Longitudes

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

Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend

 Above: de Appel director Niels van Tomme during his welcome speech.  
This and following photos: Carina Erdmann/De Appel.

Latitudes participated in de Appel Arts Centre two-day symposium "You are such a curator!" on 23 and 24 November 2016. Coinciding with the Amsterdam Art Weekend, the event presented lectures, discussions, performances and papers marking the conclusion of a three-year research project into the dynamics of de Appel’s curatorial programme and its position in the wider field of curatorial education.

Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in 2017. Their point of departure was responding to the question "what does the wrongful killing of a dog in medieval France have to tell us about the micro and the macro, the hyper-specific and the universal?"  

Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'. 
Below: Q+A session.
 
Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.  
Below: Latitudes' presentation "Following the Holy Greyhound".
 
Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation. 
Below: Attentive (femenine!) audience. 

Above: (Intensive) Q+A amongst speakers and audience. 
Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.

Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'. 
Below: Niels van Tomme during one of the many Q+A's.

Above: Prem Krishnamurthy during a Q+A.

The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
  
We also visited a few exhibitions and attended a few events  programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
 
"Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.

(above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
Majestic "Labyrinth" (2016) piece above and below.
(above) "New Improvisation with Bart de Kroon", one of the five performances Jeremiah Day presented at Ellen de Bruijne Projects.

And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.


Abstracted images by Claudia Martínez Garay

(Above and below) Installation on the ground floor by Eva Spierenburg.

Sculptural and archival material by British artist Alex Farrar around his suit.

More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.

 Glass piece by German artist Christine Moldrickx (above and below). 

The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.

(Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.

Jordan Wolfson's "Colored Sculpture" (2016).

San Serriffe art book shop in the red light district.

kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.

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Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook


The December Monthly Cover Story is now up on www.lttds.org after this month it will be archived here

"The publication Land, Art: A Cultural Ecology Handbook is ten years old. Commissioned by the Arts & Ecology programme of The Royal Society for the Encouragement of Arts, Manufactures & Commerce (RSA), in partnership with Arts Council England, this book was one of Latitudes’s first projects. Through the inspirational contributions of people as varied as Lucy Lippard, Stephanie Smith, Amy Balkin, or the late Wangari Maathai – to mention just a few – the compendium charted the twin legacies of Land Art and the environmental movement while proposing how the critical acuity of art might remain relevant in the face of the dramatic ecological consequences of human activity. The research and reflection involved set Latitudes on a course that led to several further projects engaging with ecology, explicitly or otherwise." Continue reading...

Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, exhibitions and field trips related to our activities.  

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30% off Latitudes' tote bag limited editions

 

In Spring 2015 Latitudes launched a limited edition of tote bags to mark its 10th anniversary. These four specially commissioned silkscreened tote bags feature designs by four artists with whom Latitudes has collaborated over the past decade: Lawrence Weiner (New York, 1942), Haegue Yang (Seoul, 1971), Ignasi Aballí (Barcelona, 1958) and Mariana Castillo Deball (Mexico City, 1975).

We are now offering a 30% discount, a special sale price of 35 Euros per tote (+shipping) valid throughout December 2016 (usually €50 + shipping). 

Edition: 35 + 5 A.P. (Haegue Yang's tote is ed. 20 + 10 AP)
Measurements: 38 high × 40 width × 14 base (in cm)
Fabric: 475 gsm natural chlorine-free cotton canvas
Strap: Adjustable Capacity: 15 litres
Weight: 420 gr aprox.
 

Each bag is made from natural durable cotton canvas with a reinforced base. They feature a press-stud closure, an internal pocket with a zip (never loose your keys again!), an adjustable shoulder strap, as well as smaller handles for carrying like a briefcase.

Each bag have been hand silkscreened in Print Workers, Barcelona; this is an artisanal process and each printing results in slight variations.

Place your order(s) from our website. Here some nice pics of our happy customers with their totes:





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Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda

Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: © Roberto Ruiz 

Ana Jotta’s “Abans que me n’oblidi (Before I forget)
PROJECTESD, Barcelona
September 30–November 26, 2016
 

by Mariana Cánepa Luna

"While it has been widely exhibited in her native Portugal, Ana Jotta’s work hasn’t been presented in depth to the Barcelona public since the early 1990s.(1) So this mini-survey of her production from 1980 to the present, framed as part of the Barcelona Gallery Weekend, is overdue. “Abans que me n’oblidi (Before I forget)” begins (or ends) at the intermediary patio space that one crosses before entering the main exhibition space at ProjecteSD. Part of a curved wall is covered with irregular patches of light gray and pale pink paint, as if emulating swatch tests for a redecoration. This playful gesture sets the tone for the exhibition inside, a somber and subtle palette of delicate intonations and provisional arrangements."  


