SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid
Wed, Feb 5 2025
Laia Estruch performing “Crol (Moll)” (2019) at the Pisicines Municipals de Montjuïc, part of her solo exhibition “Laia Estruch: Crol”, Espai13, Fundació Joan Miró, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega.
SAVE THE DATE
“Laia Estruch. HELLO EVERYONE”
26 February–1 September 2025
Museo Reina Sofía, Madrid
Opening: 25 February 2025, 8pm
Curated by Latitudes
Latitudes is thrilled to announce the opening of “HELLO EVERYONE”, a solo exhibition dedicated to the work of Catalan artist Laia Estruch (Barcelona, 1981).
Over the last fifteen years, Estruch has produced a consistently personal body of work that treats the human voice as a material reality—an expressive force and a medium expelled from the body. Her work has spanned ancestral poetry and post-punk music but has increasingly moved beyond the performance of spoken or sung words, and towards a sonic language that explores raw communicative effects, body consciousness and non-human agency. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. This process has evolved in tandem with creating often monumental sculptural settings for each of her vocal projects, resulting in steel slides, inflatable buoys or giant net traps, for example. These have become surrogate bodies in themselves, as well as temporary dramatic stages and interpretive scores for creating scenes and routines that the artist has termed vocal “rehearsals”.
“HELLO EVERYONE” takes the form of a fragmentary and vociferous archive spanning live events, sculpture, audio installation, moving images, graphic works and visual scores. This ambitious exhibition acts as a living-and-breathing storage that reconfigures a body of work, as well as works-as-bodies and spans the breadth of Estruch’s artistic research to date while engaging with her history as a performer. Forming a fluid relationship between active and inactive modes of presentation, and questioning the conventions of displaying and performing artworks, “HELLO EVERYONE” explores the sense and sincerity of verbal expression and the agency of the female voice.
Laia Estruch performing “GANIVET” (2020) at the Fundació Joan Brossa, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Daniel Cao.
A publication accompanying the exhibition will offer the first comprehensive monograph dedicated to the artist’s work. Designed by her longtime collaborator Ariadna Serrahima (Oficina del Disseny) and published by the Museo Reina Sofía, it will include a new text by artist Sharon Hayes (Estruch’s former professor at The Cooper Union) reflecting on performance pedagogy; the essay “Voice-Body-Sculpture” by Latitudes, the exhibition curators, which offers the first in-depth overview of Estruch’s practice; and a conversation between the artist and Marc Navarro, who curated Estruch’s 2019 exhibition at Espai 13, Fundació Miró. The monograph will be available in Spring 2025 in Spanish and English editions.
“HELLO EVERYONE” will take place on the fourth floor of the museum’s Sabatini building, and run concurrently with exhibitions dedicated to Huguette Caland (19 February-25 August 2025) and Naufus Ramírez-Figueroa (28 May-20 October 2025), amongst others. It will also coincide with several events programmed in Madrid around the 44th edition of ARCOmadrid art fair (5–9 March 2025).
ABOUT LAIA ESTRUCH
Laia Estruch (Barcelona, 1981) has had solo exhibitions at the Museu Nacional d'Art de Catalunya, Barcelona (2023); Spiritvessel, Espinavessa (2022); Fundació Joan Brossa, Barcelona (2020); Capella de Sant Roc, Valls (2019); and at Espai 13, Fundació Joan Miró, Barcelona (2019).
Recent group exhibitions include “After Paradise”, Kortrijk Triennial, Belgium (2024); “Topalekuak”, Tabakalera, Donostia (2024); Patio by ZONAMACO, ABC Art Baja, San José del Cabo, Mexico (2024); “I drank words submerged in dreams”, 23 Bienal de Arte Paiz, Guatemala (2023); “After the Mediterranean”, Hauser & Wirth, Menorca (2023); “Panorama 21. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona (2021) and “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020).
