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

Ignasi Aballí's exhibition catalogue 'Nothing, or Something' now available

Publication 'Something, or Nothing' a project Ignasi Aballí for Suitcase Art Projects, Beijing, 2009

Ignasi Aballí's exhibition catalogue 'Nothing, or Something' is finally out and available via Múltiplos, Barcelona.

The catalogue follows his recent exhibition at the project space run by Beijing's Today Art Museum placed at the Yintai Center, which took place between 22 May and 22 July this year. The exhibition catalogue includes an essay by exhibition curators Latitudes as well as installation images of the project which spreads throughout eight window displays on three floors. Aballí's project responded to the retail context of the commercial centre as well as an artistic history of absence, nothingness and invisibility.

To see images of the exhibition, see here.
Description of the exhibition, read here.

'Nothing, or Something'
Softcover, 88 pages, colour
Essay by Latitudes
English/Chinese publication
Published by the Today Art Museum.

All images: Latitudes | www.lttds.org
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Sharjah Biennial 8 (2007) part 2 publication with proceedings of the 3-day conference organised by Latitudes and the RSA, London

Catalogue 'Sharjah Biennial 8 – Part II'

Edited by Joseph R Wolin
567 pages, 299 visuals. Softcover 350g. Art Matt Card
Paper: 80g. offset wood free and 135 g. Art Matt
24 x 16 cm
English and Arabic
Published by Sharjah Biennial, 2008
ISBN 978-9948-04-328-6 Part II

The recently published vol. II of the catalogue of the Sharjah Biennial 8 [25º 22’N, 55º 24’E] titled 'Still Life: Art, Ecology and the Politics of Change (Part II)' includes installation shots of the exhibition as well as proceedings of the 3-day conference Latitudes organised in collaboration with the Royal Society of Art's Arts & Ecology programme (today the RSA Arts and Ecology Centre) (+ info). The book is a companion to volume I, published to coincide with the Biennial’s opening. 

The symposium
(images here) considered today’s uses and abuses of the ‘eco-’, notions of artistic agency and critical practice, as well as the role of the public realm in today’s artistic and institutional practices. How has it become fashionable (or profitable) to be seen to be eco? How has what we mean by ecology been transformed and evolved through the uses of terms such as ‘environmental’, ‘green’, ‘ethical living’, and so on?; How do some artists desire palliative results, while others offer strategies of friction or resistance? How far are the sources of materials a consideration for artists, designers and architects? And how does this relate to broader questions of resources—water, energy, oil in the Emirate and beyond?

The symposium included focused presentations by keynote speakers such as Bruce Sterling (read his paper here), critical panels by biennial artists Sergio Vega or Peter Fend as well as by Van Abbemuseum director and Sharjah Biennial juror Charles Esche, or Smart Museum's
Curator of Contemporary Art Stephanie Smith, as well as breakout seminars with biennial artists Tomás Saraceno and Michael Rakowitz.

You can download the symposium programme, the exhibition guide and view press-related materials in this archive.

Cover and Back Cover, 'Still Life: Art, Ecology and the Politics of Change (Part II)'. Photos: Sharjah Biennial.

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'Portscapes' news: Bus Tour around the Port of Rotterdam, Sunday 8 November 2009, 10–15h


Bus Tour – Portscapes public art projects on the Maasvlakte, Rotterdam.

On Sunday 8 November SKOR and the Port of Rotterdam Authority are organising a tour coinciding with the 4th International Architecture Biennial Rotterdam. The tour is programmed in the context of Portscapes, a series of art projects related to the construction of the Maasvlakte 2 commissioned by the Port of Rotterdam Authority. The Maasvlakte 2 project is the ongoing extension of the port by 2,000 hectares, which will be constructed in the North Sea in the next five years.

SKOR invited the duo Latitudes from Barcelona, who has curated a series of projects reflecting on the architectural, political, social and ecological aspects of the past, present and future of the Rotterdam port with a focus on the new Maasvlakte 2. Portscapes consists of ten new commissions in and about the Maasvlakte by Dutch and international artists, including interventions, films, performances and mobile seminars.

Bus tour bookings: write to ad [at] skor.nl by 2 November 2009
Free tour. English spoken

An exhibition of the Portscapes projects will be on show at the Museum Boijmans van Beuningen in Rotterdam from 5 February, until late March 2010.

