Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli
Fri, Oct 27 2023
Photo: @michele_bazzoli
Premièred at Onomatopee on October 25th, 2023, during the Dutch Design Week, the publication “Sketches of Transition. An Atlas on Growth and Decay” brings together the practices of five different artists in relation to the key concept of transition.
Edited by Italian-born, Amsterdam-based artist Michele Bazzoli the book includes a reprint of Latitudes’ text on Lara Almarcegui’s project “Graves” originally commissioned to accompany her solo exhibition at Centre d’Art la Panera, Lleida, curated by Cèlia del Diego and on view between February and June 2021.
Gazing through various apertures of “Sketches of Transition”’s featured researches, each chapter could be considered a sketch of transition in itself, as an annotation on an alternative perspective on the material and visual spheres of our existences. With the same freedom of sketching on a blank paper sheet, the contributions investigate and probe new modes of production of beauty and wonder.
“Sketches of Transition. An Atlas on Growth and Decay”
Editor: Michele Bazzoli
Designer: Kai Udema
Editor: Michele Bazzoli
Designer: Kai Udema
Texts: Maria Barnas, Michele Bazzoli, Dagmar Bosma, Yana Naidenov, Lara Almarcegui’s text by Latitudes (Max Andrews & Mariana Cánepa Luna)
Publisher: Onomatopee projectDate of publication: October 2023
ISBN: 978-94-93148-98-7
ISBN: 978-94-93148-98-7
(Above and two below) Views of Michele Bazzoli’s exhibition “Sketches of Transition. An Atlas on Growth and Decay” and namesake publication at Onomatopee, Amsterdam. Courtesy Michele Bazzoli.
Latitudes’ text presents the two new projects Almarcegui produced for her solo exhibition at Centre d'Art la Panera. “Rocas y Materiales de la Cordillera de los Pirineos” (2021) was an austere ordered list presented as a large wall text detailing the quantities of rocks and materials that constitute the Pyrenees (two images below).
(Above and below) Installation view of “Graves” exhibition at the Centre d'Art la Panera, Lleida. Photos Jordi V. Pou.
The second work, “Gravera” (2021), was a large video projection documenting the industrial complex operated by Sorigué near the town of Balaguer, which temporarily stopped operations for a day (images of the public programme organised during the exhibition below).
(Above and below) “Gravera aturada” was an event organised by the Centre d'Art la Panera, Lleida, on 19 February 2021, as part of Lara Almarcegui’s solo exhibition. For the occasion, citizens were able to take a tour around Sorigué’s gravel mining and processing plant near Balaguer, which stopped its activity for a day. Photos Jordi V. Pou.
RELATED CONTENT:
- Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
- 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
- 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
- Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
- Report from Urdaibai: commission series ‘Sense and Sustainability’, Urdaibai Arte 2012 22 July 2012
- Launch of the monograph ‘Lara Almarcegui. Projects 1995–2010’, edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008, 28 Mayo 2008
- Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
2021 in eleven monthly cover stories
Fri, Dec 31 2021Since Spring 2015, Latitudes has published a monthly cover story on its homepage www.lttds.org featuring past, present or forthcoming projects, as well as ongoing research, texts, artworks, exhibitions, films, objects, or travel related to our curatorial practice. Here's how 2021 looked like on our homepage.
Cover Story–May 2021: RAF goes viral, 2 May 2021
Cover Story–June 2021: Fitness food: Salim Bayri's Amsterdam, 31 May 2021.
Cover Story, July–August 2021: A wide view from a fixed point, 1 July 2021.
Cover Story–September 2021: Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre
Cover Story–October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
Cover Story–November 2021: Notes for an Eye Fire, 2 Nov 2021
Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- 2019 in 10 monthly Cover Stories, 23 Dec 2019
- 2020 in 11 monthly Cover Stories, 28 Dec 2020
Cover Story – April 2021: Lara Almarcegui at La Panera
Fri, Apr 2 2021
April 2021 cover story on www.lttds.org
The April 2021 monthly Cover Story ‘Lara Almarcegui at La Panera’ is now up on our homepage: www.lttds.org
“Latitudes participated in a roundtable and wrote the exhibition text for Lara Almarcegui’s ‘Graves’ (Gravels), currently on view at the Centre d'art la Panera, Lleida, until 30 May. “What possibilities begin to emerge when the excavation at a quarry is stopped?”, the text wonders.”