Continue reading...
 

Originally published in art-agenda.com on November 8, 2016.

Ana Jotta, "Cloud", 2013. Painted steel, 90 x 200 x 4 cm. Photo: ©Roberto Ruiz.

Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: ©Roberto Ruiz.


Ana Jotta, "Footnote #1", 2016. Mixed media. Variable dimensions. Photo: ©Roberto Ruiz.



Ana Jotta, "Un Printemps 2008", 2008, Acrylic and felt pen on screen, 160 x 129 x 16 cm. Photo: ©Roberto Ruiz.


Installation view of the exhibition "Ana Jotta: Abans que me n'oblidi (Antes de que me olvide / Before I Forget)", 2016, ProjecteSD, Barcelona. Photo: ©Roberto Ruiz.


Ana Jotta, "Que Sais-Je?", 2011. Marker pen on tape roll, 2,5 x 14,3 diam. cm. Photo: ©Roberto Ruiz.



 Detail of several "Footnote" pieces. Photo: Latitudes.

 Detail of several "Footnote" pieces. Photo: Latitudes.

Ana Jotta, "Sem título", 2016. Paint on wall. Variable dimensions. Photo: Latitudes.

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Actividades programadas durante la exposición "El misterio de caviria" de Antoni Hervàs en La Capella


Hasta el próximo domingo 13 de noviembre 2016 tenéis oportunidad de visitar la exposición individual "El Misterio de Caviria" de Antoni Hervàs en La Capella

En paralelo a la exposicón, se han organizado una serie de actividades que han activado la exposición, la primera de las cuales tuvo lugar el 18 de septiembre en el antiguo local de fiestas Copacabana (actual aparcamiento del Department de Cultura de la Generalitat en La Rambla)
cuando Juan de la Cruz el Rosillo, interpretó un emocionante repertorio de canciones acompañado por sus ya famosas castañuelas de cerámica.

Fotos: Latitudes.

A continuación el público se desplazó unos metros hasta el Frontón Colón donde
Gerard López, el campeón de España masculino senior de gimnasia rítmica, reali una coreografía llevando un maillot diseñado para la ocasión por Hervàs – actualmente expuesto en La Capella. El Copacabana fue el primer local de espectáculos de travestismo en la ciudad condal tras la Guerra Civil. Uno de sus números más populares era cuando la travesti Margarita (ahora encarnada en el premiado gimnasta), disfrazada con un traje de volantes hechos con papel de periódico, invitaba a los espectadores a que le prendieran fuego provocando su danza frenética. López interpretó una sinuosa versión de la danza de los siete velos compuesta por Norman Bambi  para esta ocasión, en la que los movimientos gráciles y seductores del atleta, encubren la poderosa y agresiva disciplina que requiere la gimnasia rítmica permitiéndole reavivar las cenizas del extinto local.


Fotos: Latitudes.

El 27 de octubre, en una velada organizada en colaboración con el cineasta Eduardo Gión (director de "Lentejuelas de sangre" (2012) y del espectáculo mensual "El Desplume!" en el Antic Teatre),
se proyectaron en La Capella cinco cortos inéditos en Super-8 realizados por el legendario Pierrot (el actor, dibujante, escritor y showman Antonio Gracia (1942-2011)) pionero del fantaterror y del cine experimental barcelonés.


Cartel de @octavioterol.

 El programa incluyó:

+ Miss Drácula (22' 36'')
¿Se siente enjaulado? ¿Embriagado todavía por un amor desdichado? ¿Preferiría desaparecer? Muera tal y como ha deseado toda su puñetera vida. Miss Drácula le complacerá. Vaya a verla cuando quiera, ella le está esperando en su castillo.

+ Lecciones de sexualidad (17')
Pasen y vean: sexo-terror, un delicioso paseo en el cual recrearse y dar rienda suelta a tabúes y perversiones inconfesables.

+ La muñeca (27' 30'')
La sangre de los muertos es semilla de nuevos súbditos de Satán. Un viaje hacia el epicentro del Mal en el que no se conformaron con llamar a sus puertas, sino que arrojaron pedruscos para cerciorarse de que se enteraría.

