(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.

(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).

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. 

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

Max Andrews from Latitudes (a frieze Contributing Writer) and Angel Lambo (Associate Editor of frieze) shared six highlights of Manifesta 15 for frieze.com 

The 2024 edition of the roving biennial spans 12 cities in and around the Barcelona Metropolitan area, making it one of the most ambitious in scale and reach. However, while its extensive geographical footprint is impressive, questions remain about whether the quality of the exhibitions lives up to its ambitious scope. A hotly debated topic during the opening days was whether the venues’ varying sizes complemented or engulfed the works on display, as is the example of the Tres Xemeneies (Three Chimneys), the colossal former thermal power station by the Besòs river. With over 90 participants and a wide array of interventions, events, and talks, an additional challenge lies in ensuring a cohesive experience across all locations.

Read more

RELATED CONTENT:

• Other writing on Latitudes’ website.
• Reviews, opinions, profiles and interviews published in frieze magazine. 
• 20th and concluding dispatch of “Incidents (of Travel)” from Barcelona, Spain, 26 Oct 2022
• Compositions 2015, five city-wide commissions conceived for the first Barcelona Gallery Weekend, various locations, Barcelona, 1–4 October 2015 
• Compositions 2016, five city-wide commissions conceived for the first Barcelona Gallery Weekend, various locations, Barcelona, 29 September–2 October 2016

In 2020, as the world grappled with the COVID-19 pandemic, a group of dedicated arts professionals in London formed Gallery Climate Coalition. The coalition’s primary targets were to facilitate a reduction of the visual art sector’s greenhouse gas emissions by a minimum of 50% by 2030. The first of GCC’s affiliated volunteer groups was formed soon after in Berlin. Following London and Berlin, groups were established in Italy, Taiwan, Los Angeles, Spain (in late 2022), and New York. 

These seven groups became known as the International Volunteer Chapter (IVC) programme, and each advocated for an environmentally responsible arts sector on their local level, either nationally or by being focused on specific cities. Each was composed of professionals from the arts sector volunteering their time to work collectively to develop localised content and resources in line with GCC’s guidelines. Each hosted events and engaged with their immediate networks on environmental issues within the arts sector. Their teams were self-organised and self-motivated whilst remaining closely aligned with GCC’s core targets and commitments. 

Four years later, and despite the intensive work carried out by the IVCs, the increasing funding needs of this ever-widening network, and the challenging funding landscape facing GCC and arts/non-profit organisations more generally, have led to the difficult decision to bring the IVCs programme to a close as of September 2024. 

The IVC programmes have provided invaluable insights over the past years and fostered a formidable international network of dedicated volunteers. Whilst GCC Spain ceases operations as a GCC International Volunteer Chapter (IVC), the committee members remain affiliated to GCC as members, and will continue to contribute to climate action in a more informal capacity.

GCC Spain’s Chronology

Laura Carro and Lucía Mendoza (Galería Lucía Mendoza), Carolina Grau (Independent Curator), Carmen Huerta (TAC7), María Gracia de Pedro (Badr El Jundi Foundation), Mariana Cánepa Luna and Max Andrews (Latitudes) and Nicky Ure (UreCulture) met online for the first time in December 2022. This group ended up founding the International Volunteer Chapter, GCC Spain. Further along, the Committee expanded to include Angela Costantino and Simone Sentall (Fundación TBA21), Miriam Torres and Paula Ráez (Estudio Jurídico Gabeiras & Asociados) and volunteers such as Miriam Callejo.

GCC Spain’s first physical meeting was at ARCOmadrid in February 2023, when it convened an open session at the art fair to inform professionals about GCC’s targets and commitments, advise on practical issues about enrolment in its membership programme, and use helpful tools and resources such as the Carbon Calculator. 

One of GCC Spain's first achievements was translating GCC’s 11-part Best Practice Actions into Spanish (Acciones Efectivas) and opening its Instagram account.

In June 2023, GCC Spain held its first online Introductory Event (pdf of the press release in Spanish here), presenting GCC’s overall aim and officially launching GCC Spain. The launch was featured in Revista Bonart.

June 2023: Online Introductory Event (press release here) 

In January 2024 GCC Spain had its first online Assembly to inform members and non-members about the past and future plans of the group.

In February 2024, in collaboration with GCC London and ARCOmadrid, a campaign for #ClimateConsciousTravel was launched through multiple displays at ARCOMadrid, encouraging visitors to take the #TrainToARCOMadrid instead of flying. Additionally, the Gallery Climate Coalition was featured in Exibart magazine, and Carolina Grau, a founding member of GCC Spain, was interviewed about her curatorial work.

Despite these changes, Latitudes remains steadfast in its commitment to GCC’s core activity and commitments. Latitudes remains committed to working with its international community of 1500+ across 50+ countries in reaching a shared goal of 50% reduction of greenhouse gas emissions in the visual arts sector by 2030 (compared to a 2019 baseline). This adherence is essential to maintaining our Individual Active Membership.

You can read a statement about the closure of the IVC programme from GCC Managing Director Heath Lowndes here. For all other communications and enquiries regarding GCC, please contact info@galleryclimatecoalition.org

RELATED CONTENT:

• Latitudes renew their Active Membership with Gallery Climate Coalition (GCC), 9 Apr 2024
• Gallery Climate Coalition en ARCOmadrid, campaña #TrainToARCOmadrid y artículo en la revista Exibart, 11 March 2024
• Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 Feb 2024
• Montse Badia sobre GCC Spain en la revista Bonart #198, 25 Oct 2023
• Latitudes qualify as an Active Member of the Gallery Climate Coalition (GCC), 10 May 2023
• Latitudes’ (Full) Environmental Policy Statement, 17 April 2023
• Cover Story, March 2023: Art, Climate, and New Coalitions, 1 Mar 2023
• Gallery Climate Coalition (GCC) en el Estado español, 25 Jan 2023

  September 2024 cover story on www.lttds.org

The July–August 2024 monthly Cover Story “” is now up on our homepage: www.lttds.org (after August 2024 this story will be archived here).

“Summer is here and the Cover Story for July and August features Rosa Tharrats’ “AVOC IVIDRAM” (2024), a work that veiled the exterior of Bombon Projects during the opening of her exhibition “Refugia” earlier this year. This show is the focus of Max Andrews’s first contribution to Artforum magazine, appearing in the summer issue.” → 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.

Max Andrews’s first contribution to Artforum reviews “Refugia”, the first solo exhibition of Rosa Tharrats at Bombon Projects in Barcelona, which opened on March 20, 2024. Andrews’ review coincides with the first issue under the new editorial eye of Tina Rivers Ryan, the magazine’s recently appointed editor-in-chief. 

“One could have imagined the exhibition inside as much a sanctum for a spiritual retreat for unwinding the mind/body dualism as an outré couture collection without humans, where inscrutable organic divinities dressed for auspiciousness.” 

Continue reading here.

→ RELATED CONTENT:

• Other writing on Latitudes’ website.
• Reviews, opinions, profiles and interviews published in frieze magazine.
• Panorama traces, a year on, 21 Oct 2022
• Panorama in Madrid and Córdoba, 14 June 2022
• Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022 
• “Panorama 21: Apunts per a un incendi dels ulls”, MACBA, October 2021–February 2022