Estruch has performed in numerous public events within the framework of exhibitions, biennials and festivals, including “Segar i cantar”, Lo Pati, Amposta (2024); “The Listening Affect”, Galeria da Biodiversidade, Porto (2023); “Passat / Present”, Centre d’Interpretació d’Art Rupestre de la Roca dels Moros del Cogul, Lleida (2022); 10th Deleste Festival, Bombas Gens, Valencia (2022); “The Journeying Stream”, TBA21, Sotos de la Albolafia, Córdoba (2022), Bianyal 2021, Vall de Bianya (2021) or “Plataforma. Festival de Artes Performativas”, Parque de Bonaval, Santiago de Compostela (2021), amongst other.
In 2022 Estruch won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) with the work “Zócalo”, and was awarded the 2021 Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
Works in public space include “Moat-2 / Playground Scene” (2017–18) at Fabra i Coats Fàbrica de Creació, Barcelona; and the recently completed Concomitentes public commission “Aguas Vivas”, at Llanos de Penagos, Cantabria (2024).
Estruch has a BA in Fine Arts from the Universitat de Barcelona (2010) and studied Performance Art and Sound Art at The Cooper Union, New York (2010). She regularly lectures at the Facultat de Belles Arts, Universitat de Barcelona.
Her work is represented by Galería Ehrhardt Flórez, Madrid.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including the inaugural Panorama triennial “Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d’Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COL·LAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was the Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció at the Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes has curated the exhibition “Jorge Satorre. Ria” currently on view at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid) until August 31, 2025.
https://www.lttds.org
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir River in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
- Podcast, “‘Minor’ Ornithologies” conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 September 2022
Cover Story, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M
Mon, Feb 3 2025
February 2025 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The February 2025 monthly Cover Story “Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M” is now up on our homepage: www.lttds.org (after February this story will be archived here).
“Jorge Satorre’s “Triplay” (2025) serves as the entrance to his exhibition “Ria”, currently on view at the Museo Centro de Arte Dos de Mayo (CA2M), curated by Latitudes. Two large wooden doors, embedded with metal casts of bananas and potatoes, form this threshold. Everyday objects are laden with both mundane associations and personal significance.” → Continue reading
Cover Stories are published monthly 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 2025: Folded Forms, 1 January 2025
- Cover Story, December 2024: On the (Critical,
- Contextual) Rocks, 1 December 2024
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles
Mon, Jan 27 2025
Jorge Satorre, Detail of “Ricardo”, 2020. Courtesy of the artist and CarrerasMugica, Bilbao. Photo: Ander Sagastiberri.
The exhibition “Ria”, the first solo museum show in Spain dedicated to Mexican-born, Bilbao-based artist Jorge Satorre (1979), will be on view at the Museo Centro de Arte Dos de Mayo (CA2M) in Móstoles, Madrid, between February 1 and August 31, 2025. The exhibition features a new work alongside a survey of Satorre’s sculptures, drawings, and installations created since 2013.
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Satorre’s artistic practice delves into unmapped and “minor” histories, whether attending to the intangible heritage of traditions and the oral transmission of stories or engaging in more formal explorations of traditional craft production methods, their environments, stories and labourers. His recent projects frequently involve acts of transformation and subversion, stemming from elemental actions such as moulding, stamping, forging, casting or breaking – processes applied to materials that he regards as intrinsic components of a process towards progressively moving away from a place where ideas originate. Just as hands and tools intertwine in Satorre’s work, so do the intimate with the industrial, the functional with misuse, anecdotes with archetypes, and remembered events with the imaginary.
“Río”, the artist's first monograph will be published alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland), alongside a conversation between the artist and Latitudes, the exhibition curators. This bilingual Spanish-English edition will cover Satorre’s exhibitions and works from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
“Ria” occupies the museum’s second floor and runs concurrently with the graphic intervention by María Medem. Starting on March 1, 2025, it will also include exhibitions by Rodríguez-Méndez and David Bestué. Additionally, it will coincide with the events scheduled in the city surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
“Ria” is organized by the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid), and is curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979) lives in Bilbao. His work has been exhibited in solo shows: “Black Jacket, Gray Sweatshirt”, CRAC Alsace, Altkirch, France (2021) and CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería Labor, Mexico City (2017); “Curvar a Miguel es arruinar las baldosas”, Blueproject, Barcelona (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); “Modelling Standard” (con Erick Beltrán), FormContent, London (2010); “The indirect gaze”, Le Grand Café, St, Nazaire, France (2010).