+ Poseídos (10')
Cuando una está harta de ver levitar a sus hijos y de dejarse la piel al limpiar esa viscosa y supurante espuma verde con la que lo dejan todo perdido, no queda más remedio que tomar asiento y pintarse las uñas mientras se espera la llegada del crucifijo.

+ El diario de Er (6' 50'')
Eredio danza menguante entre las páginas de su diario, en que yace escrito con sangre el apasionado relato de un amor no correspondido.
 


Víctor Guerrero.

Finalmente el 3 de noviembre 2016, tuvo un lugar un recorrido antológico por la trajectoria de Víctor Guerrero, showman y diseñador de vestuario, a través del desfile de sus trajes más memorables realizados en los años 70 y hasta la actualidad. El recorrido transformó la instalación de "El misterio de caviria" en un psicodélico desfile feliniano de la mano de los modelos Gabriel, Bruno, Manuel, Yago, Juan David, Víctor y Manel (¡gracias a cada uno de ellos por su complicidad!).



 (Arriba y abajo) Entre bambalinas: Víctor Guerrero presenta a los modelos los trajes y complementos de su colección personal. Todas las fotos: Latitudes

 Bruno durante la prueba de vestuario y ensayo. 
  Manuel durante la prueba de vestuario y ensayo. 

  Yago durante su prueba de vestuario. 

  Gabriel durante su prueba de vestuario. 

  Manuel durante su prueba de vestuario. 

 Momentos antes de empezar la actuación.

Empieza el espectáculo con la capa.

 Bruno y Manuel con trajes rojos y abanicos con plumas dan entrada al resto de modelos.

 Yago en frac blanco y Juan David con el traje "quick change" utilizado para realizar un truco de magia.
 Los ocho modelos al final del desfile.

Avanzamos que en Enero 2017 se presentará la publicación que recoge documentación de la exposición así como una entrevista entre Antoni Hervàs y Latitudes, tutores del proyecto, sobre el proceso de trabajo, las escenografías y personajes que han compuesto "El misterio de Caviria":


"El misterio de Caviria"
Colofón 

"El misterio de Caviria" es un proyecto expositivo de Antoni Hervàs enmarcado dentro de la 10ª edición de la
convocatoria de producción artística BCN Producció'16 que se presenta durante la temporada 2016 en La Capella.

Tutoría del proyecto: Latitudes 
Diseño de espacio: Goig (Miquel Mariné y Pol Esteve)
Cesión de espacio taller: Fàbrica de Creació Fabra i Coats
Patrocinio de andamiaje: Cal Cego

Capítulo 1: La Loba
Casco: Luís Robles (“Lluis Quinrob“)
Canción: “La Loba” de Marifé de Triana
Intérprete: Pilar Carrión
Localizaciones vídeo: etHALL / Bar O'Barquiño
Música: NormanBambi
Cinematografía: Eduardo Gión

Capítulo 2: La sala de las columnas
Ve: Violeta la Burra
Música: Norman Bambi

Capítulo 3: La Peste
Intérprete: Gilda Love
Localización: Antic Teatre
Cinematografía: Eduardo Gión
Vestuario: Victor Guerrero
Cesión de espacio: El Desplume

Capítulo 4: Ritual purificador del fuego
Nadadores y nadadoras: WoMen Synchro
Coreografía: Iris Brunsó
Intérprete: José Jaén
Música: Versión de “Tengo miedo”, Norman Bambi
Cinematografía: Ainara Elgoibar. Tractora
Performance realizada a la Fundación Joan Miró (2015) durante el acontecimiento performativo “Mercurio Splash” comisariado por David Bestué y Antoni Hervàs.
Fotografía: Pere Pratdesaba/Fundació Joan Miró, Barcelona.

Capítulo 5: La lucha
Taller “De cintura en arriba” con el equipo de lucha de La Mina, parte del programa de actividades públicas gestionadas por Consol Llupià para Xarxa Zande.
Localización: Arts Santa Mònica
Documentación fotográfica: Jose Begega y Consol Llupià

Capítulo 6: El trofeo de la lucha
Confección del maillot: Elastic Rubí
Pedrería: Yolanda Strass
Música: Norman Bambi

Acto I: el Copacabana
Cesión de espacio: Departament de Cultura de la Generalitat de Catalunya
Intérprete: Juan de Cruz el Rosillo

Acto II: el Frontón Colón
Gimnasta: Gerard López, Club gimnàstic Mediterrania
Cesión practicable de gimnasia rítmica: Consell de l'Esport Escolar de Barcelona
Música: Norman Bambi
Cinematografía: Ainara Elgoibar. Tractora
Sonidista: Mariana Cánepa Luna
Material técnico: HANGAR – BAFF

Capítulo 7: La ridiculització de la masculinidad
Documentación: Casal Lambda, Barcelona

Capítulo 8: La invocación de los dioses del underground
Material documental cesión de Eduardo Gión:
1. Un desplume diferente. Espectáculo del Barcelona de noche.
2. Cortometrajes de Pierrot: “Miss Drácula” (1976), “Poseidos” (1973),“Vampiros” (1972), “La muñeca”(1972), “Miss drácula 2 y el imperio de la Leche” (1976).


