Latitudes (Barcelona) and PUBLICS (Helsinki)
Sat, Mar 12 2022
Laia Estruch performing MIX at the Festival TNT in Terrassa. Photo by Alessia Bombacci.
We are delighted to announce that PUBLICS in Helsinki will be Parahosting curatorial office Latitudes for the next year by hosting a series of curatorial research and activities, beginning with a public presentation and a performance by artist Laia Estruch, on Thursday 17th of March 2022 (5–7pm) at PUBLICS’ space in Vallila.
As a first introduction to PUBLICS and to Helsinki audiences, Max Andrews and Mariana Cánepa Luna of Latitudes will present their curatorial practice and later be joined by Barcelona-based artist Laia Estruch to present “Mix” (2021–ongoing), a solo performance compilation that revisits the diverse voiced sounds, resonances, and articulations she has developed and learned throughout her projects to date. An exercise in sonic recall and muscle memory, “Mix” is a live non-chronological edit that extracts the most ephemeral aspect of her practice – the voice – while exploring it as a kind of organ of the body, and as a tool for sculpting air.
Entrance to PUBLICS in Vallila neighbourhood. Photo: Noora Lehtovuori.
PUBLICS Parahosting began in the Autumn of 2018 and has grown into a key method of decentering its own curatorial authorship, and as an essential means of working together without boundaries or containment.
Through Parahosting PUBLICS supports its para-sites, para-institutions, and para-guests, and has grown into a flexible, evolving, expanding, and sometimes messy, programme. In 2020–2021 PUBLICS Parahosted curatorial studio Shimmer (Eloise Sweetman and Jason Hendrik Hansma) with a year-long project ACROSS THE WAY WITH… where artists, poets, philosophers, and curators from around the world were invited to explore the notion of intimacy through online readings.
Mercedes Azpilicueta performing “Yegua-Yeta-Yuta” (2015-ongoing) as part of the 2019 TODAY IS OUR TOMORROW festival at Kaiku, Helsinki. Curated by Latitudes. Photo Kush Badhwar.
Latitudes collaborated with PUBLICS in September 2019 as a partner organisation in the first edition of the multidisciplinary arts festival Today is Our Tomorrow initiated by PUBLICS, presenting the performance “Yegua-Yeta-Yuta” (2015-ongoing) by Argentina-born, Amsterdam-based artist Mercedes Azpilicueta.
In 2021, PUBLICS supported the production of Laia Estruch’s “Ocells Perduts” (Stray Birds, 2021), a new work commissioned for the first MACBA triennial exhibition “Panorama 21. Notes for an Eye Fire” (October 2021–February 2022).
(Above and below) Laia Estruch, “Ocells Perduts” (2021) performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Research supported with the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.
About PUBLICS
PUBLICS is a curatorial agency with a dedicated library, event space and reading room in Helsinki, Finland. As such PUBLICS is an educational resource where critical learning, knowledge production and discursive programming are integral to its curatorial approach. Under the artistic direction of curator Paul O’Neill, with program manager Eliisa Suvanto, PUBLICS explores a “work together” institutional model with multiple overlapping objectives, thematic strands and collaborations.
https://www.publics.fi
About Laia Estruch
Laia Estruch’s practice hinges on the voice as a material reality—an expressive force and a medium that is expelled from the body. Over the last decade, her work has broached the fields of sculpture and contemporary art, spoken word, and experimental theatre, undertaking a kind of no-frills exploration of the voice’s communicative and emotive grammar while probing the conventions of staging it. Her interest focuses on the extremities and porosity of the spoken word in its relationship with song and raw sound. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. The voice is recast as an extraordinary, supra-human object. Estruch’s recent performances have involved scenes and routines in which her body is suspended above the ground, be it via the playground-like structures and inflatables of “Moat” (2016–2018), the swimming pool setting of “Crol” (2019), the hanging stage of “Ganivet” (2020–2021) or the monumental bird trap of “Ocells Perduts” (2021–2022).
Laia Estruch has a Bachelor’s Degree in Fine Arts from the Universitat de Barcelona (2010) and also studied at The Cooper Union, New York (2010). She has had solo exhibitions at the Fundació Joan Brossa, Barcelona (2020–2021); Capella de Sant Roc, Valls (2019); and Fundació Joan Miró, Barcelona (2019). Her group exhibitions include “Panorama 21: Apunts per a un incendi dels ulls” MACBA Museu d’Art Contemporani de Barcelona (2021–2022), “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020), and “Back to School”, Fundación Rafael Botí, Córdoba (2018). In 2022 she won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) and in 2021 she was awarded the Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
https://laiaestruch.com
About Latitudes
Find out more at https://www.lttds.org/about/
Laia Estruch, “MIX” (2021-ongoing) at the Festival Domingo, La Casa Encendida. Photo: © Arturo Laso.
→ RELATED CONTENT:
- PUBLICS announcing Parahosting Latitudes in 2022.
