Longitudes

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

Cover Story, July–August 2023: Honeymoon in Valencia

    July–August 2023 cover story on www.lttds.org


The July–August 2023 monthly Cover Story “Honeymoon in Valencia” is now up on our homepage: www.lttds.org

“In April this year, the streets of Valencia witnessed a remarkable sight: a colossal high-heeled shoe, adorned in the fashion of a Venetian gondola, paraded its way to the Bombas Gens Centre d’Art. 

→ Continue reading (after August 2023 this story 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 projects and activities.


→ RELATED CONTENTS

  • More writing by Max Andrews in frieze
  • Archive of Monthly Cover Stories 
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2022: The means of print production: Erick Beltrán and lumbung press, 1 September 2022
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
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Cover Story, June 2023: Crystal Bennes futures

Crystal Bennes’ working designs for the giant tapestry pecunia non olet. June 2023 cover story on www.lttds.org

The June 2023 monthly Cover Story “Crystal Bennes futures” is now up on our homepage: www.lttds.org

“Earlier this year, Latitudes was commissioned to write a text on the work of the America-born Scotland-based artist, researcher, writer and educator Crystal Bennes for the latest edition of the Freelands Artist Programme 

→ Continue reading (after June 2023 this story 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 projects and activities.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
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Profile on Crystal Bennes for the Freelands Foundation Artists programme

Detail of Crystal Bennes’ Jacquard piece in progress, 2023. Produced in the context of the Freelands Artist Programme. Courtesy of the artist.

In February 2023, Latitudes was commissioned to write a text on the artistic practice of Crystal Bennes“Betwixt 2024”, the next iteration of publications of the Freelands Artist Programme, will be out in February 2024, coinciding with an exhibition of Bennes’ work alongside 19 other artists based in Belfast, Cardiff, Edinburgh and Sheffield.

Involving tapestry, sculptural installation, video, and performance, Bennes’ new project will be exhibited at Talbot Rice Gallery, Edinburgh, in March 2024. It addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton. 

The Freelands Artist Programme supports and grows regional arts ecosystems by fostering long-term relationships and collaborations between emerging artists and arts organisations around the UK. Between 2022–24, Freelands is working with four organisations – g39 in Cardiff, PS2 in Belfast, Site Gallery in Sheffield, and Talbot Rice Gallery in Edinburgh. Over the two years, each of these venues is supporting a cohort of five artists to take part each year – each artist participating in the programme receives an annual grant of £5k, as well as the opportunity to take part in talks, workshops and other programmed events and a budget for travel, additionally, some organisations offer studio space and/or exhibitions. 


(Above and below) Stills from Crystal Bennes’ film that will accompany her forthcoming work produced in the context of the Freelands Artist Programme (2023). Courtesy of the artist.


Dr Crystal Bennes is an American artist, researcher, writer, and educator based in Edinburgh, Scotland. Her practice is grounded in long-term projects that foreground archival research, durational fieldwork, and material experimentation. Recent bodies of work include an ongoing photographic exploration of an artificial island in Sweden created entirely out of radioactive waste from industrially-produced synthetic fertiliser and the experimental recreation of a nineteenth-century hay meadow based on a myth of unintentional plant migration from Italy to Denmark.

Klara and the Bomb, her first photobook—charting connecting threads between the U.S.’s nuclear weapons research, women programmers, the invention of modern computers, and nuclear colonialism—was published by The Eriskay Connection in 2022. She recently completed an AHRC-funded practice-based PhD in fine art at Northumbria University researching the histories and uses of gendered representations of nature in the sciences and exploring feminist critiques of physics. Between 2022 and 2024 she is a resident at Talbot Rice Gallery as part of a Freelands Foundation Artists programme. Together with Tom Jeffreys, she edits The Peninent Review.

Detail of Crystal Bennes’ Jacquard piece in progress, 2023. Courtesy of the artist.

Freelands Foundation is a London-based non-profit organisation set up in 2015 by Elisabeth Murdoch, supporting UK-based artistic practice through residencies, workshops, screenings, and resources for teachers and educators; an annual Freelands Award to an organisation championing mid-career women artists. 

Title: “Betwixt 2024”

PublisherFreelands Foundation

Release date: February 2024

Writers: include Precious Adesina, Alice Bucknell, Susannah Dickey, Rosalie Doubal, Lara Eggleton, Colette Griffin, Maria Howard, Beth Hughes, LatitudesIngrid Lyons, Khanyisile Mbongwa, Zakiya McKenzie, Theo Reeves-Evison, Jenny Richards, Lucy A. Sames, Cindy Sissokho, Jamie Sutcliffe, Kandace Siobhan Walker, Sunshine Wong, and Mark Peter Wright.