→ After April 2021 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
- 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021
- Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
- Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
- 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
- Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
- Report from Urdaibai: commission series ‘Sense and Sustainability’, Urdaibai Arte 2012 22 July 2012
- Launch of the monograph ‘Lara Almarcegui. Projects 1995–2010’, edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008, 28 Mayo 2008
- Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola
Mon, Mar 8 2021
Lara Almarcegui, ‘Rocas y materiales de la Cordillera de los Pirineos’ (2021). Cálculo realizado por Javier Ramajo y Carlos Galé, IDEYA RED PROFESIONAL S. L. L. con el apoyo de Alejandro Robador del Instituto Geológico y Minero de España. Una producción del Centre d'Art la Panera con la colaboración de Centro de Arte y Naturaleza, Huesca, y Espacio Portalet, Sallent de Gallego. Foto: Jordi V. Pou. Cortesía de la artista.
Programada en el marco de la exposición individual de Lara Almarcegui “Graves” comisariada por Cèlia del Diego en el Centre d'Art la Panera (19 marzo–30 mayo 2021), la mesa redonda “Transformación geológica y construcción artificial” reunirá a la artista, el comisario Juan Guardiola y a Latitudes en una conversación online el próximo 18 de marzo a las 18:30h.
A través del ejercicio un tanto inverosímil de medir una cordillera, Almarcegui aborda la paradoja que las prácticas de estandarización, cuantificación y matematización que han dado lugar a un extraordinario valor y conocimiento a lo largo de los últimos siglos también representan el avance de una perspectiva que ha permitido la mercantilización y la gestión de la naturaleza. Durante los siglos XVIII y XIX se volvió a imaginar el planeta cartografiando, midiendo y haciendo prospecciones. Estos procesos métricos revolucionarios aceleraron la apropiación de la riqueza de la naturaleza, poniéndola bajo un control sistemático y facilitando su rentabilidad.
(...)
La exposición de Almarcegui busca nada menos que una convergencia de estos marcos temporales rotos a través de la fuerza del arte y un vaivén de escalas y temporalidades entre grava y edificios, el aparente “reloj detenido” de la extracción durante todo un día y la masa absoluta de un macizo montañoso “intemporal” de millones de años. Tanto la industria de La Plana del Corb como la que se ocupa de calcular la masa de los Pirineos, pretenden extraer valor y de alguna manera computar fenómenos que son, significativamente, inconmensurables e inexplicables y que van más allá de la falsa creencia que tenemos suficiente conocimiento.
Lara Almarcegui, ‘Gravera’ (2021), vídeo, 10 min. Cámara: Daniel Lacasa. Editor Pablo Gil Rituerto. Una producción del Centre d'Art la Panera con la colaboración de la Fundación Sorigué. Foto: Jordi V. Pou. Cortesía de la artista.
Imágenes de la exposición “Graves” en el Centre d'art la panera y de la visita a la planta Sorigué, realizadas por Jordi V. Pou. “Graves” es una producción del Centre d'Art la Panera, con la colaboración de la Fundació Sorigué y el Centro de Arte y Naturaleza de Huesca.
→ CONTENIDO RELACIONADO:
- 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
- Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui interviewed by Florence Grivel in UOVO magazine, 2007
- Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
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
Helene Romakin interviews Latitudes for artfridge.de
Tue, Oct 8 2019
As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands.
→ READ THE INTERVIEW: http://www.artfridge.de/2019/10/interview-latitudes.html
→ RELATED CONTENTS:
- Conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
- In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
- Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
- Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
- "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013
PUBLICS' Library in Helsinki incorporates Latitudes-edited back catalogue of publications
Fri, Sep 27 2019
5kg of Latitudes' publications are now in PUBLICS' library.
PUBLICS library is the third location where the whole back catalogue of Latitudes' publications resides, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).
Latitudes' publications available at PUBLICS Library (bibliography online):
We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).
PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.
Joan Morey: COLLAPSE
Various locations, Barcelona
September 2018–January 2019
Exhibition guide/programme guide, opuscule, poster
4.543 billion. The matter of matter
CAPC musée d'art contemporain, Bordeaux
June 2017–January 2018
Exhibition guide & symposium guide
Amikejo
Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
April 2012
United Alternative Energies
Christina Hemauer & Roman Keller
Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
January 2012
Campus
Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
July 2011
Also available online.