- Laia Estruch in “Panorama 21. Apunts per a un incendi dels ulls” (Notes for an Eye Fire)
- Report: Latitudes' participation in the festival TODAY IS OUR TOMORROW initiated by PUBLICS in Helsinki, 4 October 2019
- PUBLICS' Library in Helsinki incorporates Latitudes-edited publications, 27 September 2019
- Partner organisation in ‘Today Is Our Tomorrow’, Helsinki, 12–14 September 2 September 2019
- Participating organisation: No Soul for Sale – A Festival of Independents, with Martí Anson, Tate Modern Turbine Hall, London, United Kingdom, 14–16 May 2010
- Participating organisation: No Soul for Sale – A Festival of Independents’, with The Bruce High Quality Foundation, X Initiative, New York, 24–28 June 2009
Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’
Tue, Sep 1 2020
Latitudes' homepage www.lttds.org
The September 2020 monthly Cover Story ‘States of emergency—Lola Lasurt’s ‘Children’s Game’’ is now up on our homepage: www.lttds.org
“Lola Lasurt’s exhibition ‘Joc d'infants’ (Children’s Game) looks back more than fifty years to the first contemporary art event hosted in the same venue where it is now taking place—until 27 September.”
→ Continue reading
→ After September 2020 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:
→ After September 2020 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—August 2020: ‘Màquina possible’: going viral at Can Balaguer 1 Aug 2020
- Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi 1 Jul 2020
- Cover Story—June 2020: Mataró Chauffeur Service, since 2010 1 June 2020
- Cover Story—May 2020: Panama, back through the lens 4 May 2020
- Cover Story—March-April 2020: The Bolós Cabinet 3 March 2020
- Cover Story—February 2020: Carioca Incidents 3 February 2020
- Cover Story—January 2020: Safeguarding Gestures 2 January 2020
Latitudes’ “Out of office”: wrap up of the 2019–20 season
Mon, Aug 3 2020
Seen in l'Hospitalet de Llobregat. Photo: @marianacanepaluna
In what has now become something of a Latitudes’ tradition we wrap up the season with a retrospective glance behind the scenes of some of our projects and activities of the previous twelve months (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18 and 2018–19 posts). This last year has of course been unprecedented in so many ways. From mid-March, the Covid-19 pandemic meant that everything that had been in place was suddenly thrown into permanent doubt, delayed, or simply cancelled. As a healthcare crisis now precipitates an economic crisis, and with things we once took for granted (among them international travel, and visiting physical art exhibitions) completely changed for the foreseeable future, it is with more than a little trepidation that we even dare to look back at what once seemed normal.
Keep well, keep safe.
#DistanciaManosMascarilla
#DistànciaMansMascareta
September 1, 2019: New season, new month, new cover story. ‘Polperro to Detroit’ tracked the improbable connection between Polperro, a small town Latitudes passed through on its summer sojourn, and an American Rust Belt metropolis we would be visiting later this September as participants of the Red Bull Arts Global Curatorial Initiative: Detroit.
September monthly Cover Story on https://www.lttds.org/coverstory
September 9–15, 2019: Beginning of the 2019–2020 season. This was our first trip to Helsinki where we were participating in two events. Firstly Latitudes was a partner organisation in the arts festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS that presented a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia. Latitudes invited Mercedes Azpilicueta to present her performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs.
We were also guests of Frame Contemporary Art Finland’s Gathering for Rehearsing Hospitalities’, a week composed of talks, performative dialogues, interventions and screenings developed in collaboration with a number of local partners.
‘Gathering for Rehearsing Hospitalities’ organised by Frame Contemporary Art Finland, hosted at the Museum of Impossible Forms.
September 12, 5:30h: Mercedes Azpilicueta during her talk in Helsinki.
Inga Lace’s Instagram Stories documenting the conversation between Mercedes and Latitudes on September 13, 2019.
Mercedes during her rehearsal at Club Kaiku.
Mercedes and Max in the ferry to Suomenlinna Island to visit HIAP and a film installation by Marjolijn Dijkman and & Toril Johannessen.
With Jussi Koitela (Head of Programme, Frame Contemporary Art Finland) and curators Anne-Sophie Springer and Sofia Lemos in HIAP's office space in Suomenlinna island.
Listening to Wet Code, a sound piece by Myriagon at Suomenlinna Island. Photo by Ida Enegren / Frame Contemporary Art Finland.
On top of the Temppeliaukion Kirkko (A church built into rock) with Anne-Sophie Springer and Sofia Lemos.
Our October 2019 cover story featured Azpilicueta's performance programmed during TODAY IS OUR TOMORROW.
PUBLICS' Library in Helsinki incorporated Latitudes-edited publications to their beautiful shelves in Vallila, Helsinki.
September 18–23, 2019: Joined the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative participating in a range of events and visits in Chicago (18–21 September) and Detroit (21–23 September).
→ Read the photo report here.
→ Read the photo report here.
Caught purchasing books during our visit to ExpoChicago's section Index Art Book Fair. Photo: Casa Bosques.
Morning session with the participating curators in the EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative together with the Art Institute curatorial staff at the Art Institute Chicago. Photo: Expo Chicago.
The first stop in Detroit was visiting Dabls’ African Bead Gallery where we met its creator, Olayami Dabls led by our fantastic host Scott Campbell, Artist Liaison at Red Bull Arts Detroit, accompanied also by curator Maria Inés Rodríguez.
Laura Mott (Senior Curator of Contemporary Art and Design) leading a tour of her curated exhibition ‘Landlord Colors: On Art, Economy, and Materiality’ at the Cranbrook Art Museum. Painting by Yoan Capote.
September 20, 2019: Meanwhile in Copenhagen, Rasmus Nilausen's solo exhibition ‘Bluetooth’ opened at Overgaden. Institut for Samtidskunst, Copenhagen, for which Max contributed an essay.
→ Exhibition views and text (pdf).
→ Exhibition views and text (pdf).