Juan de la Cruz "el Rosillo". Foto: @brillobox

Antoni Hervàs agradece al jurado de BCNProducció'16, a todo el equipo de BCNProducció y al fabuloso equipo de montaje liderado por Alberto Calvete.

A Ico Mateo.

A toda la expedición argonauta: Luc, Ainara, Pol, Miquel, Eduardo, Max, Mariana, Lluis, Gerard López, Juan de Cruz, los guerreros de la mina, a los WoMen synchro (Antonio, Iris, Gio, Tammi, Luis, Clara, Claudia y Pau); José Jaén, Victor Guerrero, Pilar Carrión, Violeta la Burra y Gilda Love.

A la capitana de la furgo-Argo: Beatriz Fuentes.

Así como a los fantásticos
amigos: Ariadna Parreu, Pau Magrané, Anna Moreno, Fito Conesa, Marc Navarro, David Bestué, Martina Millà, Montse Badia, Lucía C. Pino, Enric Farrés, Araceli Moreno, Claudia Labrador, Ángela Palacios, Evripidis Sabatis, Jordi GG, Corte Moderno, Carlos Valverde, Alicia Rosselló, Manolo Carrión, Marc Vives, Aimar Pérez Galí, Dutor-Mont de Pallol, Sergio Ibañez, Consol Llupià, Jose Begega, Usue Arrieta, Guido, Sara Hervàs & Maria, y a la Katherings: Pilar Cortés.

A Pierrot y a todos aquellos, quienes desde Fregoli, han iluminado los escenarios de la ciudad hasta apagarse.



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Cover Story – November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor


A new Monthly Cover Story is now on www.lttds.org (after October it will be archived here). "Plucking Gilda, synesthetic Toni and dazzling Víctor" focuses on Antoni Hervàs' exhibition "El Misterio de Caviria" which can be visited at La Capella until November, 13th.   

“During [my first visit to] El desplume, Víctor Guerrero introduced Gilda (Victor also designs the dazzling attire that she wears): “The legend is here!” Soon, a brilliant and powerful whirlwind appeared, stopping time and winning the audience over from the first moment that she stepped on stage. When Gilda reveals her real age in one of her characteristic monologues, the audience is always left dumbfounded – she seems immortal. I realised that I was establishing some synesthetic relations by which I attributed colours to her stories. I started to imagine a scenario in my head: her large eyes open wide as she perceives a steaming stench cast by Draculina...”

Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities


Related content:
  • Archive of Cover Stories
  • Cover Story, October 2016: "A Funny thing Happened on the Way to the Gallery, 13 October 2016
  • Cover Story, September 2016: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
  • Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
  • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
  • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
  • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
  • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
  • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)
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In conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016)


Photos: Latitudes.

After much anticipation, we are elated to see (and touch!) Latitudes' five-part interview with Nicholas Mangan as part of his exhibition catalogue "Nicholas Mangan. Limits to Growth" (Sternberg Press, 2016). The publication is designed by Žiga Testen and includes newly commissioned texts by Ana Teixeira Pinto and Helen Hughes, alongside illustrations of Mangan's work and historical source material.

The five-part interview weaves together a discussion around five of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016) commissioned for this exhibition survey. Latitudes’ dialogue with Mangan, began around a research trip to Melbourne in 2014, and continued in the form of the public conversation event that took place at the Chisenhale Gallery, London, in 2015, as well as over Skype, email, snail mail and walks.






 

The publication release coincides with Mangan's eponimous exhibition survey which began in July in Melbourne's Monash University Museum of Art and just opened this past weekend in Brisbane's IMA. The show will further tour to Berlin's KW Institute for Contemporary Art in Summer 2017.