Portscapes
Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
February 2010
Martí Anson, Mataró Chauffeur Service
Catalogue of the project, 'No Soul For Sale', Tate Modern, London
January 2011
The Last Newspaper
Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
October–December 2010
Lawrence Weiner: THE CREST OF A WAVE
Booklet of the exhibition, Fundació Suñol, Barcelona
October 2008
Simon Fujiwara: The Incest Museum–A Guide
Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
May 2009
Ignasi Aballí: 没有，有 Nothing, or Something
Catalogue of the exhibition, Suitcase Art Projects, Beijing
July 2009
Ecology, Luxury & Degradation
UOVO #14
Summer 2007
Greenwashing. Ambiente: Pericoli, Promesse e Perplessità
(Greenwashing. Environment: Perils, Promises and Perplexities)
Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
February 2008
→ RELATED CONTENT
- Latitudes publications
- FAQ: Where can I find the publications edited by Latitudes? 22 Apr 2012
- Latitudes publications acquired by the Paul D. Fleck Library & Archives, The Banff Centre, 2 August 2015
Latitudes' "out of office": wrap up of the 2018–2019 season
Thu, Aug 1 2019
Seen in Malasaña, Madrid. Photo: @marianacanepaluna
September 1, 2018: New season, new month, and new cover story on the Harald Szeemann exhibition in Bern (cover story archive here).
September 5, 2018: Launch of a new dispatch of ‘Incidents (of Travel)’ from Buenos Aires, Argentina. In this eighth episode, Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around the self-regulated community Velatropa, 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)’ is an ongoing editorial project edited by Latitudes and produced by KADIST. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia) and Yerevan (Armenia).
September 11–15, 2018: Installation and opening of the exhibition ‘Cream Cheese and Pretty Ribbons!’ at Martin Janda Gallery, Vienna.
But before that, works like those by Eulàlia Rovira and Adrian Schindler were carefully crated and traveled to Vienna from their studio in Barcelona.
September 2—18, 2018: Intermittent installation of Joan Morey’s exhibition ‘COLLAPSE’ at the Centre d’Art Contemporani de Barcelona — Fabra i Coats.
September 19, 2018: Opening of Morey’s exhibition ‘COLLAPSE’, Centre d'Art Contemporani de Barcelona – Fabra i Coats.
September 27, 2018: First reenactment of Joan Morey’s performance ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) interpreted by Sònia Gómez, in the context of the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats.
September 28–October 7, 2018: Research trips to London during Frieze art week (blog post here, art-agenda round-up here) and Liverpool for the Liverpool biennial (photo report here).
While in London we met with Valentina Ravaglia, Assistant Curator, to donate Lawrence Weiner's limited edition tote bag, designed in 2015 to commemorate Latitudes’ 10th anniversary. Shortly after, the tote was included in Tate's ‘ARTIST ROOMS: Lawrence Weiner’ exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.
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)’ is an ongoing editorial project edited by Latitudes and produced by KADIST. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia) and Yerevan (Armenia).
September 11–15, 2018: Installation and opening of the exhibition ‘Cream Cheese and Pretty Ribbons!’ at Martin Janda Gallery, Vienna.
But before that, works like those by Eulàlia Rovira and Adrian Schindler were carefully crated and traveled to Vienna from their studio in Barcelona.
Photo: Eulàlia Rovira and Adrian Schindler.
Installation process of ‘Cream Cheese and Pretty Ribbons!’. Photo: Martin Janda Gallery.
Exhibition file with correspondence, floor plan, artist's CVs, checklist, price list, technicians notes, etc. Above and following photos: Latitudes.
Mariana installing David Bestué’s ‘Trencadissa’ (2013).
(Left) Eulàlia Rovira and Adrian Schindler’s ‘Els peus fixats al terra delatant cap impaciència’ [THE FEET FIXED TO THE GROUND BETRAY NO IMPATIENCE] (2016) and (right) photograph series by Sean Lynch, part of the installation ‘A BLOW BY BLOW ACCOUNT OF STONE CARVING IN OXFORD’, (2013-14).
Eulàlia and Adrian holding their print. Where shall we hang it?
With Sean, Eulàlia and Adrian. Unanimously decided Adrian’s arm was the longest and therefore would perform better as a ‘we-fie’ stick.
