Longitudes

1st Catalan Pavilion, Venice Biennial 2009: Institut Ramon Llull appoints Valentín Roma as curator



The Institut Ramon Llull (IRL), has announced today the appointment of Valentín Roma as the first curator of the Catalan Pavilion. The project will include works by 3 artists/groups: the 'Archive FX' by Pedro G. Romero; the 'Post-capital archive' by Technologies to the People (a multimedia project conceived by Daniel Garcia Andújar) and work by Sitesize, 'a platform of project founded by Elvira Pujol and Joan Vila-Puig that explores the territori of social analysis and creative processes'.

Curator Valentín Roma (Sabadell, 1970) currently teaches at various post-graduate art and design schools (Mecad, Eina, Elisava) and has a PhD in Aesthetics by the Universitat Pompeu Fabra, Barcelona.
Amongst his recent curatorial projects are: 'Don’t believe them' (La Capella, Barcelona, 2008); Al otro lado del espejo, Col·lecció d’Art Contemporani de «la Caixa», Centro de Arte Tomás y Valiente (Fuenlabrada, 2007); 'Barcelona Producció ‘06' (with Amanda Cuesta and Manuel Olveira, 2006); 'Pedro G. Romero. Archivo F.X.' (PhotoEspaña 04, Centro Cultural Conde Duque, Madrid, 2004); 'Muntadas. On Translation: Museum' (with Enric Franch and José Lebrero Stals), Museu d’Art Contemporani de Barcelona (2003).

The jury, chaired by Manuel Borja-Villel (Director Museo Nacional Centro de Arte Reina Sofía), comprised Ignasi Aballí (participating artist Venice Biennial 2007); Daniela Ferretti (curator Palau Fortuny, Venice); Marta Gili (Director Jeu de Paume, Paris), Chus Martínez (Chief Curator MACBA, Barcelona, and Director of Frankfurter Kunstverein, Frankfurt) and Vicent Todolí (Director Tate Modern, London) − made their selection on 26 September after interviews with three finalist (the runners-up have not yet been announced). A total of 18 projects were presented by 32 individuals from an international background (Mexico, Italy, Finland, Switzerland and the US).


In the press release the jury also comments on their initial intention to resign in order to support the "open crisis" created by the sudden change of hands of Barcelona's Centre d'Art Santa Mònica (see post 17.07.08) leaving the city with no 'kunsthalle' space. In the note, the jury also acknowledges the transparency of IRL's procedure which led to the selection of the curator of the Catalan Pavilion as exemplary of the 'Código de buenas prácticas' (Code of good practice) design to avoid 'al dedo' ('made') job appointments in art institutions.

In the next phase the semi-finalised project will be presented to the La Biennale di Venezia Foundation and to the 2009 artistic director, Daniel Birnbaum, for final approval as part of the Eventi Collaterali.

The project will take place at the Magazzini del Sale (space #3, see image above), a 500 square metre venue in the cultural area of Dorsoduro (address: Zattere 259), nearby the Peggy Guggenheim Collection and the Palazzo Grassi which hosts the collection of French businessman François Pinault (Japanese architect Tadao Ando is refurbishing the nearby space Punta della Dogana to become the new space for Pinault's collection, planned to open Summer 09).

[Top photo: views of the Magazzini del Sale © Comune di Venezia; Bottom photo: detail of the Magazzini, http://flickr.com/photos/tsukimi/2301471755/in/photostream]

'UN PAÑO DE ALGODÓN ...' de Lawrence Weiner






(English below / Català a continuació)

_CASTELLANO_

Coincidiendo con las fiestas de la Mercè, la patrona de Barcelona, se ha distribuido una escultura efímera de Lawrence Weiner en más de 70 emblemáticos bares, restaurantes y cafés de Barcelona [MAPA localización], un dulce regalo para acompañar nuestros cafés con leche,
cortados o carajillos y la tertulia. Impreso sobre miles de sobres estándar de 7 gramos de azúcar en tres idiomas, la llamativa y reconocible tipografía de la declaración (statement) UN PAÑO DE ALGODÓN ENVUELTO ALREDEDOR DE UNA HERRADURA DE HIERRO LANZADO CONTRA LA CRESTA DE UNA OLA, va acompañada de un emblema en forma de diagrama que evoca la trayectoria de una determinada herradura sobre una ola. Más información...

Esta es la primera manifestación de un proyecto en cuatro partes comisariado por Latitudes que inaugurará el 8 de Octubre, 19.30h, en el Nivell Zero de la Fundació Suñol.