"Nicholas Mangan. Limits to Growth" 

Publisher: Sternberg Press with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne.
Editor: Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. 
Texts: Latitudes, Helen Hughes, Ana Teixeira Pinto 
Design: Žiga Testen;
October 2016, English;
17 x 24 cm, 246 pages + 2 inserts, edition of 1500; 

40 b/w and 102 color ill., with color poster and postcard Softcover;
ISBN 978-3-95679-252-6;
30 Euros.






















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October Cover Story: "A Funny Thing Happened on the Way to the Gallery"


A new Monthly Cover Story is now on www.lttds.org (after October it will be archived here). "A Funny Thing Happened on the Way to the Gallery" reflects on the recent reenactment of the 1972 performance by Robert Llimós, restaged during the four days of the recent Barcelona Gallery Weekend. "Los Corredores" was one of the five context-sensitive interventions curated by Latitudes for the second edition of the event.
 
(...) "During the past few days the Compositions of the Barcelona Gallery Weekend could be found in a subterranean billiards club, an abandoned textiles factory, a masonic-anarchist library, and the stables of the city police. The contribution of Robert Llimós was constantly dashing between these singular venues and the twenty-three participating galleries. Los Corredores (The Runners) was a remake of an action that was originally created in the summer of 1972 as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Meetings). Llimós is best known for a long trajectory as a painter and sculptor that began in the sixties within the Nueva Figuración movement, and continues today with his depictions of extraterrestrials, yet this is one of a handful of his striking performative works." Continue reading...  

Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


Related content:
  • Archive of Cover Stories
  • September Cover Story: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
  • Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
  • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
  • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
  • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
  • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
  • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)
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Documentación de la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella

Todas las fotos: Pep Herrero y La Capella/BCN Producció’16.

La exposición "El Misterio de Caviria" de Antoni Hervàs dibuja los escenarios para un espectáculo visual estilo copla-terror donde, siguiendo los rastros de la Barcelona canalla de los años 60–80, colisionan dos mitologías: la del cabaret barcelonés y la Grecia clásica. Una invocación a los Dioses del subsuelo siguiendo la tradición del rito cabirio en el que el fuego, la sangre y la ridiculización de lo masculino son los ingredientes esenciales que permiten conocer una historia local que es a la vez universal. Sigue leyendo...

A finales de enero se presentará una publicación conjuntamente editada por The Flames, el Ajuntament de Barcelona y La Capella que incluirá una entrevista entre el artista y Latitudes, tutores del proyecto, así como documentación fotográfica de la exposición y de las actividades programadas.

La exposición "El misterio de caviria" se puede visitar en La Capella (c/ Hospital 56, 08001 Barcelona) hasta el 13 de noviembre 2016. El proyecto se enmarca dentro de la temporada BCN Producció'16.

Fotos: Pep Herrero/La Capella-BCNProducció'16.

Antoni Hervàs (Barcelona, 1981) estudió Bellas Artes en la Universitat de Barcelona (2006) y realizó un ciclo en grabado y estampación en Escola Llotja. Entre sus recientes exposiciones individuales destacan “Hércules en la luna”, Espai Cultural Caja Madrid, Barcelona (2012); “Kakanoures i kitschades”, galería SIS, Sabadell (2015) y “Agón”, Galería ETHall, Barcelona (2016). Hervàs ha participado en numerosas colectivas entre las cuales se incluyen “Capítulo II. Huidas. La ficción como rigor” dentro del ciclo “El texto: Principios y Salidas”, Fabra i Coats Centre d'Art Contemporani de Barcelona (2014); “PUNK. Sus rastros en el arte contemporáneo”, Museu d'Art Contemporani de Barcelona (2016) y “Deshaciendo el texto”, La Casa Encendida (2016). Como parte de su práctica artística Hervàs ha dirigido “Fénix” (2013–16), el programa educativo del centro Sant Andreu Contemporani involucrando a diversos artistas de la ciudad en sus varias fases. Además ha realizado numerosos proyectos editoriales autogestionados como “Grapandmopotheper” (2009), “Tributo a Ray Harryhausen”, DeGénero Ediciones (2014) o “La trama” para Mataró Art Contemporani (2015). Asimismo ha comisariado exposiciones periódicas como “Doméstica” junto a Ariadna Parreu (desde 2009) y eventos performáticos como “Mercuri Splash” junto a David Bestué para la Fundació Miró (2015). En el 2010 recibió el Premio INJUVE a la Creación en la categoría de ilustración.