Programme on 8 November
(Programme subject to changes)

9.45 am – 
Leave from NAI Rotterdam, Museumpark 25 3015 CB, Rotterdam

On the way to the port you can listen to interviews by Fucking Good Art on mp3 players in the bus. Amongst others, Hans Aarsman, an industrial ecologist, a botanist and an archaeologist, will describe his vision of the Maasvlakte on the basis of his field of expertise. The artistic duo FGA broadcast this and other conversations from a temporary web radio station in a container united placed on the Maasvlakte between 21 August and 21 September.

10.45 am – Visit to wastelands by artist Lara Almarcegui and botanist Remko Andeweg
The Spanish-born Rotterdam-based artist Lara Almarcegui has published a free newspaper research project concerning the ‘wasteland’ areas which can be encountered throughout the Port of Rotterdam. Almarcegui and botanist Remko Andeweg will describe these areas characterised by an apparent lack of human intervention.

12.00 am – Arrival at Futureland, the Maasvlakte information centre
On the way we pass the billboards by the artists Marjolijn Dijkman, Jorge Satorre, Paulien Oltheten and Hans Schabus.

Lunch in Futureland, provided by the Rotterdam Port Authority.
Introduction by Latitudes, curators of 'Portscapes'

1.00 pm – 
Tour of the artworks in and around Futureland
You can view work by Paulien Oltheten and Hans Schabus and explore the nearby area picking up Ilana Halperin’s audio tour. Halperin created a compelling narrative of fragments which draws on fact, fiction and personal fieldwork – as well as site surveys by volcanologists, geologists and the experts involved in the construction of Maasvlakte 2.

1.30 pm – Performance 'Postpetrolistic Internationale'
The project by Swiss artists Roman Keller & Christina Hemauer
 emerges from the medium of the collective human voice, the tradition of the aspirational social anthem alongside the artists’ long standing interest in energy use. The project starts with the transportation of a
wooden stage along the Rhine from Basel (where the Rhine begins), near the artists’ home, to Rotterdam (where the Rhine joins the sea) – see post 30.10.09. Upon arrival a local choir will perform this anthem of hope-in-action (composed by the artists in collaboration with musician Mathias Vette) on the stage, against a backdrop of local industry, to mark man’s changing relationship with fossil fuels and energy use.

2 pm – Return to NAI Rotterdam with a number of stops at various art projects along
the way: wastelands by Lara Almarcegui and works by Paulien Oltheten

3 pm – 
Arrival in NAI Rotterdam. End of the journey
Portscapes is commissioned by the Port of Rotterdam Authority with advice from SKOR (Foundation for Art and Public Space, Amterdam) and is curated by Latitudes.

Bus tour dirección al puerto de Rotterdam,
Domingo 8 Noviembre 2009, 10–15h, organizado por SKOR y la Autoridad Portuaria de Rotterdam coincidiendo con la 4th International Architecture Biennial Rotterdam. Tour organizado en ocasión de Portscapes, la serie acumulativa de proyectos públicos que en el Puerto de Rotterdam
Presentación de dos nuevos proyectos: performance de los suizos Roman Keller y Christina Hemauer (7–8 Noviembre) y publicación de la guía 'Wastelands of the Port of Rotterdam' realizada por Lara Almarcegui. Durante el tour se podrán ver y escuchar los proyectos realizados por Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Jorge Satorre, Hans Schabus y Paulien Oltheten.
Para reservar tu plaza, escribe a [email protected] antes del 2 November 2009.
Accesso gratuito, tour será en inglés.

Exposición de los proyectos de Portscapes tendrá lugar en el Museum Boijmans van Beuningen, Rotterdam, a partir del 5 de Febrero y hasta finales de Marzo 2010.

(Programa sujeto a cambios de última hora)
09.45 am – Salida desde NAI Rotterdam, Museumpark 25 3015 CB, Rotterdam
Durante el recorrido se podrá escuchar mediante auriculares una entrevista al ecologista, botanista, y arqueólogo Hans Aarsman realizada por el duo FGA durante su residencia en un container emplazado en el Maasvlakte, desde donde recogieron conversaciones temáticas y exploraciones de campo. + info...