_ENGLISH_

Coinciding with the festivities of Mercè, the patron saint of Barcelona, an ephemeral sculpture by Lawrence Weiner has been distributed throughout 70 emblematic bars, cafes and restaurants in the city [MAP of locations] to accompany one’s café con leche, cortado,
carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets in three languages, Weiner’s striking typographic rendition of the statement A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE, is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form. Further reading...

This is the first manifestation of a four-part project curated by Latitudes that will open on the 8th of October, 19.30h, at the Nivell Zero space of Fundació Suñol.

_CATALÀ_

Coincidint amb les festes de la Mercè, la patrona de Barcelona, s'ha distribuit una escultura efímera de Lawrence Weiner a més de 70 emblemàtic bars, restaurants i cafès de la ciutat comtal [MAPA localitzacions], un dolç regal per acompanyar els nostres cafès amb llet, tallats o cigalons, per exemple, i la tertúlia. Imprès sobre milers de sobres estàndard de 7 grams de sucre i en tres idiomes, la reconeixible tipografia de la declaració (statement) UN DRAP DE COTÓ EMBOLICAT AL VOLTANT D’UNA FERRADURA DE FERRO LLANÇAT CONTRA LA CRESTA
D’UNA ONA, va acompanyada d’un emblema en forma de diagrama que evoca la trajectòria d’una ferradura sobre una ona. Més informació...

Aquesta és la primera manifestació d'un projecte en quatre parts comissariat per Latitudes que inaugurarà el 8 d'Octubre a les 19.30h, al Nivell Zero de la Fundació Suñol.

Nota de Lluís Permanyer, La Vanguardia, 23.09.08, p. 33.


Lawrence Weiner, ’LA CRESTA DE UNA OLA’
9 Octubre–15 Noviembre 2008
Nivell Zero, Fundació Suñol
c/ Rosselló 24
08008 Barcelona

'Close Encounters' with Bik van der Pol in Eindhoven


On Sunday 14th, Bik van der Pol (www.bikvanderpol.net) realised the public performanceClose Encountersin the context of the final day of the 'Be(com)ing Dutch' exhibition at the Van Abbemuseum, Eindhoven.


Around 80 people gathered "to generate enough compressed mental power in a moment of great concentration to launch the Evoluon into flight." An iconic 77 metre-diameter concrete 'flying saucer', the Evoluon was built in the 1966 by the electronics company Philips, to house Eindhoven’s museum of science, technology and progress. It closed its doors to the public in 1989, partly because the technology was obsolete and also because in the 1980s Philips was forced to economise. Today the Evoluon serves as a conference centre.

Particularly interesting in the Spanish context is that during the 1960s, Philips invited Spanish immigrants to live and work in Eindhoven. They were the first foreign labourers, and sent photos of the building back home to show what a modern city they were living in.

On the map the location of the performance is marked with an X.

Latitudes + FormContent's 'Rehearsing Realities'

The publication 'Rehearsing Realities' (above) began with a proposal made to a group of international artists and curators, to imagine a fictional exhibition at the project space FormContent, which was to be conceived on paper. 

Conciding with FormContent's first anniversary the publication gathers exercises of "curatorial realities that have taken place through the different responses sent to FormContent." Tailored to a specific format, "a format somewhere between a press release, a poster, a document and an invitation (44 loose black laser prints on recycled A3 sized paper) these proposals comprise traces, fragments, and beginnings of stories." The publication is designed by Paulus M. Dreibholz.For the occasion, Latitudes invited Berlin-based artist Ignacio Uriarte, who was inspired by the floorplan of FormContent's project space to contribute 'excel-chillida' (see image below).
Participants: Athanasios Argianas, Adam Avikainen, Kit Craig, Patricia Esquivias, Luca Francesconi, Simon Fujiwara, Ryan Gander, Dora Garcia, Clare Gasson, Rowena Hughes, Latitudes with Ignacio Uriarte, Matthieu Laurette, Raimundas Malasauskas, Simone Menegoi, Matt Packer, Luigi Presicce, Riccardo Previdi, Jamie Shovlin, Raymond Taudin Chabot, Sandra Terdjman, Luca Trevisani. 


'Rehearsing Realities' (ISBN 978-0-9559029-1-8) was recently presented during the Publish and Be Damned Fair in London. The publication is available in the UK for £8 at FormContent, Ridley Road, ICA Bookshop, Artwords Bookshop. Distribution in Switzerland and Germany via Motto Distribution or North America through Textfield Distribution or place an order emailing [email protected]

FormContent is a not-for-profit curatorial project space situated under a brick arch on Beck Road, between London Fields and Mare Street (Hackney).
FormContent is Francesco Pedraglio, Caterina Riva and Pieternel Vermoortel.

