Latitudes’ "out of office" 2021–22 season
Mon, Aug 1 2022
Frozen facemask, Helsinki, March 2022.
As the summer break creeps up on us with a weary smile in the already sweltering heat-and-humidity of Barcelona, it’s once again time for our annual looking-back post wrapping up the last twelve months of Latitudes’ activities, a period of time which includes the most extensive exhibition we’ve made to date in Spain: MACBA’s “Panorama 21. Notes for an Eye Fire”.
In thinking of how to pen this little introduction to a compilation that’s an ending of sorts, our thoughts turned back to a request we received in February from Shimmer, the exhibition space in Rotterdam, The Netherlands. The artist Jo-ey Tang was creating a new version of a project which would comprise an endless loop of the favourite endings of films suggested by friends of Shimmer. Our contributions: Mariana chose Giuseppe Tornatore’s Cinema Paradiso (1988) and Max, the Coen Brothers’ The Big Lebowski (1998).
In the ending of Cinema Paradiso, Salvatore watches a final bittersweet gift from Alfredo: a reel with all the romantic scenes that had been censored from the cinema. Looking back brings happy nostalgia and a chance to make peace with the past.
And to paraphrase the Coens’ Stranger... well, that about does her, wraps her all up. Things seem to have worked out pretty good. Parts, anyway. Aw, look at me, I’m ramblin’ again. Well, I hope you folks enjoyed yourselves. Catch ya later on down the trail...
This end-of-the-season post is the fourteenth in the “out of the office” series published every end of July to mark the beginning of our holidays (or the desire of having one). Check earlier posts from 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20 and 2020–21 seasons. All photos are by Latitudes unless stated otherwise in the photo caption.
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The September 2021 issue of frieze magazine includes a review of David Bestué's exhibition at Centre d'art La Panera, published online last May.
via @marcnavarro facebook.
Above photo by Hiuwai Chu. Below are co-curator Hiuwai Chu and Rasmus Nilausen under Felix Gonzalez-Torres’s “Untitled (Perfect Lovers)” (1987–1990).
13 September 2021: Boules of oak (Quercus canariensis), cedar (Cedrus sp.) and pine (Pinus pinea) arrive at TMDC in La Verneda, the material for a new iteration of Nyamnyam and Pedro Pineda’s project ‘A quatre potes’ (2014–ongoing) that will be presented in MACBA's exhibition “Panorama 21. Notes for an Eye Fire”.
As the exhibition wall text pointed out, the project is “founded on the principle that in order to share a meal or have a discussion you first have to build a table to sit at. Leading up to and during the exhibition, a group of people with diverse roles within the MACBA are participating in a series of co-design and collaborative making workshops that began with the purchase of several tree trunks from a sustainable forestry initiative in the nearby Montnegre massif.”
During the next week, the trees would be “transformed into planks and laths at the shared machine shop TMDC, this locally sourced wood is being adapted in the gallery by the museum workers into a range of tables, benches, and other structures. This furniture acts as a mediator between natural and human resources, creating different social settings throughout the course of the exhibition and becoming the scenography and motive for a series of discussions around practices of collectivity and cultures of sustainability within and beyond the institutional walls.”
Photo: TMDC
22 September 2021: Conversation with Jorge Satorre as part of the series “Dialogues with artists from the Contemporary Art Collection” and within the framework of “El tiempo en las cosas”, an exhibition curated by Tatiana Cuevas at the Museo Amparo in Puebla, Mexico.
Due to work and time differences, the talk was recorded a few days earlier. The conversation revolved around the production process of "The Erratic. Measuring Compensation", a work included in Satorre's exhibition and commissioned by Latitudes as one of the ten projects produced throughout 2009 in the public space of the Port of Rotterdam, The Netherlands.
‘The Erratic’ is also featured as the September 2021 Cover Story on our homepage.
27 September–19 October 2021: Three weeks installing the first edition of MACBA’s Panorama triennial, “a new series of transdisciplinary projects that reflects the museum’s desire to deepen its collaboration and dialogue with local artists and cultural agents”. The inaugural project of Panorama is the group exhibition “Notes for an Eye Fire” which occupies MACBA's top floor. During this first install week, efforts centred on shipping, registering, and installing Rasmus Nilausen’s “Theatre of Doubts” (2021) at one end of the museum and Stella Rahola Matutes’ “Fig Juice” (2020) at the other end, while walls were being painted, final sound checks were done and artworks were finally arriving at the museum.
Stella Rahola Matutes and Alex Castro (Conservator, MACBA) photo-documenting Stella's work before installation.
Xavi (install crew of Coolturart) installed one of Stella's glass figures.
Stella Rahola Matutes and Xavi (install crew of Coolturart) carefully installed Stella’s “Fig Juice”.
Lluis Roqué (Conservator at MACBA) documented Rasmus Nilausen’s paintings.
Rasmus Nilausen’s paintings (walls) and Stella Rahola Matutes glass pieces and chains (tables) are analysed and registered by the conservation team before installation.