RELATED CONTENT:

  • Latitudes’ writing since 2005.
  • Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
  • Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022
  • New publication: “Things Things Say” now available, 28 Feb 2022
  • Mariana Cánepa Luna’s Amsterdam Roundup for art-agenda, 17 December 2019
  • Max Andrews’ Valencia Feature in frieze magazine, November-December 2019, 2 November 2019
  • Max Andrews’ text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden, 16 September 2019
  • “Thinking like a drainage basin” essay in the catalogue of the exhibition “Lara Almarcegui. Béton”, 8 April 2019
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Latitudes qualifies as Active Members of the Gallery Climate Coalition (GCC)


We are pleased to announce that Max Andrews and Mariana Cánepa Luna of Latitudes have successfully qualified to be in the first cohort of Active Members of the Gallery Climate Coalition (GCC). To achieve this status we had to demonstrate that our organisation had implemented environmental sustainability best practices in line with GCC’s guidelines.

This initiative marks an evolution in GCC’s strategy from awareness raising and community building to one focusing on the near-term tangible progress of members following three key actions:

As part of the initiative, GCC provides qualifying members with a badge (see below) to recognise and celebrate the actions taken. These badges are year-stamped and members have to re-submit annually to retain the latest Active designation. 

Active Membership is neither a certification of sustainability nor a claim that we are doing things perfectly and have all the answers — none of us are at this point. Yet it does entail transparency in the assessment, reporting, and reduction of climate impact, the setting of targets in line with science, and the search for working solutions.

We encourage everyone to visit the Gallery Climate Coalition website to learn more about the initiative and how to get involved.

Moreover, Latitudes is part of the Founding Committee of the recently formed volunteer teamGCC Spain. To get involved, please contact: [email protected]

Active Membership Press Release, 10 May 2023.


RELATED CONTENTS:


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Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona

  

May 2023 cover story on www.lttds.org


The May 2023 monthly Cover Story is now up on our homepage: www.lttds.org

This month Latitudes welcomes artists Ruth Clinton & Niamh Moriarty to Barcelona as part of the pilot residency exchange project The Pilgrim. Ruth & Niamh will be talking about their work in Barcelona on 6 May, alongside project co-curators Michele Horrigan and Sean Lynch of Askeaton Contemporary Arts, in an event hosted at Eulàlia Rovira’s studio. 

→ Continue reading (after May 2023 this story 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 projects and activities.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
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Presentation by Ruth Clinton & Niamh Moriarty and Askeaton Contemporary Arts around “The Pilgrim” research, 6 May 2023 at 12 pm

Carrer Pou de la Figuera, Barcelona. Courtesy Eulàlia Rovira.


Presentation by Ruth Clinton & Niamh Moriarty and Askeaton Contemporary Arts around “The Pilgrim”
Saturday 6 May 2023, 12 pm

Carrer Pou de la Figuera 16, baixos. 08003 Barcelona
In English. Limited space. Reservations: [email protected]

Irish artists Ruth Clinton & Niamh Moriarty will present their work as part of a two-week residency in Barcelona and their approach to the extraordinary story of “The Pilgrim” (narrated here – an 18th-century Barcelona merchant who ended up living his last sixteen years in penance in the Irish town of Askeaton. They will be accompanied by the project co-curators Michele Horrigan and Sean Lynch from Askeaton Contemporary Arts who will highlight some of their recent programmes.

The Pilgrim” is a pilot exchange programme linking Barcelona with southwest Ireland, Latitudes with the organisation Askeaton Contemporary Arts), and Ruth Clinton & Niamh Moriarty with Catalan artist Eulàlia Rovira, who hosts this event in her studio.

Illustration found during Latitudes’ research at the Arxiu Històric de la Ciutat de Barcelona (Casa de l'Ardiaca).

Throughout 2023, artist residencies and a public programme will enhance new artistic and curatorial research, and create new possibilities for international collaboration.

The Pilgrim’s curatorial framework derives from an extraordinary story from over two centuries ago. It is recalled that a Barcelona merchant named Don Martínez de Mendoza, one of the wealthiest men in Catalonia during the mid-1700s, murdered his son-in-law to avenge the death of his daughter in childbirth in a Barcelona convent years before. Don Martínez ended up living his last sixteen years as a pilgrim in penance in Askeaton, County Limerick. A cryptic inscription can still be found in the cloister of Askeaton Friary: “Beneath lies the Pilgrim’s Body, who died January 17, 1784”.

More info here.

Follow: #PilgrimAskeaton

The Pilgrim” is supported by the Irish Arts Council’s International Residency Initiatives Scheme 2022.