September 14, 2018: The day after the opening Eulàlia and Adrian presented “One motif says to another ‘I can't take my eyes off you’” a new performance produced for the occasion at the gallery (focus of the October Cover Story), and Sean Lynch performed the lecture ‘A Blow by Blow Account of Stonecarving in Oxford’, parrots and owls! More photos.
October 2018 cover story. Archived here.
Deciding among the two options for the façade banners. Italics or not?
Last-minute proofreading of exhibition captions and panels.
Planning the next steps during the installation with technician guru Alberto Calvete.
A heads up to visitors.
Listing the contents in each vitrine.
Wall labels, exhibition guide, essay and remote controls.
Opening photos: Eva Carasol.
‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) published in frieze magazine Instagram.
While in London we met with Valentina Ravaglia, Assistant Curator, to donate Lawrence Weiner's limited edition tote bag, designed in 2015 to commemorate Latitudes’ 10th anniversary. Shortly after, the tote was included in Tate's ‘ARTIST ROOMS: Lawrence Weiner’ exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.
(Above and below) View of ‘Lawrence Weiner. ARTIST ROOMS’, National Galleries of Scotland and Tate. ©Lawrence Weiner.
October 11, 2018: Second reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘LLETANÍA APÒRIMA’ [APORIC LITANY] (2009) was interpreted by Jordi Vall-lamora.
January 14, 2019: frieze.com publishes Max’s fan letter on ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’. Published in Issue 200, January - February 2019. Read the text here.
Joan Morey. LLETANIA APÒRIMA (2009). Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring MKachine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.
October 12, 2018: art-agenda.com publishes Mariana Cánepa Luna’s Frieze Roundup review. Read it here.
October 12–14, 2018: Train to Arlès to visit the exhibition ‘Picture Industry: A Provisional History of the Technical Image’ at LUMA Arlès (Max Andrews’s review was published in December).
October 19, 2018: (Secret) Site-visit to La Modelo prison with Joan Morey (artist) and Esther Doblas (executive production) to check the spaces, discuss script possibilities (plan A, B, C, D...), identify mobility issues, etc. At this point in time, nobody knew the location of the event which was only disclosed the very same evening of the performance.
October 25, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)] (2009) was interpreted by Carme Callol and Tatin Revenga.
October 26–27, 2018: Attending the opening of ‘Te toca a tí’ in Espai d'art contemporani de Castelló (EACC). Mariana’s review of the exhibition would be published on January 7, 2019, in art-agenda.
November 1, 2018: Morey’s first performance of the series is this months’ focus on Latitudes’ home page.
November 13, 2018: frieze.com publishes the review of Pere Llobera show at Bombon Projects and SIS galería by Max Andrews. Read the review here. Also included in the January-February 2019, issue #200, page 242.
November 15, 2018: Fourth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) was interpreted by Manuel Segade.
November 22, 19:30h: Unfortunately due to our earlier engagement to attend the Vienna Art Week and a sudden change of dates, we were unable to attend the opening of Joan Morey’s ‘COS SOCIAL’ at Centre d’Art Tecla Sala, the second chapter of ‘COLLAPSE’. Below some install shots when the works arrived from Lleida’s La Panera.
November 22-25, 2018: Amsterdam Art Week. Visited De Appel, Rijksakademie OPEN Studios, Andriesse, Oude Kerk, RongWrong, Stedelijk museum, Ellen de Bruijne, Fons Welters, tegenboschvanvreden, andriesse eyck, a.o. Photo report here (with photos from the Vienna Art Week, too).
November 29, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPO. Prologue] (2015–2016) was interpreted by Catalina Carrasco and Gaspar Morey.
December 1, 2018: Following on our recent trip to Vienna’s Kunsthistorisches Museum to see their historic Brueghel exhibition, we decided to dedicate December’s cover story to another of their current shows: ‘Spitzmaus Mummy in a Coffin and Other Treasures’ conceived by filmmaker Wes Anderson and his partner Juman Malouf.
