programme of artists’ interventions originally conceived and curated by Latitudes for the first Barcelona Gallery Weekend in 2015, when it produced five projects by David Bestué (in the former ceramics factory Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano de Barcelona); Jordi Mitjà (in the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the house of the former priest, gardens of La Central del Raval) y Daniel Steegmann Mangrané (in the Umbracle – Shadehouse – at the Parc de la Ciutadella). 

#BarcelonaGalleryWeekend
#Composiciones2016

Related content:

  • Composiciones 2015 commissions;
  • Storify – 2015 social media archive;
  • 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;

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

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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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