RELATED CONTENTS:

  • “The Pilgrim” in Barcelona and Askeaton, 31 Jan 2023
  • Audio – "The Pilgrim" by Tim Kelly. Read by Carl Doran. Published in Askeaton-Balysteen Community News, Summer 1984, August 2018, 24'57''
  • Cover Story–August 2018: Askeaton Joyride, 1 August 2018
  • Residency report: Askeaton Contemporary Arts, County Limerick, Ireland, 20–29 July 2018x, 30 July 2018
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Latitudes’ (extended) Environmental Policy Statement

“Postpetrolistic Internationale” choir performance by Christina Hemauer & Roman Keller on Maasvlakte, Rotterdam, 8 November 2009. Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR and curated by Latitudes. Courtesy: SKOR / Photo: Paloma Polo.


Latitudes recently published an Environmental Policy Statement on the website, below is an extended version which we invite you to read:

Since its beginning in 2005, Latitudes’ curatorial practice has critically engaged with environmental concerns through contemporary art. This has included curating ambitious group exhibitions including 4.543 billion. The Matter of Matter” at the CAPC musée d’art contemporain de Bordeaux in 2017, and Greenwashing” at the Fondazione Sandretto Re Rebaudengo in 2008, or solo shows such as “Christina Hemauer & Roman Keller: United Alternative Energies” at Kunsthall Århus in 2011, as well as convening the three-day symposium “Art, Ecology and the Politics of Change” for the Sharjah Biennial 8 in 2007. 

Cover of “LAND, ART: A Cultural Ecology Handbook” edited by Max Andrews, and coordinated by Mariana Cánepa Luna. Published and commissioned by the Royal Society of Art in partnership with the Arts Council England, 2006. Photo: Robert Justamente.

Spread of UOVO magazine #14, a 500-page issue + two CDs guest edited by Latitudes, 2007. Photo: Alexis Zavialoff.

Cover and back cover of the exhibition catalogue “Greenwashing” (Archive Books, 2008), Fondazione Sandretto Re Rebaudengo, Torino. The 192-page full-colour catalogue embraced environmentally-conscious design with a degree of irony, each of the book's thirteen sections was printed on a different 'eco-paper' such as Shiro Alga Carta (produced by harvesting algae from the Venetian lagoon), KeayKolour Recycled Honey or Shiro Tree Free Naturale, alongside their corresponding eco-credentials. Photo: Latitudes. 

Pages of Lara Almarcegui's first monograph “Lara Almarcegui. Projects 1995–2010” (Archive Books, 2011) covering 15 years of her artistic practice, with commissioned texts by Cuauhtémoc Medina and Lars Bang Larsen, and an introduction by Latitudes. Photo: Latitudes.

Latitudes edited the landmark publication “Land, Art: A Cultural Ecology Handbook” in 2006, the 500-page green issue of UOVO magazine in 2007, and Lara Almarcegui’s first monograph in 2011, as well as writing texts including a catalogue essay for TBA21’s exhibition “Abundant Futures” entitled “Soil for Future Art Histories” (2023), and presenting the lecture “Curating in the Web of Life” for Garage Museum of Contemporary Art’s exhibition “The Coming World: Ecology as the New Politics 2030–2100” (2019). 

View of “Ocells perduts” (Stray Birds) (2021) by Laia Estruch in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” (“Panorama 21: Notes for an Eye Fire”), MACBA Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022. Curated by Hiuwai Chu and Latitudes. Produced by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Research supported by a Premis Ciutat de Barcelona 2020 grant from the Barcelona City Council. Photo: Roberto Ruiz. 

In terms of related public-realm commissions, we worked with Danish artist Tue Greenfort for The Royal Society of Arts’ pioneering Arts & Ecology programme (2005–2008) and curated ten public art projects around Europe’s largest seaport, the Port of Rotterdam (“Portscapes” in 2009–2010). We have also organised thematic curatorial residencies around geological agency (“Geologic Time”, Banff Centre, 2017) and a touring film programme on the legacy of Land Art (“A Stake in the Mud a Hole in the Reel”, 2008–2009).

Last but not least, since 2008 we have been custodians of the website of RAF/Reduce Art Flights, a reference resource about the campaign initiated by the late Gustav Metzger (1926–2017).

RAF/Reduce Art Flights website reduceartflights.lttds.org

Latitudes’ environmental impact is small, yet we acknowledge that the largest impact comes from flights and the disproportionate mobility practices of the sector we work in. We believe that art and culture have a role to play in bringing about ambitious change, applying best practices and setting a positive example to position the climate crisis at the centre of the political and social debate.