December 2–4, 2018: Short research trip to Madrid to visit exhibitions: group show ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo in Móstoles; Lúa Coderch’s ‘La vida de O.’ at CentroCentro; comprehensive solo shows by Luigi Ghirri, Luis Camnitzer, Dorothea Tanning, and Dierk Schmidt at Museo Reina Sofia; Lina Bo Bardi at Fundación March; works by Portuguese artists Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida; and a few solo exhibitions in commercial galleries such as David Goldblatt at Elba Benítez; Alejandro Cesarco in Parra & Romero; Eva Fàbregas at garcía galería; Enric Farrés Duran at NoguerasBlanchard and Daniel Jacoby at Maisterravalbuena. We also had time to squeeze in a visit to the Museo Geominero, a place we’ve long wanted to visit and never managed to find time for. And it didn’t disappoint. Highly recommended to everyone not only into minerals and stones but also nerds (as we are) on exhibition display and cabinets.
December 20, 2018: frieze.com publishes Max’s review on the exhibition ‘Picture Industry: A Provisional History of the Technical Image’, a survey exhibition at LUMA Arlès captures the history of mechanically-reproduced imagery from the 19th century to the present. Read the review here.
The review is also the focus of our January’s Monthly Cover Story on Latitudes home page (archived here).
January 8–10, 2019: Set up for the performance ‘Schizophrenic Machine’ by Joan Morey, the closing event of the three-part project ‘COLLAPSE’. Both exhibitions at the Centre d’art contemporani de Barcelona – Fabra i Coats and Centre d’art Tecla Sala close on January 13, 2019.
January 10, 2019, at 7pm: Performance ‘COLLAPSE. Schizophrenic Machine’ by Joan Morey. Performance structured in a prologue and five acts inside Barcelona’s La Model prison. A group of people was driven by coach to the location from each of the two art centres that hosted the first two parts of ‘COLLAPSE’. The performance was integrated into the architecture and the memory of the building, creating an imposing immersive experience. Public restricted by capacity to 113 spectators. Attendance had to be requested in advance and was subject to prior selection and the acceptance of specific rules and a strict dress code. More here.
October 12–14, 2018: Train to Arlès to visit the exhibition ‘Picture Industry: A Provisional History of the Technical Image’ at LUMA Arlès (Max Andrews’s review was published in December).
Frank Gehry’s building under construction.
A large exhibition devoted to Gilbert & George works.
Saturday morning reception at LUMA.
Before the morning reception, a quick walkthrough Arlès busy Saturday market.
Salvador Puig Antich, the last political activist executed by Franco’s dictatorial regime, was jailed in this wing, in the cell 443. He was garroted in March 1974 in a room where parcels were delivered to the prison.
Advanced tangle wiring techniques.
Central space. Morey makes notes on his map of all the access, exits, gallery numbering, etc.
Exit to the largest prison yard.
Cisterns placed outside the cells in cages to avoid prisoners hiding anything in them.
Joan taking further notes nearby the room where prisoners were given methadone.
Joan, Esther and Mariana discuss options in the Panopticon-inspired central space (this cabin is not the original structure).
October 25, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)] (2009) was interpreted by Carme Callol and Tatin Revenga.
Carme Callol and Tatin Revenga rehearsal. Photo: Joan Morey.
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009. Interpreted by Carme Callol and Tatin Revenga. Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.
October 26–27, 2018: Attending the opening of ‘Te toca a tí’ in Espai d'art contemporani de Castelló (EACC). Mariana’s review of the exhibition would be published on January 7, 2019, in art-agenda.
Teresa Lanceta’s work, exhibition view of ‘Te toca a tí’ in Espai d’art contemporani de Castelló (EACC).
November 15, 2018: Fourth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) was interpreted by Manuel Segade.
Preparation of Manuel Segade’s outfit before the reenactment of the performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) by Joan Morey. Photo: Noemi Jariod. Courtesy the artist.
Portrait of Manuel Segade at the end of his performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) on Max Andrews’s Instagram.
November 18–22 Vienna Art Week; November 22-25 Amsterdam Art Weekend: This blog post documents the exhibitions and studios visited during our trip to Vienna, hosted by the Vienna Art Week. As part of the programme, Latitudes participated in a panel discussion on ‘Some Current Positions of Curating’ at das weisse haus.
(Above and below) Photos by eSeL.
November 22, 19:30h: Unfortunately due to our earlier engagement to attend the Vienna Art Week and a sudden change of dates, we were unable to attend the opening of Joan Morey’s ‘COS SOCIAL’ at Centre d’Art Tecla Sala, the second chapter of ‘COLLAPSE’. Below some install shots when the works arrived from Lleida’s La Panera.
Morey striking a pose on the façade of Tecla Sala. Photos: Latitudes.