10.45 am – 
Visita de terrenos baldíos por Lara Almarcegui y el botanista Remko Andeweg.
La artista española afincada en Rotterdam Lara Almarcegui ha publicado una guía en formato periódico en la que se recoge su investigación entorno a los actuales terrenos baldíos que pueden encontrarse a lo largo de puerto de Rotterdam. En contraste con la gran planificación que circunda el futuro Maasvlakte 2, Almarcegui se interesa por los espacios definidos por la aparente falta de diseño y desarrollo. El público navegará el puerto como un territorio interconectado con la ayuda de esta guía que, como ha manifestado la artista, "actuará como una herramienta para conocerlo mejor (...) para ver cómo el territorio está cambiando. En el futuro, cuando la mayoría de estos terrenos se vean modificados, la guía actuará como un documento histórico que describirá cómo fue el puerto en el 2009".

12.00 am – Visita del centro de visitantes Futureland y almuerzo
Durante el viaje se podrán ver las vallas publicitarias de los artistas Marjolijn Dijkman, Jorge Satorre, Paulien Oltheten y Hans Schabus. A la llegada Latitudes, comisarios de 'Portscapes', introducirán los proyectos.
1.00 pm – Visita de las obras presentadas en Futureland y alrededores
Visita de las obras de Paulien Oltheten y Hans Schabus así como la audioguía 'A Brief History of Mobile Landmass' realizada por Ilana Halperin. La audioguía narra fragmentos reales y ficticios recogidos a partir de la investigación de la artista y expertos entorno a volcanes y estudios de campo relacionados con la presente construcción del Maasvlakte 2 – escuchar capítulos o descargar archivos aquí

13.30h – '
Postpetrolistic Internationale', performance de Roman Keller & Christina Hemauer

El proyecto de los suizos Roman Keller & Christina Hemauer
 comienza con el transporte de un escenario a lo largo del Rin, desde Basilea (donde el Rin abandona Suiza) y cerca de donde viven los artistas, hasta Rotterdam (donde el Rin desemboca en el mar) - léase post 30.10.09. A su llegada un coro cantará la 'The Postpetrolistic Internationale', un himno social compuesto por los artistas en colaboración con el músico y compositor Mathias Vetter, que proclama el comienzo de una nueva era donde el petróleo pertenece al pasado. Los días 7 y 8 de noviembre un coro local interpretará este himno de esperanza sobre el escenario en pleno paisaje industrial, para poner en perspectiva la historia evolución de hombre y su relación con los combustibles fósiles y el uso de la energía. Ésta será la primera vez que se cantará en inglés.
2 pm – Regreso al NAI Rotterdam con varias paradas durante el recorrido a los terrenos valdíos seleccionados por Lara Almarcegui y obras de Paulien Oltheten

3 pm – Llegada a 
NAI Rotterdam. Fin de trayecto.
Portscapes es un encargo de la Autoridad Portuaria de Rotterdam con el consejo de SKOR (Foundation for Art and Public Space, Amsterdam) y comisariado por Latitudes.
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The Bruce High Quality Foundation y Latitudes en MOUSSE magazine (#20 Septiembre 2009)

En el número 20 de la revista italiana MOUSSE la crítica y comisaria Cecilia Alemani entrevista al grupo de artistas neoyorkinos The Bruce High Quality Foundation, quienes hacen referencia a dos proyectos en los que Latitudes colaboró con el grupo: la oficina temporal que crearon para nuestra participación el festival 'NO SOUL FOR SALE' que tuvo lugar el pasado Junio en X Initiative en Nueva York y la obra exposición colectiva 'Greenwashing. Environment: Perils, Promises and Perplexities' en la Fondazione Sandretto Re Rebaudengo en Febrero–Mayo 2008.

Fotos de nuestra oficina durante el festival 'NO SOUL FOR SALE' aquí.
Fotos de la exposición colectiva 'Greenwashing...' aquí.
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Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani de Castelló

Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani Castelló
All photos: Latitudes | www.lttds.org

A year after 'THE CREST OF A WAVE' exhibition at Fundació Suñol in Barcelona, Lawrence Weiner has just opened a new exhibition in Spain, this time at the Espai d'Art Contemporani de Castelló. 'Under the Sun' includes an exhibition in EACC (on view until 28 March 2010) as well as a public piece in a city centre park which will open in a second phase, in early February 2010. Below Weiner's text from the exhibition invitation:


Update February 2010:

Completing the first part of his 'Under the Sun' exhibition for Castelló, the artist recently inaugurated a permanent public work at 'El Pinar', Castellón. As written in the press release the project brings to mind 'the bullfighting but also the lightness and the elegance of a wave that takes shape in the space as its own territory.' 
More images here.