While Rasmus's wooden supports are being assembled, the improvised office at the museum landing is busy checking the “final-final-final” version of the wall labels, intro text and the leaflet.
First of Rasmus Nilausen’s large paintings (1 of 49) is finally up, supervised by Eva Font (left, space coordinator of the exhibition, MACBA), Alex Castro and Lluís Roqué (centre, Conservators, MACBA), ARAM staff (the carpenters that produced the wood supports) and the install crew of Coolturart.
Nilausen's “Wax Cabinet” (2021, 300 x 205 x 6cm, oil on linen) being moved and hung (below).
Ongoing metamorphosis in the largest exhibition space on the second floor.
Last sound checks with Pablo Miranda and Laia Estruch.
R. Marcos Mota of El Palomar doing a mock-up of the archival material to be presented in vitrines.
Meanwhile, nyamnyam and Pedro Pineda’s tree is sent to Lleida to be fireproofed.
To end the first week, Antoni Hervàs’s “La Meiers” (above) arrives at the museum from La Escocesa, as well as Claudia Pagès’s silkscreened and fireproofed cardboard from Capellades (two below), alongside the structure manufactured by Tallers Soteras to hold the LED panels shipped from Shenzhen that forms her new commissioned video installation “Gerundi Circular” (2021) – soundtrack here.
Week 2 begins with the exciting placement of Antoni Hervàs’s “La Meiers” becoming the entrance to the exhibition.
Meanwhile, Arash Fayez’s wall is almost fully painted in the nearby gallery...
...and Claudia Pagès starts installing the LEDs around the circular metal structure.
Claudia amidst the cable maze.
Coolturart team fixing the circular screen to the ceiling.
First sound and image test of El Palomar’s “Schreber is a Woman” with R. Marcos Mota. The amazing soundtrack that accompanies the video can be listened to here, on Spotify or you can also purchase the 12'' vinyl edition.
Drawing of the structures that hold Laia Estruch’s “Ocells Perduts” net structure drawn by the museum architecture department, placed below by RMG Redes.
Vinyl placed in Plaça dels Àngels promoting MACBA’s programme this trimester includes two sketches by Laia Estruch of her “Ocells perduts” piece.
Habemus Ruta de Autor newspaper!
Parallel to all the activities going on, Hervàs continues customising “La Meiers” to fit what will become the entrance to the exhibition.
Eulàlia Rovira’s replica of Richard Meier’s signature column arrives at the museum. Since we have all the hands and machinery ready, it soon goes up.
Eulàlia shares instructions on how to assemble the yellow supports.
Laia Estruch’s large red net slowly goes up and takes shape.
Photo: Hiuwai Chu
Making a selection of Eulàlia Rovira’s new photo collages.
Hervàs in progress.
Technical difficulties. Please bear with us.
Laia is finally able to go up the net and do her first and only rehearsal. High expectations from artists colleagues, curators and staff observing below.
Final calculations before hanging Arash Fayez’s 310 papers documenting his migrant “limbo” status in the US and Europe.
Meanwhile, in the Teatre Molino in Paral·lel, Antoni Hervàs’ begins “La Meller”, the second part of his contribution to Panorama 21: a 27-metre mural in which Hervàs and his collaborator Pau Magrané unfold a chronicle of the neighbourhood's beloved theatres and venues, both past and present, resulting in "a frieze-carousel" where authors, actors and actresses such as Violeta la Burra, Escamillo, Johnson, Pierrot, Ángel Pavlovsky, float timelessly intertwined by boas.
(Above and below) Pau Magrané and Antoni Hervàs working on the graffiti. Photo: Eva Carasol.
Tecnodimensión testing Laia Estruch’s wind sock before mounting it on the wall.
Adrian Schindler goes through the ephemera that will be displayed as part of his installation.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Placing the newspaper spread by Ruta de Autor to check heights.
Entrance / Exit of the exhibition in progress.
Marria Pratts’s “Sento una música dintre del cap (I Hear Music Inside My Head (Transformation of a Blurry Thought)), 2021.
Antoni Hervàs’ “La Meiers” is almost there.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Iñaki of nyamnyam and Pedro Pineda placing the fireproofed wood boules (detail below)
Max Andrews, Hiuwai Chu and Aleix Plademunt checking the measurements between the 18 images.
Important message from Antoni Hervàs: “Do not paint in white!! (please) You were right, thank you. NO!” :-)
As the day ends we leave the museum and take a gander at the lighting colours on Rosa Tharrats’s installation as the days get shorter.
Entrance vinyl is in place and final cleaning.
In the 16th dispatch, curator Marie-Nour Héchaimé navigates Beirut with artist-filmmaker Panos Aprahamian a year after the August 2020 explosion, when hundreds of tons of ammonium nitrate stored for six years without safekeeping in the port of the Lebanese capital were set on fire and exploded. The blast killed more than 200 deaths, 6,500 wounded, 300,000 displaced, and great destruction in the city. “I say that I am living with ghosts—of people, places, memories, stories”, she reflects. “He answers that Beirut is disintegrating in front of our very eyes.”