November 22-25, 2018: Amsterdam Art Week. Visited De Appel, Rijksakademie OPEN Studios, Andriesse, Oude Kerk, RongWrong, Stedelijk museum, Ellen de Bruijne, Fons Welters, tegenboschvanvreden, andriesse eyck, a.o. Photo report here (with photos from the Vienna Art Week, too).
November 29, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPO. Prologue] (2015–2016) was interpreted by Catalina Carrasco and Gaspar Morey.
The final shot of ‘IL LINGUAGGIO DEL CORPO’ published on Max Andrews' Instagram (later deleted by Instagram due "not following their community guidelines on nudity").
December 1, 2018: Following on our recent trip to Vienna’s Kunsthistorisches Museum to see their historic Brueghel exhibition, we decided to dedicate December’s cover story to another of their current shows: ‘Spitzmaus Mummy in a Coffin and Other Treasures’ conceived by filmmaker Wes Anderson and his partner Juman Malouf.
December 2018 cover story on www.lttds.org
December 2–4, 2018: Short research trip to Madrid to visit exhibitions: group show ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo in Móstoles; Lúa Coderch’s ‘La vida de O.’ at CentroCentro; comprehensive solo shows by Luigi Ghirri, Luis Camnitzer, Dorothea Tanning, and Dierk Schmidt at Museo Reina Sofia; Lina Bo Bardi at Fundación March; works by Portuguese artists Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida; and a few solo exhibitions in commercial galleries such as David Goldblatt at Elba Benítez; Alejandro Cesarco in Parra & Romero; Eva Fàbregas at garcía galería; Enric Farrés Duran at NoguerasBlanchard and Daniel Jacoby at Maisterravalbuena. We also had time to squeeze in a visit to the Museo Geominero, a place we’ve long wanted to visit and never managed to find time for. And it didn’t disappoint. Highly recommended to everyone not only into minerals and stones but also nerds (as we are) on exhibition display and cabinets.
Lúa Coderch’s ‘La vida de O.’ at CentroCentro.
December 13, 2018: Sixth and final reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE. The Utopian Body] (2017) was interpreted by Eduard Escoffet.
Alejandro Cesarco at ParraRomero, Madrid.
Above and below: Museo Geominero, Madrid.
Group exhibition ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo (CA2M) in Móstoles.
Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.
Backstage makeup and application of fake tattoos – in the hurry the ‘Memento Mori’ tattoo on one on Escoffet’s arm was upside down. No big deal.
January 7, 2019: art-agenda publishes Mariana’s review of the group exhibition ‘Te toca a tí [It's your turn]’ at Espai d'art contemporani de Castelló (EACC). Read the review here.
‘COLLAPSE. Schizophrenic Machine’ by Joan Morey.© 2019. All documentation photographs by Noemi Jariod. Courtesy of the artist.
Each of the 27 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)’ is an editorial project that began in Spring 2016. It’s edited by Latitudes and produced by KADIST as part of their online projects. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia), Yerevan (Armenia) and Buenos Aires (Argentina).
February 20, 2019: After a few weeks facing the screen and months mining hard disks, we finally upload Latitudes’ redesigned portfolio, available to download for desktop/laptop/tablet view (83pp, 30.9 MB), for mobile (164pp,15.8 MB) or for print (164pp, 155.3 MB).
February 26–March 1, 2019: Three intensive days navigating ARCOmadrid events. We enjoyed Reina Sofía’s exhibitions dedicated to Chicago-based artist H. C. Westermann (reviewed by Mariana in the April issue of L’Officiel Art International) and Mapa Teatro’s site-specific installation as part of the Fisuras programme; David Bestué’s solo show at García Galería; Catalina Lozano’s exhibition ‘Winning by Losing’ at CentroCentro; Charlotte Moth’s subtle play with three works from CA2M’s collection in Móstoles, and Armando Andrade Tudela also at CA2M.
Above and below: David Bestué solo show at García Galería, Madrid.
(Above and below): Following on from Joao Laia’s earlier exhibition ‘Transmissions from the Etherspace’ in the same institution, his latest exhibition ‘Drowning in a sea of data’ —despite the ubiquity of the topic of the incessant presence of technology and algorithms in our daily lives — included great works such as Clemens von Wedemeyer’s film and Tomasz Kowalski’s small canvases.