Images courtesy of EACC. Photos: Ángel Sánchez.
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Reduce Art Flights leafleting campaign by Gustav Metzger at the Serpentine Gallery, London

Photo: Latitudes, Barcelona.

The Reduce Art Flights (28.02.2008, Turin) leafleting campaign has been included in the exhibition 'Gustav Metzger, Decades 1959–2009' at the Serpentine Gallery in London (on view until 8 November 2009). 

The leaflet was produced in the occasion of the Latitudes-curated exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities' that took place between February and May 2008 at the Fondazione Sandretto Re Rebaudengo in Turin, Italy. 

For the occasion, the invitation mailing was accompanied by the pamphlet encouraging visitors to arrange alternative travel to the exhibition.

For further info check http://www.reduceartflights.lttds.org

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Latitudes in Kult Magazine (#10, October 2009)

Milan-based Kult Magazine has published an article on art and ecology in their October issue written by art critic and curator Daniele Perra. In the section, Perra interviews curator Francesco Manacorda (curator of the exhibition 'Radical Nature: Art and Architecture for a Changing Planet 1969-2009' on view at the Barbican Art Gallery, London, until 18 October), as well as English artist Simon Starling and selects a few ongoing exhibitions and events that analyse the relationship between art and nature.

In page 88 (see detail above) Perra mentioned Latitudes' ecology-related projects such as the 'Greenwashing. Environment: Perils, Promises and Perplexities...' exhibition at the Fondazione Sandretto in Turin in 2008, the guest-edition of UOVO #14 in 2007 and the publication 'Land, Art: A Cultural Ecology Handbook' in 2006, to introduce our participation in the forthcoming The Wånas Foundation seminar on Art and Ecology taking place on the 21 October in Knislinge, Sweden and in the symposium organised by Hinterland Projects on 26th November titled 'The evolving relationships between artists, the changing climate and new responsibilities'.

[Above: Detail of page 88 of the magazine. With thanks to Daniele Perra]
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Newsletter #16, October 2009

We have just circulated the October 2009 Newsletter #16, you may read the English version or the versión española.

Update on the Portscapes commission series: exhibition of Paulien Oltheten at Futureland and vicinity (until 30 October) and billboard-prologue to Jorge Satorre's project (see images on the 02.10.09 post) + info...

On the 21 October Latitudes will be participating in the International seminar on Art and Ecology, organised by The Wanås Foundation, Knislinge, Sweden. 

If you would like to subscribe to our mailing list fill your data on this contact form, choose a language and confirm your subscription by clicking a link on the confirmation email we will send you. If you would like to read previous newsletters, click here.

Check also our Latitudes' at www.lttds.org/blog for further news.
Facebook fan page here
Flickr photosets here
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Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten small exhibition at the visitor centre Futureland and surroundings

Placed along the A15 highway on the Maasvlakte, Jorge Satorre's billboard is the third installed as part of 'Portscapes' – joining those by Hans Schabus and Paulien Oltheten.

During the summer of 2009, Jorge Satorre was searching for, and eventually located, a large boulder – specifically one of the giant rocks carried by glaciers into The Netherlands from Scandinavia during the last Ice Age. Following the artist’s fascination with the environmental compensation projects being instigated alongside the construction of Maasvlakte 2, his project seeks to identify this rock’s precise place of origin and then return it to where it came from – an act of synthetic restitution and transnational sculptural offsetting. Satorre’s reverse geological gesture furthermore mirrors the monumental construction of the Maasvlakte 2 as a sculpting of land-form which, like the action of ice but in a far shorter time, is fundamentally altering the morphology of The Netherlands. The action is also reflected in the fact that much of the existing and future sea defense in the port area will be made from rock brought from Scandinavia. The artist’s accompanying pencil drawings offer an account of the process which incorporate both actual and imagined details, like a storyboard. A single drawing which depicts an imagined protest at the beginning of the boulder’s journey is realised as a billboard near the Futureland visitor’s centre.

A second part of his research will be presented at the Portscapes exhibition at the Museum Boijmans van Beuningen from 5 February 2010.

Paulien Oltheten's videos and photographs can also be seen until mid-November 2009 in and around Futureland, the Maasvlakte visitors’ centre [MAP HERE]. From there, visitors can set off with a route description to the locations on the Maasvlakte where other work can be seen.