(↑↓) Views from Nilausen's exhibition at Overgarden, Copenhagen. Photos: Anders Sune Berg.
October 7, 2019: artfridge.de published the interview Helene Romakin conducted with us over the summer.
→ Read the interview.
→ Read the interview.
artfridge.de
October 9, 2019: The artist Céline Mathieu (and former BAR TOOL #2 participant) published an article in the Belgian magazine HART on the Barcelona art scene mentioning Latitudes and our three closed-door sessions ‘Barcelona / Such a beautiful horizon: Critical social infrastructure to promote art scene health resilience’ Latitudes led with BAR Tool's 2018–19 participants.
October 17-19, 2019: Lecture ‘4.543 billion and abstract social nature’, Jornadas Eremuak, AzkunaZentroa, Bilbao. Taking as a reference point one of the ten galleries hosting the 2017 group exhibition ‘4,543 billion. The matter of matter’ at the CAPC musée d’art contemporain de Bordeaux, we expanded on the notion of ‘abstract social nature’ coined by environmental historian and geographer Jason W. Moore through the work of four exhibiting artists: Lara Almarcegui, Pep Vidal, Lucas Ihlein and Amy Balkin.
→ Video presentation here (Spanish, 24'45'')
→ Q&A session here (Spanish, 19'52'').
October 23, 2019: First meeting with Joan Morey to discuss the adaptation of his retrospective exhibition COLLAPSE for Casal Solleric in Palma de Mallorca, opening at the end of January. Time is of the essence.
November 1, 2019: Max Andrews’s feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia’s IVAM was published in the November–December 2019 (issue 207) of frieze magazine. The article focuses on the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989.
→ Featured as our November 2019 Cover Story.
October 17-19, 2019: Lecture ‘4.543 billion and abstract social nature’, Jornadas Eremuak, AzkunaZentroa, Bilbao. Taking as a reference point one of the ten galleries hosting the 2017 group exhibition ‘4,543 billion. The matter of matter’ at the CAPC musée d’art contemporain de Bordeaux, we expanded on the notion of ‘abstract social nature’ coined by environmental historian and geographer Jason W. Moore through the work of four exhibiting artists: Lara Almarcegui, Pep Vidal, Lucas Ihlein and Amy Balkin.
→ Video presentation here (Spanish, 24'45'')
→ Q&A session here (Spanish, 19'52'').
Photo: Eremuak.
October 23, 2019: First meeting with Joan Morey to discuss the adaptation of his retrospective exhibition COLLAPSE for Casal Solleric in Palma de Mallorca, opening at the end of January. Time is of the essence.
November 1, 2019: Max Andrews’s feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia’s IVAM was published in the November–December 2019 (issue 207) of frieze magazine. The article focuses on the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989.
→ Featured as our November 2019 Cover Story.
November 2019 Cover Story www.lttds.org/coverstory
November 7, 2019: Latitudes presents the lecture ‘Curating in the Web of Life’ as part of the public programme for the group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’, Garage Museum of Contemporary Art, Moscow, 7 November 2019. This was our first trip to Russia.
→ Video of the lecture (1h 28min including Q&A).
→ Video of the lecture (1h 28min including Q&A).
(↑↓) Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
Hello from Moscow's Red Square.
The lobby of the heartbreaking zoological Museum in Moscow, the second largest zoological museum in Russia in Bolshaya Nikitskaya Street.
(↑↓) The most beautiful, cleanest and ad-free metro network we've ever seen.
November 20-25, 2019: Trip to Amsterdam Art Weekend (AAW). Mariana was writing a Roundup review on the event for art-agenda (published on December 13). Since we’ve already published a post in December 2020 about what we saw during the week, we’re now remembering on the always beautiful flower arrangements the Rijksakademie displays in their welcoming areas!
→ Earlier iterations of the AAW 2014, 2016 and 2018.
November 28, 2019: Inaugural screening of DART Festival of Contemporary Art Documentaries (28 November–1 December). Latitudes was a jury member this year together with film critic Quim Casas and visual artist Núria Güell, and awarded the film ‘Barbara Rubin & the Exploding NY Underground’ (USA, 2018, 78 min) by Chuck Smith as the best international documentary and ‘Elliott Erwitt – Silence Sounds Good’ (Spain-France, 2019, 61 min) by Adriana López Sanfeliu as the best national documentary.
The inaugural session of the 3rd edition of the festival took place at cinema Phenomena with the 1974 film ‘A bigger splash’ by Jack Hazan, and a welcome intro by TV host Laura Sangrà and DART Festival co-directors Enrichetta Cardinale and Marc Gomariz. Below one of the sessions at the always busy Cinemes Girona. Photo: DART Festival.
December 1, 2019: December gloom was compensated on our homepage by a feature on Edward Steichen’s 1936 exhibition ‘Delphiniums’, at The Museum of Modern Art, New York.
September monthly Cover Story https://www.lttds.org/coverstory/
December 3, 2019: Press presentation of the 2019-20 season of Barcelona Producció coinciding with the opening of Martin Llavaneras’s solo show.
(Left to right) Alexandra Laudo (Barcelona Producció 2019-20 jury member and tutor of Martin Llavaneras’ project), Oriol Gual (Capella director), David Armengol (Tutor coordination), and Jordi Ferreiro (artist in charge of the newly created mediation grant).
We-fie with the three artists Latitudes tutored this season (left to right): Lola Lasurt, Consol Llupià, Agustín Ortiz (and Lola's baby Margot).