Address: 347 Beck Road (under the arch of Mare Street)
E8 4RE London, UK
Open: Friday‒Sunday, 12‒6pm or by appointment
[email protected]
www.formcontent.org

Images courtesy of FormContent and Ignacio Uriarte.

SAVE THE DATE: 8 October, Lawrence Weiner, Fundació Suñol, Barcelona


SAVE THE DATE
Private view: Wednesday
8 October, 19.30h

Exhibition: 'THE CREST OF A WAVE' by Lawrence Weiner
Dates: 9 October–15 November 2008

Venue: Nivell Zero, Fundació Suñol
Address:
c/Rosselló, 24, 08008 Barcelona, SPAIN, www.fundaciosunol.org

After over two years of collaboration between Latitudes and New York artist Lawrence Weiner (1942, New York), the project ‘THE CREST OF A WAVE’ will be presented on 8 October at the Nivell Zero space at Fundació Suñol in October, coinciding with the beginning of the 2008–9 season.

‘THE CREST OF A WAVE’ is a four part project manifested as a distributed ephemeral sculpture, an installation, a sound work and an action – together each asks what might constitute a public sculpture. Weiner's new work triggers a chronicle of Spanish mercantile, maritime and equestrian power, textiles, trade and occupation.

In Barcelona his work has been seen in: 'Between the Pyrenees and the Mediterranean Sea', Fundació Espai Poblenou (1995); 'Behind the facts. Interfunktionen 1968-1975', Fundació Miró (2004) and the 'Public Space / Two Audiences. Works and Documents from the Herbert Collection
', MACBA (2006). In Spain, his work can be seen until the 26 October in the solo show 'Forever And A Day' at the Centro Arte Contemporáneo de Málaga.

Recent reviews: Roberta Smith, 'The Well-Shaped Phrase as Art ' (New York Times, 16 November 2007) and Steven Stern's Frieze review (March 2008) on Weiner's travelling retrospective ‘AS FAR AS THE EYE CAN SEE’ (Whitney Museum of American Art, NY; Museum of Contemporary Art, Los Angeles and soon in K21 Kunsthsammlung Nordrhein-Westfalen, Düsseldorf).



Fundacío Suñol Map
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Final dates 'Stake in the Mud...' film programme screenings

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

19 October 2008
, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition '
Richard Long and Simon Starling', 4 October - 23 November 2008)
25 October
 2008, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')

Both of these screenings will present a selection of the material that conformed the programme, as follows:



Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen.

Part 1 (duration 32' in Bristol and 52' in Móstoles)
 
· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.· Nancy Holt (1938 Worcester, US. Lives in New Mexico, US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" NOTE: Only screened at the Centro Dos de Mayo

 

Francis Alÿs (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich.

Part 2 (duration 1h 15min)

·
Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
·
Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
·
Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
·
Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
·
Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
·
Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
·
Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
·
Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
·
Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
·
Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
·
Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''


Read all press material that has appeared to date here 

Wiew a slideshow of some screenings here.


Latitudes in residency at the Frankfurter Kunstverein


Latitudes is in residence this month of August at the Frankfurter Kunstverein, Frankfurt. During this time we are researching the local artistic context, developing some writing for magazines and catalogues as well as planning projects for this and next year such as Lawrence Weiner exhibition (opening 8 October), a series of artists' projects and commissions around the future extension of the Port of Rotterdam (from February 2009 onwards) and an exhibition around the notion of the future at the Arnolfini in Bristol (Summer 2009), amongst other things! – see future projects.



We are sharing the residency facilities with Oviedo-born artist Cova Macías and Athens-based curators and critics Xenia Kalpaktsoglou (co-director Athens Biennial and co-curator 1st Athens Biennial 2007) and Christopher Marinos (Athens-based art critic and curator).

The Frankfurter Kunstverein residencies are supported by the
Deutsche Börse Residecy Program.

More on www.fkv.de

Lawrence Weiner en el CAC Málaga

El viernes 25 de Julio se inaugura en el Centro de Arte Contemporáneo de Málaga la exposición individual 'Forever and a Day' (Siempre y un día) del artista norteamericano Lawrence Weiner (Nueva York, 1942), que se podrá visitar hasta el 26 octubre. Para crear esta instalación Weiner ha tomado como punto de partida la ubicación geográfica y la historia de la ciudad de Málaga. El artista utiliza símbolos de la mezcla de culturas que se han dado en esta ciudad – la herencia que dejaron fenicios, griegos, romanos y los árabes – al tiempo que reflexiona sobre el sur y las fronteras.

