Longitudes

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

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

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


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

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



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


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

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





RELATED CONTENT:

  • Wakelet archive of social media content
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey (11 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey (10 December 2018)
  • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
  • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • Full performance programme
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
  • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018
Stacks Image 39


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


Natàlia Farré, ‘Sumisión y frío en la Modelo’, El Periódico, 15 de enero 2019.

Maria Palau, ‘Angoixats a la Model’, El Punt Avui, 13 de enero 2019, pág 23.

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


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


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




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




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



CONTENIDO RELACIONADO:
  • Proceso de inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey 11 Diciembre 2018
  • December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Wakelet archive of social media content
Stacks Image 39


Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ for art-agenda



Te toca a tí’ [It's Your Turn]
Espai d'art contemporani de Castelló, Castelló de la Plana
October 26, 2018—February 17, 2019


"Two pairs of hands play a game of cat’s cradle, forming a star from a loop of string; viewers may imagine one person pulling the string while the other interprets their instructions. This photograph, which appears on the cover of the booklet accompanying the group exhibition “Te toca a tí” [It’s your turn] at the Espai d’art contemporani de Castelló (EACC), epitomizes the exhibition’s conceptual framework. Curated by Laura Vallés Vílchez and including works by ten artists, the show asks whether a gallery can become a site of negotiation, and if so, in what ways it can be re-signified."

—> Continue reading here.

Text originally published in art-agenda on January 7, 2019.



Teresa Lanceta, selection of tapestries and sewn fabrics, 2003-2018. Variable dimensions. Courtesy of the artist and Galería Espacio Mínimo. Photo by Ester Pegueroles.


Luca Frei, ‘Simone Forti's See-Saw’, 2015. Variable dimensions. Performance with plywood see-saw. Courtesy of the artist and The Museum of Modern Art, New York. Committee on Media and Performance Funds, 2018. Photo by Luca Frei.


Céline Condorelli, ‘Models for a Qualitative Society’, 2016. Variable dimensions. Painted blackwood acacia, steel. 84 x 119 cm, Inkjet prints. Courtesy of the artist. Photo by Ester Pegueroles.

RELATED CONTENT:


    Stacks Image 39


    Cover Story—January 2019: “Seesaw”

    Latitudes' home page www.lttds.org

    The January 2019 Monthly Cover Story “Seesaw” is now up on Latitudes' homepage: www.lttds.org


    “The exhibition “Te toca a tí” (It’s your turn) continues at Espai d’art contemporani de Castelló, Castellón de la Plana, until February 17th. Curated by Laura Vallés Vílchez (editor of the journal Concreta) it includes works by ten artists within a conceptual framework that asks how a gallery space can become a site of negotiation, process, reciprocity, and empathy. Mariana Cánepa Luna’s review of this optimistic show was recently published in Art Agenda.”

    —> Continue reading
    —> After December it will be archived here.


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


    RELATED CONTENT:

    • Archive of Monthly Cover Stories
    • Writing archive – exhibition reviews, artists' profiles, opinion columns, interviews, and catalogue essays written by Latitudes since 2005.
    • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
    • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
    • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
    • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
    • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
    • Cover Story–July 2018: No Burgers for Sale 2 July 2018
    • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
    • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
    • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
    Stacks Image 39


    Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell)

    Max Andrews, co-founder of Latitudes and contributing editor to frieze, recently reviewed the group exhibition ‘A Provisional History of the Technical Image, 1844–2018’ at LUMA Foundation in Arlès. The exhibition is curated by artist Walead Beshty and is on view until January 6, 2019. Published on frieze.com, 20 December 2018.
    Frank Gehry's LUMA building under construction, as of October 12, 2018. Above and following photos by Latitudes. 

    Views from the exhibition ‘A Provisional History of the Technical Image, 1844–2018’.

    "Le Fusil Photographique" by Étienne-Jules Marey. 

    Works by Wolfgang Tillmans (vitrines) and Christopher Williams (wall).

    Hans-Peter Feldmann's "9-12 Front Page", 2001. 


    ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

    ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

    ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


    ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


    Also for frieze, Max Andrews reviewed two concurrent exhibitions by Pere Llobera: Acció’ at Bombon Projects (Barcelona) and ‘Kill Your Darlings’ at Sis Galería (in nearby Sabadell), ‘exploring the artist’s ever-changing styles and painterly references.’ Published online on 13 November 2018, and included in January-February 2019 print issue #200.

    “As if tormented by his own cursed hand, Llobera’s darkly fugitive shtick is his alarm at its ability to paint so adeptly so easily, despite his mind’s suspicion of painters painting to be admired.” 