December 13, 2019: art-agenda publishes Mariana's Amsterdam Roundup, expanded with more photos on this Longitudes' post.
→ Read the review.
December 20, 2019: Mariana attends the last (official) meeting as secretary and board member of the Fundació Privada AAVC, the organisation governing HANGAR Centre de Producció i Recerca d'Arts Visuals. The board has met on a regular basis between December 2015 and December 2019 in order to discuss all aspects regarding its daily running—overseeing expenditure, approving financial forecasts or more philosophical yet pressing issues over its daily governance. A new board begins the next four-year term 2020–24.
Christmas 2019: Slow inbox days dedicated to writing and editing artwork captions, finalising an essay and the press release for the new iteration of Joan Morey's retrospective adapted to Casal Solleric in Palma de Mallorca.
Max editing Joan Morey's texts for its new iteration at Casal Solleric.
January 2, 2020: New Year, New Decade, New Month, New Cover Story. Featuring Adrián Villar Rojas’s ‘Poems for Earthlings’ transformative installation at Oude Kerk, Amsterdam, and featured in Mariana’s recent art-agenda Roundup.
January 2020 Monthly Cover Story on www.lttds.org, archived here.
January 21, 2020: Publish a refreshed Reduce Art Flights website (first published in 2008!) now including an exhibition history and a transcript of the interview with RAF’s instigator, the late Gustav Metzger.
→ https://reduceartflights.lttds.org
January 22, 2020: First meeting with Clara Renau, Miriam Soms and Joana Hurtado, the team of the Fabra i Coats: Centre of Contemporary Art of Barcelona to begin work on a group exhibition for the Autumn 2020...
January 28, 2020: Launch of the 10th dispatch of ‘Incidents (of Travel)’ with contributions from Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro, Brazil.
→ http://incidents.kadist.org
→ http://incidents.kadist.org
January 31, 2020: Opening of the solo exhibition by Joan Morey ‘COLLAPSE. Bachelor Machine’ at Casal Solleric, Palma de Mallorca. The exhibition is an adaptation of the first two parts of the project COLLAPSE presented in three concurrent venues in Barcelona between September 2018 and January 2019.
February 21, 2020: Max joins Agustín Ortiz Herrera (whose research ‘Naming, Possessing. Critique of Taxonomic Practice’ is mentored by Latitudes as part of the Barcelona Producció 2019–20 season) the Cabinet of Curiosities of Francesc Bolós in Olot.
→ Featured in Latitudes' March cover story.
Bringing one of the seven vitrine-coffins exhibiting materials related to Morey's performances. Photo: @joanmorey via Instagram.
Exhibition vinyl placed at the entrance of the exhibition.
Installing ‘COS SOCIAL’ (2017) film. Photo: Joan Morey.
Joan Morey guided tour on the opening night.
Celebratory coques i espinagades with Joan at the unbeatable Fornet de la Soca.
February 21, 2020: Max joins Agustín Ortiz Herrera (whose research ‘Naming, Possessing. Critique of Taxonomic Practice’ is mentored by Latitudes as part of the Barcelona Producció 2019–20 season) the Cabinet of Curiosities of Francesc Bolós in Olot.
→ Featured in Latitudes' March cover story.
Agustín browsing through one of the copies of Linnaeus' "Species plantarum".
February 24, 2020: Ahead of ARCOmadrid art fair, Max (Contributor Editor, frieze magazine) selected some institutional and gallery shows to see in Madrid this week.
Frieze magazine organised evening drinks during ARCOmadrid at the legendary Bar Cock near Gran Via.
March 10, 2020: Attended the opening of Pere Llobera's solo show at La Capella, the second of the Barcelona Producció 2019-20 season. This became the last opening before the state of alarm was declared in Spain (eventually extended until June 21) triggered by the COVID-19 pandemic, and we had to remain at home until June.
View of Pere Llobera's exhibition ‘Faula Rodona. Sols i embogits. Entre la precisió total i una cancó de Sau’ (Circular Fable. Alone and Maddened; Between Total Accuracy and a Song by Sau). Photo: Pep Herrero / La Capella.
March 13, 2020: Confinement. Projects on hold, conversations postponed. One of them was the three-day seminar Agustín Ortiz Herrera was preparing in the context of his ongoing research project ‘To name, to own. Critique of taxonomic practice’. Agustín’s research is one of the three projects mentored by Latitudes as part of the Barcelona Producció 2019–20 production grant. More on this and other ‘frozen’ projects, hopefully soon.
Photo: Agustín Ortiz Herrera, 2019.
April 2020: This month marks Latitudes’ 15 anniversary, celebrated during a strict lockdown.
April 9, 2020: . Launch of the 11th dispatch of ‘Incidents (of Travel)’ with an itinerary by the artist duo Donna Conlon and Jonathan Harker and report and photos by curator Sandino Scheidegger (Random Institute) from Panamá City, Panama.
→ incidents.kadist.org
May 2, 2020: After more hours than we'd like to know or admit (and one of the few good side effects confinement allowed) we finally launched our rebuilt and redesigned website.
→ https://www.lttds.org
May 22, 2020: Consol Llupià, one of the three artists we have been tutoring this year as part of the visual arts grant scheme Barcelona Producció, launched her online initiative ‘Vibraera’, part of her long-term ongoing project ‘La Balena de El Prat a El Prat’ [The El Prat Whale to El Prat]. On this day, during the migratory season of Whales around the Mediterranean coast and coinciding with a new moon, Llupià invited collaborators to join her in “an energetic rebellion, a call for collective immaterial action”, as she described it. This unfolding chapter was conceived as a symbolic communicative dialogue between humans and whales and consisted of an energetic global gathering intended to activate the vibrational capacity of humans to generate interspecies connections.