Latitudes está actualmente trabajando con el artista en su próximo proyecto: 'THE CREST OF A WAVE' que se presentará en la Fundació Suñol, Barcelona, el 8 de Octubre y que se podrá visitar hasta el 15 de Noviembre. Más información aquí.

Centro de Arte Contemporáneo Málaga (CAC Málaga)
c/ Alemania s/n
29001, Málaga, España
T: + 34 952 12 00 55
www.cacmalaga.org
prensa@cacmalaga.org

: Update 06.09.08 :
Reseña 'Vecindad con la historia' de Juan Bosco Díaz en el suplemento Babelia de El País, aquí.

[foto: Detalles de 'Cat. #976 (2008)' SOMEWHERE SOMEHOW/FOREVER & A DAY/SOMETHING SOMEWAY/FOREVER & A DAY/SOMETIME SOMEPLACE/FOREVER & A DAY. Materiales: LANGUAGE + THE MATERIALS REFERRED TO. Courtesy of the artist.]

* Gracias a Beatriz Lafuente, Responsable de Comunicación, CAC Málaga. *

Ferran Barenblit out, Vicenç Altaió in at the Centre d'Arte Santa Mònica (CASM), Barcelona

Last weekend was a turbulent one for the Barcelona art scene. On Friday 11th the Culture Councillor Joan Manuel Tresserras announced the appointment of a new director for the Centre d'Arte Santa Mònica (CASM): Vicenç Altaió, who modestly describes himself as a 'poet, writer, catalan translator, theatre critic, art critic, opinion generator and cultural agitator' and until then the director of KRTU ("Culture, Research, Technology, Universal"). The trouble was, however, that CASM already had a director: Ferran Barenblit, appointed during the summer in 2002. If you'll excuse the football link, the act was not unlike FC Barcelona's recent appointment of 'the next' head coach Guardiola when Frank Rijkaard was still at the club. Invitations to leave are never easy, political muggings of a cultural institution are even harder to bear. On this occassion the news of this affair has hit the press and blogs with general signs of bewilderment, disappointment and bitterness.

For those not entirely familiar with the Barcelona art landscape, CASM has followed the kunsthalle model with funding from the local government (Generalitat de Catalunya) and occasional sponsors. Under Barenblit's directorship, a series of adjunct local curators (Montse Badia, David G. Torres, Frederic Montornés) and international guest curators (Miguel Von Hafe Pérez, Jacob Fabricius) have produced exhibitions and projects by artists such as Christian Jankowski, Tomás Saraceno, Fernando Sánchez Castillo, Dora García, Maria Eichhorn, Joao Tabarra, Filipa César, Nedko Solakov, Runa Islam, Maria Nordman, Cabelo, Juan López, Peter Liversidge, Carles Congost, Antoni Abad, Francesc Ruiz, Joan Morey, Mike Nelson, Joachim Koester, Toni Matelli, Jill Magid, Ceal Floyer and Jiri Kovanda (see our blog from 20.11.07) amongst many other group shows (Think, Hamsterwheel...). Currently, CASM is one of the institutions invited to participate in 'Lucky Number Seven' Site Santa Fe with a compelling project by Martí Anson.

Manolo Borja-Villel, the recently appointed director of the Museo Nacional Centro de Arte Reina Sofia in Madrid (see our post 23 December) has declared in El País that, "the fact that the government imposes a project ... at best, as an instrument of propaganda, indicates a regression to dark times" (this and other quotations translated from the Spanish / Catalan). According to El Pais (12 July) during the presentation of the new director, Culture Councillor Tresserras insisted "there are no victims left along the way" and that the centre and the general budget (750,000 Euros/annum) will still exist, but in a new location (still to be discussed with the townhall). He added "Barenblit's programme was interesting, but the centre didn't have the social performance required". Barenblit was not invited to the presentation, and, the promise of the new location not being confirmed, he handed in his resignation. Later Barenblit declared "it is the best moment [to resign], after receiving the compromise that the new centre is under discussions. I'm coinvinced that my departure is the best guarantee that this process takes place; I always said that directors should have an expiry date ... CASM collaborated with many artists and local entities and promoted Catalan art abroad".