As a curator, he has organised the group exhibition “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (CarrerasMugica, Bilbao, 2022-23) and the solo exhibition “Redonda, Redonda” by Alberto Peral (Tecla Sala, Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in “Modelling Standard” (various spaces, 2010-2011).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including “Panorama 21. Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d'Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COLAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció, Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes is preparing the survey exhibition “Laia Estruch: HELLO EVERYONE” at the Museo Nacional Centro de Arte Reina Sofía (26 February–1 September 2025).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Text on Joan Morey in the publication commemorating the 10th edition of the Video Creation Award
Wed, Jan 22 2025
Cover and text in the publication “Premi de Videocreació / 10 Edicions / 2014-2024”, edited by the Generalitat de Catalunya, November 2024. ISBN 978-84-10393-04-2.
In April 2024, Latitudes was commissioned to write a short text about Joan Morey’s film “SOCIAL BODY. Anatomy Lesson” for a forthcoming publication celebrating the 10th edition of the Video Creation Award co-production project. This Award results from the ongoing collaboration between the Territorial Centers of the Public System of Visual Arts Equipment in Catalonia, the Santa Mònica Arts Center, the Department of Culture of the Generalitat de Catalunya, and Loop Barcelona.
In 2018, Latitudes curated Joan Morey’s multi-chapter solo exhibition “COLLAPSE,” which was held across three venues in Barcelona and L’Hospitalet, and a year later, in Palma (Mallorca).
(Above and nine below) Installation view of Joan Morey, “COL·LAPSE. Cos social” at Centre d'Art Tecla Sala, l'Hospitalet de Llobregat (Barcelona). Courtesy of the artist. Photos by ArtWorkPhoto.eu/Tecla
“COS SOCIAL. Lliçó d’anatomia” [SOCIAL BODY. Anatomy Lesson] was awarded the 2017 Premi de Videocreació of the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica – Departament de Cultura de la Generalitat de Catalunya, and LOOP Barcelona.
In 2018, the Government of Catalunya acquired the work for its National Collection and deposited it in the Museu d’Art Contemporani de Barcelona, where it was recently presented as part of their collection display titled “MACBA Collection. Prelude. Poetic Prelude”.
(Above and three below) Installation view of Joan Morey, “COL·LAPSE. Cos social” at Casal Solleric, Palma de Mallorca (31 January–6 September 2020). Courtesy of the artist. Photos by Roberto Ruiz.
Morey recently presented “VOT DE TENEBRES”, subtitled “Formation of the Canon, Erotic Concepts; The visceral and its (de)content; Haptic awakenings, stimulating the senses” at the Fundació Joan Brossa, and in 2025 will be in residence at the Restoration/Conservation department of the Museu Nacional d’Art de Catalunya (MNAC) as part of their Projecte Empelt programme.
→ CONTENIDO RELACIONADO:
- Wakelet archivo redes sociales
- Reseña exposición – ‘COLAPSO. Máquina Célibe’ de Joan Morey en Casal Solleric, Maria Muñoz, neo2.com, 3 agosto 2020
- Performance ‘COLAPSO. Máquina posible’ de Joan Morey en Can Balaguer, 23 de julio 2020, 19h y 20:30h, 13 July 2020
- Ressenya de Pere Antoni Pons, ‘L'Art provocador i litúrgic de Joan Morey’, El temps de les arts, 10 juliol 2020
- Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
- Documentación de la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en el Casal Solleric, Palma de Mallorca, 7 February 2020
- Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2020
- 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
- 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)
- NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
Max Andrews’ review of Gabriel Chaile's exhibition at Tabakalera in Donostia
Thu, Jan 16 2025
Exhibition review on frieze.com
Max Andrews’ review of Gabriel Chaile's exhibition “Contemplando es como fuimos cambiando” at Tabakalera in San Sebastian/Donostia, goes live on the frieze website.