June 1, 2020: Jitsi catching up with the tutors of Barcelona Producció (Antònia Folguera missing) to discuss the results of the co-signed Open Letter (in Catalan) requesting the Barcelona Institute of Culture to immediately launch the 2021 Open Call, a petition that thankfully became effective a week later.
Photo: David Armengol.
June 24, 2020: The of our contributions to Questions and Appearances, an initiative by Kadist, is Fermín Jiménez Landa’s response to our question “What is your advice, or warning, to the government?”, followed on the 8th by a second one (“What is importantly non-essential?”) which we posed to Arash Fayez.
→ https://www.instagram.com/questionsandappearances/
July 1, 2020: New cover story and a new episode of Incidents (of Travel) from Tbilisi, Georgia. A spring itinerary through the city’s former silk industry and the heart of Nino Kvrivishvili’s practice, the tour took place via a screen in Australia as Georgia emerged from the Spring lockdown.
→ incidents.kadist.org
→ https://www.instagram.com/questionsandappearances/
June 29, 2020: Technical meeting in preparation of Lola Lasurt’s forthcoming show at La Capella. David Armengol (Barcelona Producció 2019-20 coordinator, affectionally known as the ‘Tutor of tutors’) picked up an old-fashioned drawing table from Massana art school.
→ incidents.kadist.org
Latitudes’ July 2020 homepage.
July 21, 2020: After a month's of postponement, Lola Lasurt’s exhibition ‘Children’s Game’ opens at La Capella. It’s been a long process since it was announced as one of the three selected shows to be produced and presented at La Capella.
Lasurt’s exhibition looks back at the 1968 retrospective exhibition ‘Miró. Barcelona 1968-69’ with which La Capella was inaugurated as a venue dedicated to contemporary art. Through a new series of paintings, photos, videos, and ceramics, Lasurt addresses the socio-political turmoil at the end of the 1960s. She depicts imagery related to childhood published in the national press during the two-month state of exception declared in Spain just a few days after the Miró exhibition had ended.
→ Exhibition sheet (pdf)
→ Exhibition publication (pdf)
Publication designed by Carles Murillo.
July 23, 2020: Joan Morey presented the performance “COLLAPSE. Possible Machine” at the house museum Can Balaguer as part of his retrospective exhibition ‘COLLAPSE. Bachelor Machine’ at Casal Solleric (now extended until 6 September 2020). The performance took his 2017 performance ‘TOUR DE FORCE’ as a departing point but situated it in the present SARS-CoV-2 global pandemic.
Lasurt’s exhibition looks back at the 1968 retrospective exhibition ‘Miró. Barcelona 1968-69’ with which La Capella was inaugurated as a venue dedicated to contemporary art. Through a new series of paintings, photos, videos, and ceramics, Lasurt addresses the socio-political turmoil at the end of the 1960s. She depicts imagery related to childhood published in the national press during the two-month state of exception declared in Spain just a few days after the Miró exhibition had ended.
→ Exhibition sheet (pdf)
→ Exhibition publication (pdf)
August 2019 meeting discussing layout and production calendar.
(↑↓) During the Spring lockdown, we continued to check on each other and share the work-in-process. Lola was working on her ceramics and paintings in a garage-turned-studio nearby her house in Manresa and we were writing the text for the exhibition sheet.
(↑↓) 14–16 July 2020: Lotema team during the installation.
Due to the pandemic health measures, there was no opening event and visitors RSVPd in groups of 10. Photo: Pep Herrero/La Capella.
Lola Lasurt during one of the guided visits. Photo: Pep Herrero/La Capella.
July 23, 2020: Joan Morey presented the performance “COLLAPSE. Possible Machine” at the house museum Can Balaguer as part of his retrospective exhibition ‘COLLAPSE. Bachelor Machine’ at Casal Solleric (now extended until 6 September 2020). The performance took his 2017 performance ‘TOUR DE FORCE’ as a departing point but situated it in the present SARS-CoV-2 global pandemic.
(↑↓) July 9, 2020: Rehearsals with the actresses Anna Sabaté and Candela Capitán, protagonists in ‘COLAPSO. Máquina posible’ alongside Nadal Roig. Photo: @joanmorey
(↑↓) Poster produced for the performance with an essay by Latitudes. Photos: Joan Morey.
Latitudes’ August 2020 Cover Story.
Looking forward to (hopefully) attending some Autumn activities for Lasurt’s recently opened exhibition at La Capella, to publicly present Agustín Ortiz’s ongoing research and publication in October, as well as Consol Llupià’s publication. And, most importantly, to open on October 17, the group show ‘Things Things Say’ we have been working on since January, to be presented at Fabra i Coats: Contemporary Art Center of Barcelona’s ground floor. Things will be revealed in due course.