     Views from Pere Llobera's exhibition ‘Acció’ at Bombon Projects, Barcelona. Courtesy the artist. Above and photos below: Roberto Ruiz.



    RELATED CONTENT:
    • Writing archive on Latitudes' website (since 2005);
    • Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze 9 April 2018
    • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
    • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
    • Cover Story – January 2017: How open are open calls? 4 January 2017
    • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
    • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
    • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
    • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015
    Stacks Image 39


    Inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey



    Se abre el proceso de inscripción (¡hasta el 20 de diciembre 2018!) para asistir a ‘Máquina esquizofrénica’, una performance inédita de Joan Morey que tendrá lugar el 10 de enero de 2019 a las 19 h en una ubicación muy relevante de la ciudad de Barcelona pero que se mantiene expresamente en secreto.

    Máquina esquizofrénica’ es la tercera y última parte del proyecto COLAPSO de Joan Morey y comisariado por Latitudes. La primera parte del proyecto, titulada Máquina deseante, máquina de trabajo se exhibe en el Centre d'Art Contemporani de Barcelona - Fabra i Coats. La segunda parte tiene lugar en el Centre d’Art Tecla Sala, en L’Hospitalet de Llobregat, y es la versión definitiva de la exposición itinerante ‘Cuerpo social’. Ambas pueden visitarse hasta el 13 de enero 2019.


    Formulario de inscripción aquí.

    Observaciones:


    Performance a puerta cerrada y de acceso restringido. Aforo limitado. La performance es exclusivamente para público adulto y, debido al entorno arquitectónico, no es apta para personas con movilidad o visibilidad reducida. El acceso a la performance está sujeto a normas de protocolo, entre ellas el código de vestimenta y la aceptación por escrito de condiciones para la asistencia. Aun habiendo recibido confirmación y cumplir de forma correcta el protocolo de asistencia indicado, el artista, el Fabra i Coats. Centre d'Art Contemporani y el Centre d'Art Tecla Sala se reservan el derecho de admisión. En la confirmación de asistencia se facilitarán todos los detalles organizativos.


    + info

    Comparte: #JoanMoreyColapso

    CONTENIDO RELACIONADO
    • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
    • "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
    • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
    • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
    • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
    • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
    • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
    • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
    • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan) 
    • Full performance programme 
    • Wakelet archive of social media content
    • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
    • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018
    Stacks Image 39


    December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey




    Event: Reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey
    Date and time: December 13, 2018, 7pm
    Interpreter: Eduard Escoffet
    Location: Third floor, Centre d'Art Contemporani de Barcelona - Fabra i Coats.


    The reenactment is part of the live programme of six performances reactivated within Joan Morey's exhibition survey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats (on view until January 13, 2019).

    Each of the performances of the programme is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.

    Access to all performances is unrestricted.


    Joan Morey. ‘POSTMORTEM. Pour en finir avec le jugement de dieu’ (2006-2007). Performance, reenactment, 27 September 2018. Photo by Noemi Jariod. Courtesy of the artist.


    Joan Morey. ‘LLETANIA APÒRIMA’ (2009). Performance, reenactment, 11 October 2018. Photo by Noemi Jariod. Courtesy of the artist.


    Joan Morey. ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’ (2009). Performance, reenactment, 25 October 2018. Photo by Noemi Jariod. Courtesy of the artist.


    Joan Morey. ‘‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion]’ (2010). Performance, reenactment, 15 November 2018. Photo by Noemi Jariod. Courtesy of the artist.


    A dramatic extract from the fifth act of TOUR DE FORCE (2017), which has only previously been witnessed by an audience of six people in the setting of a white limousine driving on a route through Barcelona. The project as a whole puts together a conceptual history of the HIV/AIDS pandemic—from the fear and stigma surrounding diagnosis and infection in the 1980s and 1990s to the possibility today of its management and control via pharmaceutical compliance.

    This performance corresponds to the latter historical context, addressing the complexities of understanding the disease in an epidemiological sense and as a symbolic phenomenon enmeshed with global governance, human rights, and civil liberties. A performer dressed in black leather garments makes a ritualistic reading from a mobile device, listing the dates on which new antiretroviral drugs have been approved for use in the US, beginning from 1987. The brand names of each of the medications join the litany of dates, and the pill trademarks are repeated as though they were figures worthy of veneration: Saint Genvoya, Saint Stribild, Saint Odefsey, etc.

    The subtitle refers to a 1966 radio broadcast by the philosopher Michel Foucault, known for his histories of healthcare and sexuality, who in 1983 became the first public figure in France to die from an AIDS-related illness.

    COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona.