Locations and some images of Oltheten's mini-billboards:

The public domain and human behaviour is the starting point for the work of Paulien Oltheten (1982), though she has described her approach as closer to that of an anthropologist rather than artist. With her still and video cameras, she generally searches with apparent casualness for moments when there is contact between people, objects and public space. On the Maasvlakte, Oltheten was faced with the fact that the familiar frame of reference of natural elements, such as trees, bushes and people, was almost completely lacking. Oltheten decided to make use of this alienation by arranging meetings with people. This resulted in a series of photographs and two short video pieces. These stagings mostly take place in locations on the Maasvlakte that will disappear or be displaced during the coming years. The photographs and videos are sometimes variations on the theme of ‘one becomes two’, referring to the Maasvlakte, of which there will later be two.

Futureland is on Europaweg 909, 3199 LC Maasvlakte, Rotterdam (Havennummer 8213). It is across the road from the E.ON power plant. Open Tuesday-Friday 10am-5pm and on Sunday 11am-5pm. Entry is free. Map here.

Portscapes is a series of public art commissions initiated by the Port of Rotterdam Authority with advice and support from SKOR (Foundation for Art and Public Space, Amterdam) and curated by Latitudes. www.portscapes.nl

[Photos of Jorge Satorre's board by Ben Wind; Photos of Paulien Oltheten's by the artist and Ben Wind.]
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Sala Rekalde de Bilbao

Desde el blog de 'Sala Rekalde: arte contemporáneo y responsabilidad pública' siguiendo al comunicado enviado el 21 Abril, donde se expresaba la preocupación por el cese de la directora de la sala Rekalde.

Más información en


Estimad@ amig@,

Nos tomamos la libertad de responder con este mail a tu apoyo al texto del 21 de abril de 2009 (www.rekaldeadhesiones.com) con el que exponíamos nuestra preocupación ante una serie de decisiones políticas con respecto a la Sala Rekalde de Bilbao. Lo hacemos ahora, en la confianza de contar con tu interés y porque es cuando algunas de las consecuencias de aquellas decisiones empiezan a hacerse efectivas.

La carta de apoyo convocó la adhesión de 647 personas relacionadas con la realidad del arte contemporáneo desde un gran número de países. Fue publicada en prensa y enviada a los representantes de los diferentes partidos políticos integrantes de la Comisión de Cultura de las Juntas Generales de Bizkaia, encargada de evaluar la situación.

Si bien las primeras reacciones por parte de la Diputada de Cultura de la Diputación Foral de Bizkaia, responsable de la sala Rekalde, parecían responder positivamente a través de pronunciamientos en la prensa a nuestra demanda de refrendar el programa realizado por la sala, es sólo ahora que se hace pública la conclusión real del problema:

El cese de la directora de su cargo ha supuesto su vuelta al puesto de comisaria que ocupaba antes de su designación y que es el puesto que han venido ocupando las sucesivas responsables de la programación de la sala. La situación administrativa creada supone en la práctica que Leire Vergara, responsable del programa desde 2006, y ajena al cese decretado en abril, ha sido despedida de su puesto. Es clara la incoherencia en la que incurre la Diputada de Cultura, Miren Josune Ariztondo, que ha mostrado a través de los medios y ante la Comisión de Cultura de las Juntas Generales de Bizkaia su respaldo al programa realizado, pero que cesa por supuesta razón administrativa a quien es responsable de ese programa.

En su momento, distintas agrupaciones de profesionales (entre otros, la Asociación de directores de Arte Contemporáneo de España, el Instituto de Arte Contemporáneo y el Consejo de Críticos de Artes visuales) exigieron a la Diputada de Cultura que aplicara las recomendaciones del Documento de Buenas Prácticas en museos y centros de arte firmado por distintas agrupaciones profesionales y el Ministerio de Cultura. La Diputada de Cultura no ha anunciado, hasta la fecha, concurso público alguno para cubrir la dirección artística de la sala Rekalde. Entendemos, de acuerdo con las citadas agrupaciones, que la sala Rekalde ha adquirido una posición entre las instituciones artísticas en la que no se puede permitir prescindir de un procedimiento estimado como básico por la totalidad de los agentes e instituciones del sector.