“‘Contemplating Is How We Have Been Changing’, Tabakalera’s survey of Argentine artist Gabriel Chaile, deftly shows his ability to transform humble materials into vessels of ancestral knowledge and familial intimacy. The exhibition includes several of Chaile’s characteristic anthropomorphic and zoomorphic adobe sculptures, yet it also features a selection of impressive earlier works, and hints at new forays into film narrative and mythmaking.” Continue reading
All photos: Exhibition view of “Gabriel Chaile: Contemplating Is How We Have Been Changing” at Tabakalera, San Sebastián/Donostia, 25 October 2024–2 February 2025.
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RELATED CONTENT:
- Other writing on Latitudes’ website.
- Reviews, opinions, profiles and interviews published in frieze magazine.
- Cover Story, January 2025: Folded Forms, 1 January 2025
- Cover Story, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Max Andrews shares Manifesta 15 highlights in frieze, 17 September 2024
- Max Andrews reviews Rosa Tharrats's exhibition “Residua” at Bombon Projects for Artforum, 3 Jun 2024
- Marking 20 Years of Max Andrews as a Writer for Frieze Magazine, 4 June 2024
- Max Andrews reviews Ibon Aranberri’s exhibition “Entresaka” at ARTIUM Museoa for frieze, 23 May 2024
SAVE THE DATE: 1 February 2025 opening of Jorge Satorre’s exhibition “Ria” at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
Wed, Jan 8 2025
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
SAVE THE DATE
Opening: 1 February 2025, 12pm
Jorge Satorre
“Ria”
Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
1 February–25 May 2025
Latitudes is pleased to announce “Ria,” the first institutional solo exhibition in Spain by Mexican-born, Bilbao-based artist Jorge Satorre. The exhibition will open on Saturday, 1 February 2025, at noon at the Museo Centro de Arte Dos de Mayo in Móstoles, Madrid. It will feature a newly commissioned work and a survey of sculptures, drawings, and installations produced since 2013, and will be on view until 25 May 2025.
“Río” [River], the artist’s first monograph, will be released alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland) alongside a conversation between the artist and Latitudes, the exhibition’s curators. This bilingual Spanish-English edition covers Satorre’s works and exhibitions from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
The exhibition will be held on the museum's second floor, and run concurrently with exhibitions dedicated to María Medem and from March 1, 2025, to Rodríguez-Méndez (curated by Ángel Calvo Ulloa), and David Bestué. It will also coincide with several events programmed in Madrid surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
The exhibition is organised and produced by the Museo Centro de Arte Dos de Mayo and curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979). Lives in Bilbao. His work has been exhibited in solo shows: “Veste noire, sweat-shirt gris”, CRAC Alsace, Altkirch, France (2021); “Chamarra negra, sudadera gris”, galería CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería LABOR, Mexico City (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); and “The indirect gaze”, Le Grand Café, Saint-Nazaire, France (2010), amongst other.
As a curator, he has organised the group show “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (galería CarrerasMugica, Bilbao, 2022), the solo show of Alberto Peral “Redonda, Redonda” (Tecla Sala, l’Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in the multipart project “Modelling Standard” (Galería Joan Prats, Barcelona, 2011; Casa Vecina, Ciudad de México, 2011; FormContent, London, 2010).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Cover Story, January 2025: Folded Forms
Wed, Jan 1 2025
January 2025 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER STORY
The January 2025 monthly Cover Story “Folded Forms” is now on our homepage: www.lttds.org (after January this story will be archived here).
“Reviewed by Max Andrews of Latitudes in the December 2024 issue of Artforum magazine, Karlos Martínez Bordoy’s recent exhibition “Folded Forms” at FormatoComodo in Madrid offered a concise and ingenious exploration of the century-old Murphy bed concept. ” → Continue reading
Cover Stories are published monthly 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, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
- Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024
- Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023
Cover Story, December 2024: On the (Critical, Contextual) Rocks
Sun, Dec 1 2024
December 2024 cover story on www.lttds.org
NEW MONTH
NEW MONTHLY COVER STORY
NEW MONTHLY COVER STORY
The December 2024 monthly Cover Story “On the (Critical, Contextual) Rocks” is now on Latitudes’ homepage.