→ RELATED CONTENTS:
→ RELATED CONTENTS:
- Latitudes’ "out of office" 2018–19 season, 1 August 2019
- Latitudes' "out of office" 2017–18 season, 2 August 2018
- Latitudes' "out of office" 2016–17 season, 1 August 2017
- Latitudes' "out of office" 2015–16 season, 1 August 2016
- Latitudes' "out of office" 2014–15 season, 7 August 2015
- Latitudes' "out of office" 2013–14 season, 31 July 2014
- Latitudes' "out of office" 2012–13 season, 31 July 2013
- Latitudes' "out of office" 2011–12 season, 31 July 2012
- Latitudes' "out of office" 2010–11 season, 1 August 2011
- Latitudes' "out of office" 2009–10 season, 30 July 2010
- Latitudes' "out of office" 2008-9 season, 30 July 2009
Exposición ‘Juego de niños’ de Lola Lasurt, Barcelona Producció 2019-2020, 21 julio–27 septiembre 2020
Mon, Jul 13 2020
(↑↓) Vistas de la exposición ‘Joc d'infants’ (Juego de niños) de Lola Lasurt en La Capella, Barcelona, 21 julio–27 septiembre 2020. Fotos: Pep Herrero / La Capella.
El proyecto ‘Juego de niños’ de Lola Lasurt parte de la retrospectiva Miró. Barcelona 1968-69, la primera muestra de arte contemporáneo presentada entre entre noviembre de 1968 y enero de 1969, en el espacio actualmente conocido como La Capella.
A través de pinturas, fotografía, vídeos y cerámicas, el proyecto de Lasurt aborda la agitación sociopolítica de finales de los sesenta a través de la figura del artista catalán Joan Miró (1893-1983), quien durante el último periodo de la dictadura de Franco se convirtió en un “objeto transicional”, una suerte de puente artístico entre el régimen anterior y la nueva democracia. [1]
A través de pinturas, fotografía, vídeos y cerámicas, el proyecto de Lasurt aborda la agitación sociopolítica de finales de los sesenta a través de la figura del artista catalán Joan Miró (1893-1983), quien durante el último periodo de la dictadura de Franco se convirtió en un “objeto transicional”, una suerte de puente artístico entre el régimen anterior y la nueva democracia. [1]
En su nueva serie de pinturas Lasurt alude a dos formas de transición: un periodo de excepción tanto desde el punto de vista político como del desarrollo personal. Lasurt se apropia de imágenes relacionadas con la infancia publicadas en la prensa nacional durante el estado de excepción de dos meses que se inició a finales de enero de 1969, un período de ausencias y silencios forzados.
→ PDF hoja de sala en castellano, català, english.
→ PDF publicación (en cat/cast/eng).
→ Video (1'50'')
→ Video entrevista (14'44'')
A partir de la exposición de Lasurt, el programa de mediación εξέδρα (Exedra) dirigido por Jordi Ferreiro ha generado una serie de deslocalizaciones a tres espacios públicos y privados del barrio del Raval con el fin que no se vean perjudicados por posibles protocolos de actuación ante COVID-19.
(↑↓) Vistas de las deslocalizaciones relacionadas con la exposición ‘Juego de niños’ de Lola Lasurt alrededor del barrio del Raval. Hasta el 27 de septiembre 2020. Fotos: Eva Carasol.
Pósters en los escaparates de la Escola Massana con material de archivo del estado de excepción que se decretó en el Estado Español entre enero y marzo de1969.
Consulta de publicaciones relacionadas con Joan Miró y el estado de excepción que se decretó en el Estado Español a inicios de 1969 disponibles en la Biblioteca Popular Sant Pau i Santa Creu.
(↑↓) Pintura animada proyectada en el escaparate del Estanc Carme 15 en Carrer del Carme, 15. ‘Copito de Nieve, ¿personaje de Marcel Proust?’ Tele/eXpres, 22 de enero de 1969. Una de las obras iniciales de Lola Lasurt fue ‘Expendeduría 193’ (2008), un videodocumental que, a través de sus protagonistas, narraba la vida diaria de un estanco vinculado a la familia de la artista. Así pues, ‘Juego de niños’ incorpora un pequeño tributo a esta obra mediante la deslocalización de una de sus pinturas animadas al estanco Carme 15 de la calle del Carme.
Meritxell Mestre envió su historia relacionada con unos dibujos animados que solía mirar de pequeña en casa de sus abuelos y que gravaba en VHS, cuyo protagonista era una pequeña locomotora.
(↑↓) Última de las deslocalizaciones de la exposición ‘Juego de niños’ de Lola Lasurt presenta una banderola en el balcón con la imagen de un objeto transicional de la infancia de su habitante. Fotos: Eva Carasol.
→ CONTENIDO RELACIONADO:
Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020
Wed, Jan 15 2020
Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.
A partir del 31 de enero 2020, Casal Solleric en Palma de Mallorca acogerá la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. La exposición ‘COLAPSO. Máquina célibe’ es una adaptación del proyecto que el artista presentó simutáneamente en tres sedes de la ciudad condal entre septiembre 2018 y enero 2019 [1] y se podrá visitar hasta el 3 de mayo 2020.
Las majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogerán una selección de seis proyectos producidos entre 2007 y 2017 desarrollados mediante el lenguaje artístico de la performance, así como un programa continuado de ocho piezas de audio: grabaciones de lecturas dramatizadas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.
Joan Morey, COS SOCIAL. Lliçó d'anatomia (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.
Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).
Joan Morey, ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ (2006–2007). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 27 septiembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘LLETANIA APÒRIMA’ (2009). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 11 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’, 2009. Inter by Carme Callol and Tatin Revenga. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 25 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘BAREBACK. Fenomenología de la comunión’ Reenactment de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 15 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘IL LINGUAGGIO DEL CORPO’, 2015. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 29 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ (2017). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 13 diciembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘COLAPSO. Máquina esquizofrénica’ nueva performance site-specific, prisión la Modelo, Barcelona, 10 enero 2019. Foto: Noemí Jariod. Cortesía del artista.