Downstairs the highlights of this year’s Generación 2019 were Susanna Inglada and Lucía P. Moreno.
Catalina Lozano’s group exhibition ‘Winning by Losing’ at CentroCentro. Above: work by Patricia Esquivias. Below: Work by Asier Mendizábal and (next images) Jorge Satorre and Xavier Salaberría.
(Above and below) Bravo to Charlotte Moth’s subtle play with three pieces in CA2M’s collection in dialogue with some of her work. A highlight was the two-part theatre backdrop painted by Leonor Fini in the 1950s and commissioned by Antonio el Bailarín for the 1956 International Festival of Granada.
Max Andrews and Lara Marmor conversation ‘First Things First: Making Exhibitions for a General Audience’ covered the contradictions for curatorial and artistic strategies addressing larger audiences. Photo: Art Basel.
In ‘Beyond the Museum: New Institutional Frames for Art’ Mariana Cánepa Luna and Solana Molina Viamonte discussed some of the current transformations institutions undergo, as well as identifying forthcoming challenges. Photo: Art Basel.
Pizza and fugazza at El Cuartito with Alejandra Aguado.
April 2019: Two articles were published this month. Latitudes wrote a 14-page feature on Joan Morey for THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art, and Mariana wrote a review of H. C. Westermann’s retrospective ‘Goin’ Home’ (Volver a casa) exhibition at the Museo Reina Sofía in Madrid, published in L’Officiel Art International’s issue #29. More on our writing archive.
The first page of the 14-page feature on Joan Morey’s performative practice was published on THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art.
Views of the H. C. Westermann's retrospective "Volver a casa" exhibition at the Museo Reina Sofía in Madrid. Photo: Latitudes.
In 2011 Latitudes edited the monograph ‘Lara Almarcegui. Projects 1995–2010’ published by Archive Books.
(Two above) IVAM’s new sculpture park under construction.
(Two above) Views from their current permanent collection display ‘TIEMPOS CONVULSOS. Historias y microhistorias en la colección del IVAM’.
(Above and below) Views from the exhibition ‘Ice and Earth: The Shimmering Abstractions’ by Anna-Eva Bergman at Bombas Gens, Valencia. Read here.
May 6–31, 2019: Intense jury duty selecting Barcelona Producció awardees of the 2019–2020 season, an initiative of La Capella. Three long weeks reading 259 applications, debating with the rest of the jury, and interviewing 32 shortlisted candidates in order to award 15 production grants.
Projects by Lola Lasurt, Consol Llupià and Agustín Ortiz Herrera.
On June 3, winners are announced. Latitudes will tutor three of the fifteen awarded projects: ‘Joc d'infants’ [Children’s game] by Lola Lasurt (solo exhibition, June-October 2020), the offsite project ‘La Balena del Prat al Prat’ [The El Prat Whale to El Prat] by Consol Llupià, and the research ‘Nombrar, poseer. Crítica de la práctica taxonómica’ [To name, to own. Critique of taxonomic practice] by Agustín Ortiz Herrera.
Exhibition catalogue ‘Lara Almarcegui. Béton’ published by Silvana Editoriale.
June 4, 2019: We received copies of the publication ‘Lara Almarcegui. Beton’ (Silvana Editoriale, April 2019), which includes Latitudes' essay ‘Thinking like a drainage basin’.
One of the cleverest interventions: (Theresa) ‘May you live in interesting times’, Venice Biennale 2019.
June 10–14, 2019: Visiting the Venice Biennale. Highlights: Jannis Kounellis at the Fondazione Prada; in the biennale enjoyed works by Khalil Joseph, Ed Atkins, Gabriel Rico, Hito Steyerl, Otobong Nkanga, Haris Epaminonda, Ulrike Müller, Michael Armitage, Gauri Gill (a highlight of Documenta14), Cyprien Gaillard, Jimmie Durham and Lara Favaretto, et. al. The group show at Punta della Dogana (always impeccably installed) had great pieces by Hicham Berrada, Charbel Joseph H. Boutros, Stéphane Saade, and Ari Benjamin; Christopher Kulendran Thomas at V-A-C; mixed feelings about Luc Tuymans at Palazzo Grassi; visited the empty Lithuanian (performances were only on Saturdays, Wednesdays has now been added to the schedule). In the Giardini, we enjoyed the presentations in France, Brazil, Belgium and Switzerland, and elsewhere Ghana, Cyprus, Wales, France, Madagascar, Dineo Seshee Bopape's work in the South African pavilion, the maze-like Italy and Hong Kong. Future Generations is always good to visit, though we'd be grateful if they could provide a leaflet or sheet with information on the exhibited works and artists. We enjoyed the presentations by Toyin Ojih Odutola, Jakob Kudsk Steensen, Daniel Turner and Gala Porras-Kim and had time to swing by Victoria Miro which presented great paintings by Njideka Akunyili Crosby. Others are photographed below.