En nuestro anterior escrito, quisimos dejar fuera de toda duda el contrastado valor que ha tenido el programa de la sala Rekalde. Ahora que incluso quienes han causado esta situación han reconocido públicamente este valor, sólo nos queda pedir que se tomen decisiones en consecuencia y que se evite la irresponsabilidad de dilapidar el prestigio internacional que Rekalde ha conseguido en estos años. Quienes hemos valorado este hecho somos además conscientes de la dificultad y la fragilidad de tales logros, sólo posibles en situaciones de confianza mutua entre los agentes del arte y los gestores de la cultura. Tras tantas equivocadas decisiones, esta confianza no puede darse ya por hecha. Seguiremos atentos a las consecuencias de este proceso con gran preocupación y determinación.

Te haremos saber si surge alguna iniciativa pública de respuesta a esta situación e intentaremos mantenerte al corriente de la conclusión de este lamentable proceso.

Otra vez gracias y un saludo,

Peio Aguirre, José Ramón Amondarain, Ricardo Antón, Xabier Arakistain, Ibon Aranberri, Aimar Arriola, Txomin Badiola, Haizea Barcenilla, Daniel Castillejo, Guadalupe Echevarría, Miren Eraso, Santiago Eraso, Inazio Escudero, Oier Etxeberria, Jon Mikel Euba, Esther Ferrer, Charo Garaigorta, Iñaki Garmendia, Beatriz Herráez, Eduardo Hurtado, Fernando Illana, Iñaki Imaz, Pello Irazu, Miren Jaio, Iratxe Jaio/Klaas van Gorkum, Abigail Lazkoz, Maider López, Asier Mendizabal, Juan Luis Moraza, Ignacio Múgica, María Mur, Isabel de Naverán, Itziar Okariz, Lucía Onzain, Moisés Pérez de Albeniz, Sergio Prego, María Ptqk, Josu Rekalde, Natxo Rodríguez, Arturo f. Rodríguez, Xabier Sáenz de Gorbea, Xabier Salaberria, Azucena Vieites


Dear friend,

By means of this email we are taking the liberty of responding to your support for the text of April 21st 2009 (www.rekaldeadhesiones.com), in which we expressed our concern over a series of political decisions concerning the Sala Rekalde of Bilbao. We are doing so now as we trust in your interest in this question, and because some of the consequences of those decisions are beginning to come into effect.

The letter of support was signed by 647 people related to the reality of contemporary art from a great number of countries. It was published in the press and sent to the representatives of the different political parties who form part of the Cultural Commission of the Representative Assembly of Biscay, which was responsible for evaluating the situation.

While the first reactions, in statements to the press, by the Representative for Culture of the Provincial Council of Biscay, responsible for the Sala Rekalde, seemed to respond positively to our demand for endorsement of the programme developed by the Sala Rekalde, it is only now that the real conclusion of the question is being made public:

The dismissal of the Director from her post has meant her return to the curatorial position she held before her appointment, a position that has been occupied successively by the persons responsible for designing the Sala Rekalde’s programme. The administrative situation created has in practice meant that Leire Vergara, who has been responsible for the programme since 2006 and who has no connection with the dismissal decreed in April, has been dismissed from her position. What is clear is the inconsistency of Miren Josune Ariztondo, the Representative for Culture: after expressing, in the press and before the Cultural Commission of the Representative Assembly of Biscay, her support for the programme developed, she has dismissed the person responsible for that programme for a supposedly administrative reason.

At their time, different professional groups (amongst them the Association of Directors of Spanish Contemporary Art, the Institute of Contemporary Art and the Council of Visual Art Critics) demanded that the Representative for Culture should apply the recommendations of the Document of Good Practices in Museums and Art Centres, signed by different professional groups and the Ministry of Culture. To date, the Representative for Culture has not announced any open public competition to fill the position of artistic director of the Sala Rekalde. We understand, together with the abovementioned groups, that the Sala Rekalde has acquired a position amongst the artistic institutions in which it is not permissible to dispense with a procedure considered as basic by all the agents and institutions of the sector.

In our earlier communication, we wished to leave beyond all doubt the proven value of the programme of the Sala Rekalde. Now that even those who brought about this situation have publicly recognised this value, all we can do is ask that they take decisions accordingly and avoid the irresponsibility of squandering the international prestige that Rekalde has won in recent years. Such achievements are difficult and fragile, and are only possible in situations of mutual trust between the agents of art and the managers of culture. In the wake of so many erroneous decisions, this trust can no longer be taken for granted. We will continue to monitor the consequences of this process with great concern and determination.

We will let you know if any public initiative arises in response to this situation, and we will try to keep you informed about the conclusion of this lamentable process.

Thank you once again, and best wishes,
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