La exposición ‘COLAPSO. Máquina célibe’ en Casal Solleric está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.
→ CONTENIDOS RELACIONADOS:
Joan Morey ha producido un extenso conjunto de performances, vídeos, instalaciones y obras sonoras y gráficas que, desde finales de los años noventa, explora la intersección entre teatro, cine, filosofía, sexualidad y subjetividad.
Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).
Joan Morey, ‘LLETANIA APÒRIMA’ (2009). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 11 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’, 2009. Inter by Carme Callol and Tatin Revenga. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 25 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘BAREBACK. Fenomenología de la comunión’ Reenactment de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 15 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘IL LINGUAGGIO DEL CORPO’, 2015. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 29 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ (2017). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 13 diciembre 2018. Foto: Noemi Jariod. Cortesía del artista.
Joan Morey, ‘COLAPSO. Máquina esquizofrénica’ nueva performance site-specific, prisión la Modelo, Barcelona, 10 enero 2019. Foto: Noemí Jariod. Cortesía del artista.
El recorrido se inicia con uno de sus más recientes trabajos: la “performance para pantalla” ‘COS SOCIAL. Lliçó d'anatomia’ (2017), que actúa como eje conceptual de la exposición, y que obtuvo 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. Ésta y la performance ‘TOUR DE FORCE’ (2017), también incluída en la exposición, le valieron el Premi Ciutat de Barcelona d'Arts Visuals 2017.
La exposición ‘COLAPSO. Máquina célibe’ en Casal Solleric está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.
[1] ‘COLAPSO. Máquina deseante, máquina de trabajo’, Centre d’Art Contemporani de Barcelona - Fabra i Coats (del 20 de septiembre de 2018 al 13 de enero de 2019); ‘COLAPSO. Cuerpo social’, Centro de Arte Tecla Sala (L’Hospitalet de Llobregat, del 15 de noviembre de 2018 al 13 de enero de 2019), y ‘COLAPSO. Máquina esquizofrénica’, en la antigua cárcel Modelo (Barcelona, 10 de enero de 2019).
- Documentación fotográfica de COLAPSO.
- Joan Morey awarded the Botín Foundation's International Visual Arts Grant 22 July 2019
- Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113.
- Performance ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
- Wakelet archive of social media content
- Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
- December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
- Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
- November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
- November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
- October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
- October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
- Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
- Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
- Full performance programme
- NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
Cover Story—January 2020: Safeguarding Gestures
Thu, Jan 2 2020
Latitudes' homepage www.lttds.org
The January 2020 monthly Cover Story ‘Safeguarding Gestures’ homepage: www.lttds.org
‘‘‘Poems for Earthlings’, by Argentinian artist Adrián Villar Rojas, transforms the Oude Kerk, a monumental church in the heart of the Amsterdam’s Red-light District which dates back to 1306. Unveiled during the Amsterdam Art Weekend two months ago and continuing until April, Villar Rojas’s installation features in the recent art-agenda Roundup from the city by Latitudes' Mariana Cánepa Luna.”
→ Continue reading
→ After January 2020, 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 activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
- Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
- Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
- Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
- Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
- Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
2019 in 10 monthly Cover Stories
Mon, Dec 23 2019Since our 10th anniversary in Spring 2015, Latitudes has published a monthly cover story on its website (www.lttds.org) featuring past, present or forthcoming projects, as well as research, texts, artworks, exhibitions, films, objects or travel related to our curatorial work.
2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).
Happy holidays and a joyful 2020!
→ RELATED CONTENT:
2019, art-agenda, Bilbao, Buenos Aires, Chicago, cover story, end of the year, field trip, Francesc Ruiz, Frieze, Joan Morey, Lara Almarcegui, latitudes, looking back, Mercedes Azpilicueta, Moscow, report
2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).
Happy holidays and a joyful 2020!
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’.
Cover Story—October 2019: Mercedes Azpilicueta in Helsinki.
Cover Story—September 2019: ‘Polperro to Detroit’
Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago.
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’.
Cover Story—May 2019: Buenos Aires in Parallel.
Cover Story—February 2019: Schizophrenic Machine.
Cover Story—January 2019: "Seesaw".
→ RELATED CONTENT:
- Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
- Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
- Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
- Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
- Cover Story–August 2018: Askeaton Joyride, 2 August 2018
- Cover Story–July 2018: No Burgers for Sale 2 July 2018
- 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
Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com
Tue, Dec 17 2019
→ Continue reading.
Originally published in art-agenda on December 13, 2019.
Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port.
(Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
(Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York.
(Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.
(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.
Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
Studio by Christopher Manon during the RijksakademieOPEN 2019.
Studio by Jude Crilli during the RijksakademieOPEN 2019.
Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019.
Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Lotte van Geijn during the RijksakademieOPEN 2019.
Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
(Above
and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a
los árboles, se les reconoce por sus frutos’ [Revolutions, like trees,
are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
LA-artist Matthew Monahan at Fons Welters, Amsterdam.
Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).
(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.
(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.
Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.
Tahmina Negmat at Althuis Hofland.
Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).
And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.