Detail from Cathy Wilkes’s work at the British Pavilion, Venice Biennale 2019.
Ingela Ihman’s work at the Nordic Pavilion, Venice Biennale 2019.
Sergio Prego’s sculptures at the back of the Spanish Pavilion, Venice Biennale 2019.
Yu Ji sculptures in the Central Pavilion, Giardini, Venice Biennale 2019.
Jimmie Durham’s ‘Black Serpentine’ in the Central Pavilion, Giardini, Venice Biennale 2019.
Lara Favaretto's ‘Thinking Head’ in the Central Pavilion, Giardini, Venice Biennale 2019.
Haris Epaminonda in the Arsenale, Venice Biennale 2019.
Joël Andrianomearisoa at the Madagascar Pavilion, Corderie, Venice Biennale 2019.
Lynette Yiadom-Boakye’s paintings at the Ghana Pavilion, Corderie, Venice Biennale 2019.
Irish pavilion with work by Eva Rothschild, Corderie, Venice Biennale 2019.
Welsh Pavilion presented work by Sean Edwards, Venice Biennale 2019.
Photo © Institut Valencià d'Art Modern (IVAM).
Nearby building to HANGAR on c. Marroc / Espronceda.
July 22, 2019: We learn Joan Morey is one of the eight beneficiaries of the 27th edition of the Botín Foundation’s International Visual Arts Grants. Yey!
July 26-28, 2019: Trip to Madrid to catch a few exhibitions before they finished and the August exodus. Henrik Olesen, David Wojnarowicz, Miriam Cahn, Sara Ramo and Rogelio López Cuenca at the Museo Reina Sofía; Inéditos 2019 at La Casa Encendida; Eva Fàbregas and Aimée Zito Lema at CentroCentro; the recently inaugurated Paloma Polo at CA2M in Móstoles; Joël Andrianomearisoa (at Galería Sabrina Amrani) and Darío Villalba at Sala Alcalá 31, two shows ending this weekend.
Joël Andrianomearisoa at Galería Sabrina Amrani.
Above and below: Darío Villalba at Sala Alcalá 31
Eva Fàbregas ‘Gut feeling’ at CentroCentro.
Paloma Polo, ‘A Fleeting Moment of Dissidence Becomes Fossilised and Lifeless After The Moment Has Passed’ 2014, at CA2M in Móstoles.
Henrik Olesen, ‘SOME GAY-LESBIAN ARTISTS AND/OR ARTISTS RELEVANT TO HOMO-SOCIAL CULTURE BORN BETWEEN C. 1300–1870’ (2007) at Museo Reina Sofía.
David Wojnarowicz's photograph ‘What Is This Little Guy’s Job in the World’ (1990) at the Museo Reina Sofía.
The 2019–2020 season will kick off on 9–15 September. We'll be in Helsinki participating in two events. Firstly the art festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS presenting a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia, local and international organisations. Latitudes’ has invited Mercedes Azpilicueta to present the performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs.
Skype conversation with the artist Mercedes Azpilicueta and Paul O'Neill from PUBLICS.
And secondly, we'll be part of Frame Contemporary Art Finland's ‘Gathering for Rehearsing Hospitalities’, a week composed of a series of talks, performative dialogues, interventions and screenings developed in collaboration with a number of local partners.
A few days later, we'll be participating in the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative visiting a range of institutions and artists in Chicago (17–21 September) and Detroit (21–23 September).
A few days later, we'll be participating in the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative visiting a range of institutions and artists in Chicago (17–21 September) and Detroit (21–23 September).
→ RELATED CONTENTS:
- 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
11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
Tue, Jun 25 2019
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’
Sat, Jun 1 2019
Latitudes' homepage www.lttds.org
The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org
“Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”
—> Continue reading
—> After May 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.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair 22 April 2019
- Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 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)
- Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 201