    RELATED CONTENT
    • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
    • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
    • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
    • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
    • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
    • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan) 
    • Full performance programme 
    • Wakelet archive of social media content
    • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
    • Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018

    Stacks Image 39


    Cover Story–December 2018: "Treasures! exhibitionism! showmanship!"

    Latitudes' home page www.lttds.org

    The December 2018 Monthly Cover Story "Treasures! exhibitionism! showmanship!" is now up on Latitudes' homepage: www.lttds.org


    "A clutch of shows in Vienna (where Latitudes was recently a guest of Art Week) and Amsterdam (which just held its Art Weekend) offer a distinctive take on curatorial liberty and creative exhibition display.

    —> Continue reading
    —> After December it will be archived here.


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

    RELATED CONTENT:

    • Archive of Monthly Cover Stories
    • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
    • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
    • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
    • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
    • Cover Story–July 2018: No Burgers for Sale 2 July 2018
    • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
    • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
    • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
    Stacks Image 39


    Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018

    A snowy Belvederegarten. All photos (unless stated otherwise): Latitudes.

    As part of this year’s VIENNA ART WEEK, Latitudes was invited to get to know Vienna's art scene over the course of three days (19–21 November). On Tuesday 19 November, the visiting group of curators and artists participated in the panel ‘Some Current Positions of Curating’ at das weisse haus. The panel, chaired by Alexandra Gausman of das weisse haus, briefly introduced recent projects by Argentinian artists Guillermo Faivovich & Nicolás Goldberg; soon-to-be Paris-based curator Claire Hoffmann (Centre Culturel Suisse de Paris); artists and curators FICTILIS from San Francisco; Avi Lubin (Faculty at Jerusalem’s Beit Berl College); and Stephanie Weber (Curator of Contemporary Art at Lembachhaus in München).

    Above and below photos: eSeL.


    Grand staircase of the Kunsthistorisches Museum in Vienna.

    (Above and nine below) Views from the exhibition ‘Spitzmaus Mummy in a Coffin and other Treasures’ guest curated by filmmaker Wes Anderson and writer and illustrator Juman Malouf, in collaboration with Jasper Sharp (Kunsthistorisches Museum) and Mario Mainetti (Fondazione Prada). ‘Anderson and Malouf have assembled more than 400 objects drawn from all fourteen of the museum’s historical collections. Among them are Egyptian, Greek and Roman antiquities, Old Master paintings, selections from the Kunstkammer and the Imperial Treasury, items from the Imperial Armoury, Coin Collection, and Collection of Historic Musical Instruments, as well as pieces from the Theatermuseum, the Weltmuseum, the Imperial Carriage Museum, and Schloss Ambras Innsbruck. A handful of special guests from the Natural History Museum are also included. Particular attention was given to the museum’s storage: more than 350 of the objects have been brought from depots, with many of them on public display for the very first time. (...) The gathering and arrangement of these treasures – from the earliest, a necklace of ceramic beads strung together in Ancient Egypt, to the most recent, a wooden monkey carved in Indonesia almost 5,000 years later – suggest the spectacular breadth, depth, history and complexity of the Kunsthistorisches Museum’s collections.’ (from the venue website)



    (Above and below) Donna Huanca exhibition ˝Piedra quemada˝ at the Lower Belvedere.

     (Above and two below) One of the rooms at the Naturhistorisches Museum (NHM). Below Faivovich and Goldberg intervention ˝In Search of Mesón de Fierro˝, part of their long-term research on meteorites at El Chaco region in northern Argentina. For the exhibition, they presented a 19-gram fragment in a meteorite in the collection of the NHM Vienna, which they were able to trace quite convincingly to Mesón de Fierro.


    (Above and three below) On our own time, we arranged a visit to the artist-run-space Guimarães. Hugo Canoilas, one of the artists that run it alongside Nicola Pecoraro and Christoph Meier, gave us a detailed tour of the show which explored the concept of excessive sentimentality. ‘SCHMALTZ’ showcased unique editions, amusing finds, objects that accompany artists in their studio, as well as artworks by over 50 artists. 
    A special edition of Luisa Gardini's photos. 

    (Above and four below) Views from ‘55 dates. Highlights of the MUMOK collection’, presenting 55 works with exhibition design by (Portscapes artist) Hans Schabus.
    (Above and below) Also at MUMOK, "a photographic journey through Austrian history from 1918 to the present" was the focus of ‘Photo/Politics/Austria’ this time with exhibition design by Markus Schinwald.

     (Above and two below) Views from Asier Mendizábal's solo exhibition at Galerie Martin Janda.