→ RELATED CONTENT:
- Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ at Espai d'art contemporani de Castelló for art-agenda 8 January 2019
- Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018 28 November 2018
- Mariana Cánepa Luna's London Roundup of Frieze week 2018 for art-agenda.com 15 octubre 2018
- Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition at the Fundació Tàpies, Barcelona, for art-agenda.com 21 Marzo 2018
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna review of Ana Jotta's exhibition at ProjecteSD, Barcelona, for art-agenda 11 November 2016.
- Mariana Cánepa Luna review of Francesc Ruiz exhibition at garcía galería, Madrid, for art-agenda 4 March 2016.
- Amsterdam Art Weekend 2014 on Wakelet 27–30 November 2014
- Latitudes review of Andrea Büttner exhibition at NoguerasBlanchard, Barcelona, for art-agenda, 21 July 2014.
‘6 Hours Tide Object with Correction of Perspective’ by Jan Dibbets screened in Barcelona
Tue, Dec 10 2019
Production of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets. Photo: Paloma Polo / SKOR.
The film was produced in 2009 for ‘Portscapes’, the year-long programme producing ten new commissions in and around the Port of Rotterdam, The Netherlands, curated by Latitudes.
Gerry Schum's 1969 'Land Art' series of films screened on German public TV.
Jan Dibbets’ (1941) film was ‘Portscapes’ inaugural project and was filmed on February 8, 2009. Originally filmed 40 years earlier, in February 1969, in black and white and in 16 mm, it was titled ‘12 Hours Tide Object...’. The film was originally presented in 1969 as part of Gerry Schum's seminal 'Land Art' series of artists' films screened that same year on German public TV (this programme was included in Latitudes-curated touring film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ which began at the Museo Tamayo in April 2008.)
The film presents the drawing of an isosceles trapezoid in the sand using a bulldozer – the shape consequently appears as a rectangle in the resultant film due to the angle of perspective. The new 2009 realisation was filmed 40 years later to the month on the beach of the Maasvlakte, an area that was soon after forever transformed with the construction of Maasvlakte 2 – a land reclamation project, realised between 2008 and 2013, that extended Europe's largest seaport and industrial area by 2,000 hectares.
The resulting 8 minute-long film was premiered at the FutureLand Information Centre of the Port of Rotterdam in June 2009 and during Latitudes’ participation in the New York festival NO SOUL FOR SALE – A Festival of Independents (24–28 June 2009).
Dibbets’ film presented as part of Latitudes’ participation in the festival NO SOUL FOR SALE – A Festival of Independents, New York, 24–28 June 2009. Photo: Latitudes.
Projection of Dibbets' 1969 film as part of the itinerant film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ on July 11, 2008, at the barn Hongersdijk Farmstead, Wilhelminapolder, Zeeland, The Netherlands, a programme hosted by SKOR (Foundation Art and Public Space, Amsterdam). Photo: Latitudes.
‘6 Hours Tide Object with Correction of Perspective’ was produced in collaboration with SKOR | Foundation Art and Public Space (1999–2012), an organisation which initiated, curated and developed art projects in relation to the public domain that no longer exists, realising over a thousand projects in public space in the Netherlands for over a decade. Portscapes was curated by Latitudes, culminating in a display of the projects at the Museum Boijmans van Beuningen in Rotterdam in 2010.
→ RELATED CONTENT:
- Portscapes commissions
- Portscapes exhibition at the Museum Boijmans van Beuningen
- Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 1 here.
- Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 2 here.
Video of Latitudes' lecture "Curating in the Web of Life" at Garage Museum of Contemporary Art, Moscow
Wed, Dec 4 2019
‘Curating in the Web of Life’ is in a 1-hour-long lecture presented on November 7, 2019, at Garage Museum of Contemporary Art in Moscow, in the context of their group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’. It is in English and a Q+A follows. You can also watch it with Russian translation (voice-over).
Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
In the lecture, Latitudes discuss how Modern art and modernist art history largely assented to the ontological and epistemological lie which imagined humanity and the humanities making their own history by themselves, while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes. The increasing violence by which the limits of the planet, its feedback loops and tipping points, are forcing themselves into world events has profound consequences for how we narrate (art) history and curate exhibitions in the web of life.
New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna presented a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” ( CAPC musée d'art contemporain de Bordeaux 2017–18), ‘Hemauer Keller: United Alternative Energies’ (Kunsthal Aarhus, 2011), “Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008) and related projects such as the residency programme “Geologic Time” (Banff Centre for Arts and Creativity, 2017).
[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.
→ RELATED CONTENTS:
Max Andrews of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
Mariana Cánepa Luna of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna presented a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” ( CAPC musée d'art contemporain de Bordeaux 2017–18), ‘Hemauer Keller: United Alternative Energies’ (Kunsthal Aarhus, 2011), “Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008) and related projects such as the residency programme “Geologic Time” (Banff Centre for Arts and Creativity, 2017).
[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.
Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art
→ RELATED CONTENTS:
- Conferencia ‘4.543 miles de millones y la naturaleza social abstracta’, Jornadas Eremuak, Azkuna Zentroa, Bilbao, 17–19 octubre 2019, 14 octubre 2019
- Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 11 de julio 2019, 19h
- Parallel Rooms, Art Basel Cities: Buenos Aires talks, hosted in collaboration with arteBA, Buenos Aires, 13 April 2019.
- Convenor, 'The Return of the Earth. Ecologising art history in the Anthropocene’, CAPC musée d’art contemporain de Bordeaux, 15 November 2017.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017.
- Lecture, ‘You're such a curator!’, De Appel Curatorial Programme Summit, Amsterdam, 23–24 November 2016.