“Last month, Latitudes facilitated three sessions for the new Master’s Degree in Critical Contextual Design at Elisava, directed by Cristina Goberna Pesudo. These sessions were part of a class titled “Environments: What Extraction? What Nature?” conceived by artist Lara Almarcegui, a long-time collaborator and friend.” Continue reading here (after Dec. 2024 it will be archived here).
Cover Stories are published monthly featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to Latitudes’ curatorial projects and activities.
→ RELATED CONTENT:
- Archive of writing (essays, exhibition reviews, features, artist profiles...)
- Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
- Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024
- Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023
Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969)
Fri, Nov 1 2024
November 2024 cover story on www.lttds.org
NEW MONTH
NEW MONTHLY COVER STORY
The November 2024 monthly Cover Story “Frequent Flyers: Robert Smithson’s ‘Aerial Art,’ 1969” is now up on Latitudes’ homepage (after November 2024 it will be archived here). Cover Stories are published monthly featuring past, present, or forthcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to Latitudes’ curatorial projects and activities.
Max Andrews was commissioned to contribute an essay on a work by Robert Smithson (1938–1973) for the Holt/Smithson Foundation’s Scholarly Text Program.
Max chose to write on Smithson’s text “Aerial Art” published in Studio International in February 1969. In the essay, Smithson presented proposals developed for Dallas-Fort Worth Regional Airport in 1966–67, in collaboration with Tippetts—Abbett—McCarthy—Stratton Architects and Engineers. His proposals envisioned extensive earthworks to be installed between the runways, created by himself, Carl Andre, Robert Morris, and Sol LeWitt.
The Scholarly Text Program regularly commissions thinkers from various disciplines to write 1,200 words on single artworks by Nancy Holt and/or Robert Smithson. These essays explore how Holt and Smithson’s ideas resonate through contemporary artistic and cultural production, covering topics ranging from geology to ecology, poetry, and beyond.
Read Mariana Cánepa Luna’s recently published essay on Nancy Holt’s site-responsive installation “Ventilation System” (1985–1992) also part of the Scholarly Text Programme’s Chapter 7.
Thank you to Lisa Le Feuvre, Executive Director of the Holt/Smithson Foundation, for the kind invitation to contribute to the foundation’s growing archive, and to William T. Carson, Program Manager and Assistant Curator, for the research assistance.
Abstract:
Max Andrews’ essay delves into Robert Smithson's seminal article "Aerial Art" (1969), which outlines his earthworks proposals for the Dallas-Fort Worth Regional Airport and those of Carl Andre, Robert Morris, and Sol LeWitt. Andrews examines the historical context, including the growth of air travel and global art networks. Importantly, the essay underscores the sustained multi-decade increase in CO2 emissions from air travel and its significant contribution to the climate crisis.
Keywords:
Robert Smithson, Aerial Art, 1969, Studio International, Artforum, Anthropocene, Charles Jencks, postmodernism, Dallas-Fort Worth Regional Airport, Tippetts–Abbett–McCarthy–Stratton, earthworks, Carl Andre, Robert Morris, and Sol LeWitt, site-specificity, Boing 747, Spiral Jetty, CO2 emissions, frequent flying, transnational art world, contemporary art, decarbonization, exhibition-making, curatorial hypermobility, Harald Szeemann, air travel, global mobility, low-carbon footprint art production, multinational museum brands, biennial model, Fernand Braudel, Gustav Metzger, Reduce Art Flights, Paris Agreement, 2030, global warming.