In January 2023 we became individual members of the Gallery Climate Coalition (GCC) and began to work with colleagues to set up the Spanish volunteer team, GCC España, that meets regularly to track progress on environmental targets and actions


Making of Jan Dibbets’ film “6 Hours Tide Object with Correction of Perspective” (1969–2009). Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR, curated by Latitudes. Documentation included in the multi-part publication box “Portscapes” designed by Ben Laloua / Didier Pascal, launched with the opening of the exhibition “Portscapes” at the Museum Boijmans van Beuningen in Rotterdam, 2010. Photo: Latitudes.

Editors of Rotterdam-based magazine Fucking Good Art were ‘embedded’ in the port's Yangtzehaven for a month in the summer of 2009 from where they produced ‘Portscapes_ON AIR Station Maasvlakte’, a series of audio walks, field recordings and conversations with guests from different disciplines for the “Portscapes” website. Photo courtesy: FGA.


We will measure and publish our carbon footprint every year to comply with the GCC targets and commitments of reducing carbon emissions by 50% by 2030 (when compared to a 2019 baseline). Rather than purchasing carbon offsets, and following GCC guidelines on this matter, we are also setting aside a fund (€50 per tonne of emitted CO2 per year) to be spent on low-carbon purchasing options that would otherwise be unaffordable. Our intention is to eliminate unwarranted air travel, and we do not take flights when there is an alternative rail or sea route that takes less than 7 hours. The latter policy follows one adopted by the Ajuntament de Barcelona (the City Council) in 2020.

Latitudes requests external collaborators opt for train or alternative low-carbon transit and freight options in line with GCC’s guidelines (as well as Gustav Metzger’s RAF/Reduce Art Flights campaign) and this is reflected in work contracts. We hope to lead by example in implementing a sustainability strategy in the planning of exhibitions from an early stage, and whenever curating projects we always try to build the minimum necessary temporary architecture and ensure that any exhibition-related production is entirely locally tuned. We ask that collaborators use no plastic or other single-use materials when transporting works or for events.

Hike with “Geologic Time” participants to Stanley Glacier in Kootenay National Park, as part of the residency programme curated by Latitudes at the Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017. Photo: Latitudes.

Latitudes’ website runs on sustainable energy. According to websitecarbon.com (see stats below), LTTDS.org produces 16.76kg of C02 equivalent per year, roughly the amount of carbon that one tree would absorb in the same time, and it consumes 44kWh of energy (equivalent to 280km in an electric car). 


In our personal lives, we prioritise the 5 Rs: Refusing, Reducing, Reusing, Repurposing and Recycling. We do not own a car and use public transport networks. Other practical actions we undertake include periodically donating household or clothing items to charity organisations that offer support to vulnerable communities in our neighbourhood (including Fundació Roure and El Trampolí). And last but not least, since 2013 Latitudes banks with an ethical bank which finances initiatives that contribute to ecological, social and cultural change.

Left-sided entrance to the exhibition “4.543 billion. The Matter of Matter” with the participation of over thirty artists and the presentation of over a hundred works, CAPC musée d’art contemporain de Bordeaux, June 2017–January 2018. Photos: Latitudes / RK. 


RELATED CONTENT:


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Cover Story, April 2023: Jerónimo Hagerman (1967–2023)

 


 April 2023 cover story on www.lttds.org

The April 2023 monthly Cover Story “Jerónimo Hagerman (1967–2023)” is now up on our homepage: www.lttds.org

“We are grateful to have crossed paths in life with the unique spirit that was the artist Jerónimo (Momo) Hagerman. Momo radiated love and affection to all the human and non-human beings that surrounded him. Taken on 24 September 2012, in this photo we see Momo gazing up at a special tree in the Polanco district of Mexico City that he took us to see as part of his day for Incidents of Travel. 

→ Continue reading (after April 2023 this story will be archived here).

Cover Stories are published every month on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
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Cover Story, March 2023: Art, Climate, and New Coalitions

  March 2023 cover story on www.lttds.org


The March 2023 monthly Cover Story “Art, Climate and New Coalitions” is now up on our homepage www.lttds.org

“The terminology of environmental consciousness and carbon emissions has shifted significantly in recent decades, from talk of the greenhouse effect to global warming and sustainable development, and now from climate change to the climate emergency.  → Continue reading (after March 2023 this story 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 projects and activities.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
  • Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
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Cover Story, February 2023: Soil for Future Art Histories

February 2023 cover story on www.lttds.org


The February 2023 monthly Cover Story “Soil for Future Art Histories” is now up on our homepage: www.lttds.org

“Latitudes’ essay ‘Un suelo para las historias del arte del futuro’ (Soil for Future Art Histories) is included in the newly-released catalogue of Futuros Abundantes (Abundant Futures), an exhibition of works from the TBA21 Collection curated by Daniela Zyman that took place at the C3A Centro de Creación Contemporánea de Andalucía in Córdoba last year. → Continue reading (after February 2023 this story 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 projects and activities.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
  • Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
  • Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
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