There had been rumours for several months (see El Periodico, 18.02,08 or even earlier this month the possible relocation of CASM was discussed with the president of the Visual Artists Association (AAVC), see El País 05.07.08) claiming that CASM was going to be taken over by the Generalitat and would be converted into a center for Catalan culture, speculation that has prompted numerous strongly-worded responses by various art associations (visual artists association, association of museum directors, art gallery associations...). With this shadow looming over CASM, the programme in recent months has sufferred an inevitable slide.

The new CASM director Vicenç Altaió will take his position in January 2009 and turn CASM into what is described in the vaguest of terms as "a multidisciplinary center for art, science, thought and communication". The questions are, what place 'the new CASM' can take on the Barcelona art landscape? Does the city need another venue for diluted cultural programming? What happened to the 'código de buenas prácticas' (code of good practice) that was decided last year by the Ministry of Culture, whereby "made" appointments were to be replaced by an open-application advisory-panel system based on merit? Where else will ambitious new work be produced in the city? In recent years Barcelona has suffered from the abrupt disappearance of art spaces including Sala Metrònom, the 'relocation' of Sala Montcada from the city centre – its now sited at Caixafòrum– and the failure of Espai 13 in Fundació Miró to produce relevant and informed projects. There is sadly little space for experimentation, fertile discussion or risk-taking.

What is most dismaying is the utter control the Barcelona politicians seem to have over publicly funded cultural programmes. There is, it seems, a lack of support and respect for the work of experienced and trained art professionals and as there is always an ominous cloud hanging over institutions or initiatives when a (4-yearly) change of administration takes effect, there is little continuity and plenty of suspicion. Working within such constant bureaucratic insecurity is never productive and it undermines confidence and creativity. Instead cultural programmes should have their own administrative cycles, their own secured funding, their own staff who are independent from state workers and protected from temporary or mileuristas contracts and their own governing board. It should go without saying that directors should be free to foment long-term creative relationships with the local scene as well as with national and international contexts.

Many questions remain unanswered: where will the proposed new Kunsthalle be? Why didn't CASM have an independent administrative and advisoary board to prevent such undemocratic moves and defend the exhibition programme? Who will now steer and programme such a space? And admist this political-cultural debacle, another factor has been unleashed: who will take control over the first Catalan Pavilion at the 2009 Venice Biennial in the Magazzini del Sale? Incidentally, the proposals (open submission until 2 September) for the pavilion will be assessed by a jury of six artists and curators and the decision will be made public on 1 October.

UPDATE 30.07.08:
Ferran Barenblit appointed director of the recently opened Centro Dos de Mayo, Móstoles (Madrid). His proposal was selected amongst 26 candidates by a committee of experts (Rafael Doctor, director of MUSAC, León; Lourdes Fernández, director of ARCO; José Guirao, director of La Casa Encendida, Madrid; Isabel Rosell, general director of Archives, Museums & Libraries of the Comunidad de Madrid and Carlos Urroz, advisor of Fine Arts to the Consejería de Cultura y Turismo de la Comunidad de Madrid). He will take up his new job in September. More here and here (all links in Spanish).

To read responses from different parties around Barcelona's cultural politics, read posts on http://cassantamonica.wordpress.com and on http://www.culturadebase.net (in Spanish and Catalan)

[Photos: Kris Martin, 'The End' (2005) (included in the SantaMòniCA 2007 summer show 'PENSA/PIENSA/THINK' curated by Montse Badia, Ferran Barenblit, Jacob Fabricius and Frederic Montornés) and below Ferran Barenblit (left) with Christian Jankowski talking to Joan Manuel Tresserras (right) in May 2007 during the launch of Jankowski's Living Sculptures]

New and bigger photo galleries in Latitudes website


For those who visit our website (www.lttds.org) regularly, you would like to know that we have enhanced the photo galleries with a larger slideshow format: at the top a caption explaining what you see and at the bottom the usual back and forth arrow to navigate, as well as a thumbnail panel.

An example of this is this one: http://www.lttds.org/projects/current/stake/stakegallery/stakegallery.html, where we just uploaded photos from the recent film & video screenings at the Fundació Suñol, Barcelona and at the Wilheminapolder in Holland, when 130 people attended the screenings in this beautiful 18th Century barn.

We have also updated other gallery sections like that of Greenwashing, where you'll be able to see the exhibition catalogue designed by The Bookmakers Ed., Turin (slideshow of the works in the exhibition on the Greenwashing web). And of course, we keep feeding our various archives, such as this or this or this or this!

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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