     At the nearby Kunsthalle Wien, Vanessa Joan Müller and Nicolas Schafhausen curated ‘Antarctica. An Exhibition on Alienation’, showing works by Viltė Bražiūnaitė / Tomas Sinkevičius, Burak Delier, Buck Ellison, Isabella Fürnkäs, Eva Giolo, Thibaut Henz, Jan Hoeft, Hanne Lippard, Joanna Piotrowska, Jeroen de Rijke / Willem de Rooij, Jana Schulz, Andrzej Steinbach, Ingel Vaikla, Peter Wächtler, Ian Wallace and Tobias Zielony. ˝The exhibition explores how the term “alienation” functions in our world today. In doing so, it also addresses the following question: What other forms of relationship to the self and to the world do we need? Before we can even begin to create something like a space supportive of self-determination and self-realization?" (from the venue website)
     One of the nine studio visits at Prater Ateliers. Here with Christian Kosmas Mayer. 
    Studio visit with Judith Fegerl at Prater Ateliers.


     Tour by curator Moritz Stipsicz of Tomás Saraceno's intervention in the baroque Karlskirche in Karlsplatz. 
     Views of Karlsplatz and Vienna skyline from the cupola.


     (Above and three below) Ed Ruscha's ‘Double Americanisms’ at Secession
    (Above) Detail from Philipp Timischl's ‘Artworks For All Age Groups’ in the downstairs galleries of Secession.
    (Above) View of Kris Lemsalu's ‘Keys Open Doors’ in the upper Secession gallery.

    On November 22, we took off to Amsterdam taking advantage of the Amsterdam Art Week events which included the Rijksakademie open, the opening of two exhibitions at Stedelijk Museum (a solo show by Raquel van Haver and the biannual group exhibition presenting Amsterdam’s Municipal Art Acquisitions, ‘Freedom of Movement’). We also visited De Appel, kunstverein, Rongwrong, a few galleries that opened jointly.


    (Above and below) De Appel exhibited Ben Russel's film ‘Good luck’ (2017) premiered during documenta 13. ‘Accompanying the installation, the artist created a sculptural analogue to process and portraiture, Good Luck (Echo) that turns a sheet of copper into a resonant, speaking subject.’ (from the venue website)
     Mr Peanut exhibition at kunstverein Amsterdam, gathering material from Vincent Trasov who became Mr. Peanut in 1971. In 1974 he ran for mayor of Vancouver. ‘The exhibition traces the history of Trasov’s revolutionary alias and includes historical documents, publications, correspondence, video footage as well as more recent drawings of Mr. Peanut and paintings by Vincent Trasov. A major retrospective on Image Bank will follow in the summer of 2019 at Kunst-Werke in Berlin.’


     (Above and below) Works by Cees Mogami de Haas.

     (Above and below) Works by Riet Wijnen.


     (Above and below) Works by Marieke Zwart.


     (Above and below) Works by Morgan Courtois.
      (Above and below) Works by Marina Xenofontos.

     (Above and below) Works by Mire Lee.


      (Above and below) Works by Omar A. Chowdhury.

     (Above and below) Works by Maurice van Es.


      (Above and below) Works by Isabelle Andriessen.

      (Above and below) Works by Omar Vega Macotela.

       (Above and below) A film by Tyna Adebowale.

     (Above and below) Works by Josse Pyl. 

      (Above and below) Works by Gaëlle Choisne.

      (Above and below) Works by Dan Zhu.

      (Above and below) Works by Danielle Dean.


     (Above and below) Works by Polina Kani.


      (Above and below) Works by Femke Herregraven.


      (Above and below) Works by Kévin Bray.


      (Above and below) Library display initiated by Anna Dasovic. 


    (Above) Exhibition by Paul Kooiker at the tegenboschvanvreden gallery.

     Gabriel Lester exhibition at Fons Welters, Amsterdam. 

     Lara Almarcegui's video at Ellen de Bruijne. 
     Rory Pilgrim exhibition at andriesse eyck.

     Conversation with Janet Cardiff at Oude Kerk. Below her work, with Georges Bures Miller, an intervened mellotron ‘The Instrument of Troubled Dreams˝ (2018), with 72 keys each of them programmed with a sound effect, a vocal track or a musical fragment.


    (Above and four below) Stedelijk Collection in the basement of the museum. 

     (Above and two below) Metahaven exhibition at the Stedelijk Museum.


    Merlin Carpenter exhibition at Rongwrong.



    RELATED CONTENT:
    Stacks Image 39


    Lawrence Weiner tote bag and sugar sachets at the McManus Museum and Galleries in Dundee

    Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

    Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.

    The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

    Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.


    Photo: Creative Learning Team McManus.

    RELATED CONTENT:
    Stacks Image 39



    Cookies Advice: We use cookies. If you continue browsing, we consider that you accept their use. Aviso de Cookies: Utilizamos cookies. Si continua navegando, consideramos que acepta su uso.