How to cite:
Andrews, Max, “Frequent Flyers: Robert Smithson’s “Aerial Art,” 1969”, Holt/Smithson Foundation: Scholarly Texts Chapter 7 (October 2024). ISBN: 978-1-952603-36-5
→ RELATED CONTENT:
- Other writing
- Looking back – Visiting Robert Smithson's “Spiral Jetty” (1970) on 7 September 2004, 7 Sep 2014
- Publication “Robert Smithson: Art in Continual Movement” (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Robert Smithson's “Broken Circle/Spiral Hill Revisited” (1971–2011) and The Land Art Contemporary programme, 14 September 2011
- Archive of Monthly Cover Stories
- Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
- Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
- Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
- Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
- Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
- Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
- Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
- Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
- Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024
- Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023
- Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
Rasmus Nilausen’s “Theatre of Doubts” in Palma
Thu, Oct 10 2024
(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca. Photos: David Bonet. Courtesy of the artist.
Danish-born, Barcelona-based artist Rasmus Nilausen is presenting, until November 22, 2024, a version of his installation “The Theatre of Doubts” (2021) in the group show “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca.
(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Especies de espacios. Una reflexión colectiva sobre qué pensar de este mundo” at Galería Pelaires in Palma, Mallorca. Photos: David Bonet. Courtesy of the artist.
The work was originally commissioned for MACBA Museu d'Art Contemporani de Barcelona’s inaugural triennial “Panorama” titled “Notes for an Eye Fire” (October 2021–February 2022), curated by Hiuwai Chu (MACBA’s Head of Exhibitions) and Latitudes.
For Galería Pelaires, Nilausen selected a range of works from the original seven rows that composed the installation. The original version consisted of 49 paintings of varied sizes produced between 2014 and 2021, presented on wooden easels with a peculiarity that became one of the show's most beloved features: their cartoon-like feet. The installation filled the entire circular room of MACBA’s Meier building.
(Above and below) Rasmus during the installation of “Theatre of Doubts” at MACBA; Installing the larger paintings at MACBA. Photos: Latitudes.
(Above and below) Rasmus Nilausen, “The Theatre of Doubts” (2021). Installation view in “Panorama. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Courtesy of the artist. Photos: Roberto Ruiz.
Rasmus Nilausen’s installation of paintings is a homage to philosopher Giulio Camillo’s sublime and ridiculous attempt to explain the entire universe and allow all its relations and meanings to be beheld at once. Camillo built his “Theatre of Memory” in Venice in around 1530. Inverting the perspective of classical theatre, a single spectator could stand on a central “stage” to look out at an auditorium of seven rows of seven pictures. An occult matrix of divine, celestial, and terrestrial knowledge, this mystical rhetorical device enabled the entirety of existence and its workings to be called to mind and read off. Evidently flawed and over-ambitious, Nilausen’s liberal revival of the memory theatre format draws on 49 works from his own painterly and allegorical universe. Visitors are invited to wander among images that seem to be going for a walk, adopt multiple viewpoints, see unfamiliar connections, and summon new memories. The first row takes on the seven planetary deities of Camillo’s Renaissance design: Diana (the Moon), Mercury, Venus, the Sun (represented by a banquet), Mars, Jupiter, and Saturn.
Produced by MACBA Museu d'Art Contemporani de Barcelona with the support of the Danish Arts Foundation.
More about the work, here (pdf).
Giulio Camillo was a sixteenth-century Italian philosopher, most notable for conceiving “Theatre of Memory”.
Nilausen is also exhibiting “Fixed Ideas,” a solo show at EtHall Gallery in L'Hospitalet de Llobregat, Barcelona, presenting new and recent works. The show will be on view until November 7, 2024.
Rasmus Nilausen “Fixed Ideas” at EtHall Gallery in Barcelona. Photos: Latitudes.
RELATED CONTENT:
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021.
- Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden, 16 September 2019
- Max Andrews’s essay for ‘Rasmus Nilausen. Soups & Symptoms’, Galeria Estrany-de la Mota, Barcelona, July 2016
- Curators: ‘Compositions’, Barcelona Gallery Weekend, various locations, Barcelona, 1–4 October 2015. Photos of the intervention "Vera Icon" by Rasmus Nilausen and Pere Llobera at the former house of a priest, Gardens of La Central Bookstore. Part of "Composiciones" a series of artists’ commissions for the Barcelona Gallery Weekend, 1–4 October 2015. Curated by Latitudes.
- Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes, 24 Abril 2013, Barcelona, 29 April 2013