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

Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’

The third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.

On September 27, 2018, a live programme of performances will begin as part of the exhibition survey by Joan Morey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats.

‘POSTMORTEM. Pour en finir avec le jugement de dieu’ (2006-2007) will be the first of six the reenactments that will take place on the third floor of the exhibition

Each of the six performances 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.

An extract from panel 7 of POSTMORTEM. A solo female performer wears a loudspeaker which plays excerpts from "To have done with the judgment of God" (1947) by Antonin Artaud, a radio play which here also serves as a form of a choreographic score. Made inert as an individual by the skin-tight garment that covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.

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.

Centre d'Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20 
08030 Barcelona

Stacks Image 39

Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’

All photos: Latitudes.

On September 14, Eulàlia Rovira and Adrian Schindler presented the performance ‘One motif says to the other: I can’t take my eyes off you’ in the context of the exhibition ‘Cream Cheese and Pretty Ribbons!’, curated by Latitudes at Galerie Martin Janda in Vienna.

The new performance comprised a series of sartorial compositions, music clips, and readings from memory that were inspired by the belts, buckles, chains, harnesses, and tassels that appear on luxury silk scarf designs by brands such as Hermès, as well as the vogue for tattoos appropriating tribal patterns. A companion series of five photographic prints are derived from the intertwining designs of the latter textiles. 

Rovira and Schindler also present another work in the exhibition. "The Feet Fixed to the Ground Betray no Impatience" (2016) features a camera-phone film based around a Barcelona park bench, as well as its sculptural reproduction. This model of street furniture is known as the ‘Romantic double’, and it inspires a narrative and a sequence of gestures that evoke the masterplans that opened up cramped European cities in the 19th-Century as well as ongoing impulses to organise public space and orchestrate the gaze. 

Eulàlia Rovira & Adrian Schindler, born 1985 & 1989, live in Barcelona.

The exhibition ‘Cream cheese and pretty ribbons!’ brings together works by David Bestué, Sean Lynch, Eulàlia Rovira & Adrian Schindler, and Batia Suter to reflect on the apparent dichotomy between the utilitarian versus the functional, and the artful, refined, decorative, adorned, of good taste. The artworks in the exhibition have managed to find a way to escape this apparent dichotomy in how they treat form and content, using wit and storytelling, and engaging with seemingly mundane things in a magical way.

Cream cheese and pretty ribbons!’ is part of the curated_by Vienna gallery festival inviting international curators. In 2018 the festival examines Vienna's systems and contradictions, life between the baroque and present times.

+ info


Stacks Image 39

Cover Story–September 2018: Harald Szeemann’s travel sculpture

Latitudes' home page www.lttds.org

The September 2018 Monthly Cover Story "Harald Szeemann's travel sculpture" is now up on Latitudes' homepage: www.lttds.org

"Summer vacations have a habit of turning into busman’s holidays in Latitudes' agenda. Undoubtedly the Swiss curator phenomenon Harald Szeemann (1933–2005) also often sensed or engineered, that trips for pleasure and travel for research and work would inevitably dovetail. Museum of Obsessions, a fascinating but flawed exhibition dedicated to his life and work has just closed at Kunsthalle Bern (it will tour to Kunsthalle Düsseldorf, Castello di Rivoli, and the Swiss Institute, New York)."

—> Continue reading
—> After September 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.


  • Archive of Monthly Cover Stories
  • 1 Diciembre, 20:30h: Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016) 27 noviembre 2017
  • Cover Story–August 2018: Askeaton Joyride 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 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 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
Stacks Image 39

Eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi from Buenos Aires, Argentina

Episode 8 from Buenos Aires now online on http://incidents.kadist.org/

In the eighth '
Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.

'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and a day conceived by an artist for a curator.

Conceived by Latitudes in 2012 as day-long artist-led tours around Mexico City (with five dispatches presented as part of an exhibition at Casa del Lago), 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via Twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts as part of Kadist's Instagram take over initiative #ArtistNotInTheStudioCuratorNotAtTheOffice).

In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects, publishing contributions from invited curators and artists working around the world.

Earlier conversations have taken place in Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan.

The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.

The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.

The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."

The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.

The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home sharing their mutual love for quinces.


Stacks Image 39

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

Joan Morey, ‘POSTMORTEM. Projet en sept tableaux’ (2006–2007). Courtesy of the artist. Documentation photography: Noemi Jariod.

Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, exploring the intersection of theatre, cinema, philosophy, sexuality and subjectivity. Most recently, in 2017 Morey was awarded the Ciutat de Barcelona Award for Visual Arts given by Barcelona City Council in recognition of excellence in creativity, research and artistic production.

COLLAPSE encompasses three parts. The first, opening on September 19 at 7pm, will be presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, working machine’ is a survey of ten major projects from the last fifteen years of the artist’s work and it will be on view until January 13, 2019.

The second part will open on November 22 at 7:30pm at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (also on view until January 13, 2019) and is the definitive version of the touring exhibition Social Body, the winning project of the third edition of the Video Production Prize launched by the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica and LOOP Barcelona.

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, where live action will be integrated within the longer narrative of the site’s physical and discursive 

Share: #JoanMoreyColapso

Joan Morey, ‘IL LINGUAGGIO DEL CORPO’ (2015). Courtesy of the artist. 


27 September 2018, 7pm
‘POSTMORTEM. Pour en finir avec le jugement de Dieu [POSTMORTEM. To have done with the judgment of God], 2006–2007
Interpreted by Sònia Gómez.

11 October 2018, 7pm 

Interpreted by Jordi Vall-lamora.

25 October 2018, 7pm

GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art) [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009
Interpreted by Carme Callol and Tatin Revenga.

15 November 2018, 7pm

BAREBACK. Fenomenología de la comunión [BAREBACK. Phenomenology of Communion], 2010
Interpreted by Manuel Segade.

29 November 2018, 5pm

Interpreted by Catalina Carrasco and Gaspar Morey.

13 December 2018, 7pm

TOUR DE FORCE. El cos utòpic [TOUR DE FORCE. The Utopian Body], 2017
Interpreted by Eduard Escoffet.

Centre d’Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20
08030 Barcelona

Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.


Desde finales de la década de 1990, Joan Morey (Mallorca, 1972) ha producido un amplio número de eventos en vivo, videos, instalaciones, sonido y obra gráfica, explorando la intersección del teatro, el cine, la filosofía, la sexualidad y la subjetividad. En 2017 Morey fue galardonado con el Premi Ciutat de Barcelona de Artes Visuales otorgado por el Ayuntamiento de Barcelona en reconocimiento a la excelencia en creatividad, investigación y producción artística.

COLAPSO consta de tres partes. La primera se presenta en dos plantas del Centro de Arte Contemporáneo de Barcelona - Fabra i Coats: Máquina deseante, máquina de trabajo revisa diez proyectos del artista realizados en los últimos quince años.

La segunda parte de COLAPSO inaugurará el 22 de noviembre a las 19:30h en el Centre d'Art Tecla Sala, en L'Hospitalet de Llobregat, y podrá visitarse entre el 23 de noviembre de 2018 y el 13 de enero de 2019Esta consiste en una presentación en evolución de la videoperformance COS SOCIAL. Lección de anatomía, que en 2017 contó para su producción con el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona.

La tercera parte, que lleva por título Máquina esquizofrénica, consiste en una performance inédita que tendrá lugar el 10 de enero de 2019 en una localización de Barcelona muy relevante pero que, por el momento, se mantiene deliberadamente en secreto. La acción en vivo se integrará en la narrativa, más extensa, del pasado físico y discursivo de dicho espacio.

Comparte: #JoanMoreyColapso

Joan Morey, ‘TOUR DE FORCE’ (2017). Cortesía del artista. Foto documentación: Noemi Jariod.


27 septiembre 2018, 19 h
‘POSTMORTEM. Pour en finir avec le jugement de Dieu’, 2006–2007
Intérprete: Sònia Gómez.

11 octubre 2018, 19 h
Intérprete: Jordi Vall-lamora.

25 octubre 2018, 19 h
‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’, 2009
Intérpretes: Carme Callol y Tatin Revenga.

15 noviembre 2018, 19 h
‘BAREBACK. Fenomenología de la comunión’, 2010
Intérprete: Manuel Segade.

29 noviembre 2018, 17 h
‘IL LINGUAGGIO DEL CORPO. Prólogo’, 2015–2016
Intérpretes: Catalina Carrasco y Gaspar Morey.

13 diciembre 2018, 19 h
‘TOUR DE FORCE. El cos utòpic’, 2017
Intérprete: Eduard Escoffet.

Centre d’Art Contemporani de Barcelona - Fabra i Coats
c/ Sant Adrià, 20
08030 Barcelona

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.