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'Compositions' a programme of five artists' interventions for the second Barcelona Gallery Weekend, 29 September–2 October 2016


Compositions presents five artistic interventions in unique sites across the neighbourhoods of the city of Barcelona. Each of the commissioned artists is represented by a gallery participating in the second edition of the Barcelona Gallery Weekend.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. 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. 

In its second edition, Composiciones will present interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects will offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Interior of the Club Billar Barcelona. Photo: Courtesy Club Billar Barcelona.
 Zoom in a map here.

Intervention by Lúa Coderch Club Billar Barcelona
Gran Via de les Corts Catalanes, 595-599
08007 Barcelona

Public transport:
Metro: Passeig de Gràcia (L2, L3, L4)
Bus: 7, 50, 54, 67, 68, H12

Opening hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm 

Lúa Coderch’s project for the Compositions programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics.

Sunday 2 October, 12am: 
Free guided visit by the Lúa Coderch and Latitudes at the Club Billar Barcelona, Gran Via de les Corts Catalanes, 595-599.

Interior of the Biblioteca Pública Arús.
Zoom in a map here.

Intervention by Lola Lasurt  –  Biblioteca Pública Arús
Passeig de Sant Joan, 26
08010 Barcelona

Opening hours:
Thursday 29 September: 5–9pm;
Friday 30 September: 11am–7pm;
Saturday 1 October: 11am–2pm;
Sunday 2
October: CLOSED;
Monday 3
October: 11am–6pm;
Tuesday 4
October: 11am–6pm.
 
Public transport:
Metro: Arc de Triomf (L1)
Rodalies: R1, R3, R4 Arc de Triomf
Bus: 19, 51, 55, B20, B25, N4, N11


For her intervention for the Compositions programme, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with an outstanding collection related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings that form a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

Thursday 29 September, 6pm: 

Free guided visit by Lola Lasurt and Latitudes at the Biblioteca Pública Arús, Passeig de Sant Joan, 26.

 Interior of Can Trinxet factory in L'Hospitalet de Llobregat.
 Zoom in a map here.
Intervention by Regina Giménez will take place at the Antigua fábrica textil Can Trinxet
c/ Santa Eulàlia 182–212
08902 L’Hospitalet de Llobregat (Barcelona)

Opening hours:
Thursday 29 September: 5–8pm

Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Public transport:
Metro: Santa Eulàlia o Torrassa (L1)
Bus: L16, L52, L82, L85, LH1, N13

The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpin Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprise Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project "La Constancia" (2016) in tribute to the labour union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Friday 30 September, 12am:

Free guided visit by Regina Giménez and Latitudes at Can Trinxet, c/ Santa Eulàlia 182–212, L’Hospitalet de Llobregat.

Zoom in map here.

Robert Llimós' intervention will connect all the participating galleries of the Barcelona Gallery Weekend. 

Hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, "Los Corredores" (The Runners) was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Encounters). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes 

Friday 30 September, 5pm:  
Free guided visit by Robert Llimós and Latitudes. Meeting point: BlueProject Foundation, c/Princesa 57.
Façade of the Unitat Muntada de la Guàrdia Urbana de Barcelona in Parc de la Ciutadella.
Location of the Unitat Muntada in the southeastern part of the Parc de la Ciutadella. Zoom in a map here.

The intervention by Wilfredo Prieto will take place at the Unitat Muntada de la Guàrdia Urbana de Barcelona (Barcelona City Police Stables)
c/ Wellington s/n 
08018 Barcelona

Public transport:
Metro: Vil·la Olímpica (L4)  
Tram: Ciutadella–Vil·la Olímpica (just opposite)
Bus: 36, 59, 92, N0, V21, V27

Opening hours:
Thursday 29 September: CLOSED
Friday 30
September, Saturday 1 and Sunday 2 October: 11–12am*
[*] Doors open daily at 10:30am. Kindly note that a photo ID (DNI or passport) is required to enter.]
  
Conceived by Wilfredo Prieto as his project for the Composiciones programme, "Pantalones rotos" (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work, Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in "Pantalones rotos", this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes  

Saturday 1 October, 12am:
Free guided visit by Latitudes at the Unitat Muntada de la Guàrdia Urbana. Meeting point: c/ Wellington s/n. (Opposite the tram stop Ciutadella–Vil·la Olímpica)

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The Barcelona Gallery Weekend is an initiative of the de Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ajuntament de L’Hospitalet de Llobregat and Acción Cultural Española (AC/E), as well as by private sponsors and individual patrons. http://www.barcelonagalleryweekend.com/


Related content:

  • Composiciones 2015 commissions;
  • 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;
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