Part of the series produced by KADIST and edited by Latitudes since 2016, exploring the chartered itinerary as a format of an artistic encounter between curators and artists.
21 October 2021: Press conference and evening opening of the exhibition “Panorama 21: Notes for an Eye Fire” at MACBA. We realise this is the first time all the artists and curators are able to meet IRL.
Final clean-up before the press conference.
Photo: Pedro Pineda.
Participants of “Panorama 21. Apunts per a un incendi dels ulls” (nyannyam and Ana Domínguez are missing) posing for the press. Photo: Hiuwai Chu
(Above and three below) Press conference in MACBA's atrium, 21 October 2021. Photos: Miquel Coll.
(Left to right) Max Andrews (Latitudes), Hiuwai Chu (Head of Exhibitions, MACBA), Elvira Dyangani Ose (Director, MACBA) and Mariana Cánepa Luna (Latitudes) during the press conference, 21 October 2021. Photos: Miquel Coll.
Participating artist Eulàlia Rovira responded to Carolina Rosich's questions for TV3 news. Photo: Hiuwai Chu.
(Above and nine below) Opening of the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA. Photos: Miquel Coll.
Photo by Hiuwai Chu.
19 November 2021: First change of Nyamnyam and Pedro Pineda’s “A quatre potes” (2014–ongoing), a scenography presented as part of MACBA’s exhibition “Notes for an Eye Fire”.
20 November 2021: First of four open rehearsals of “Ocells perduts” [Stray Birds] (2021) by Laia Estruch presented as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
Above and below photos: Miquel Coll.
25 November 2021: Jury of the 5th edition of DART Festival, alongside the film critic Quim Casas and the journalist Ianko López, and festival team members Enrichetta Cardinale and Silvana Fiorese, to choose the best national and international documentary in the competitive section.
2 December 2021: Parlem de...cabaret, a guided visit led by participating artist Antoni Hervàs as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”. The audio was edited and later made available on Latitudes’ Soundcloud.
Audio of Toni’s 1h guided tour on Soundcloud.
Second part of Antoni Hervàs’ itinerary we stopped at the bar Atlanta FC in Rambla del Raval, where Hervàs explained the origins of his proposal for his two-part project for MACBA's exhibition: the 1980s board game “El Chino” (as part of El Raval neighbourhood was formerly known). Hervàs also shared a selection of preparatory drawings that we would later see on the wall he and Pau Magrané graffitied in Paral·lel.
The itinerary ended in front of Teatre Arnau in Paral·lel, where Toni Hervàs and his collaborator Pau Magrané painted the wall that protects the theatre during its restoration. Hervàs’ mural honours the cabaret history of Paral·lel’s nightlife, its cabaret, bars, and actresses.
9 December 2021: Parlem de...Anecdotes to be Forgotten, a performative walkthrough by Arash Fayez as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
14 December 2021: Ràdio Web MACBA publishes a podcast with El Palomar (in Spanish) where they discuss “Schreber is a Woman” (2020) their most recent film produced for the 11th Berlin Biennial and presented for the first time in Spain as part of MACBA’s “Apunts per a un incendi dels ulls”.
Phone view of → http://incidents.kadist.org/Riga
17–19 December 2021: After months of uncertain planning, Paul O'Neill, director of PUBLICS, is able to visit Barcelona to meet Laia Estruch and attend the second rehearsal of her work ‘Stray Birds’ (2021), a new commission produced for the exhibition “Notes for and Eye Fire” at MACBA, and supported by PUBLICS.
January 2022: Visiting MACBA’s exhibition with long-time artist friend Lara Almarcegui based in Rotterdam.
13 January 2022: Hablemos de... Passió i cartografia per a un incendi dels ulls, a sung visit by poet Gabriel Ventura and flamenco cantaor Pere Martínez, reading and singing poems written for the occasion by Gabriel. Pell de gallina!
Gabriel started the itinerary under Antoni Hervàs’s work “La Meiers”, a work commissioned for MACBA’s exhibition, that became the entrance and the exit to the neighbourhood.
17 January 2022: Exactly a year after its closure, we receive a copy of the publication accompanying the exhibition “Things Things Say”, which took place at Fabra i Coats: Centre d'Art Contemporani de Barcelona between October 2020 and January 2021. We are elated to finally have it in our hands!
A discussion around “A quatre potes”, the project presented in the exhibition by nyamnyam and Pedro Pineda, around forest management, design as an investigative tool, and the limits of the museum with the participation of Lídia Guitart (forest engineer), Curro Claret (industrial designer), Ingrid Guardiola (writer, cultural researcher and Director of Bòlit, Centre d'Art Contemporani), the artists, exhibition curators, and workshop participants. This activity was part of Education from Below, a project with the support of Creative Europe's programme of the European Union Creative Europe.
The setting for the event was rearranged the evening before with workshop participants (MACBA staff that have volunteered in a number of workshops cutting the wood planks, arranging them in the exhibition space, and changing the set-up on a monthly basis) following the principle and the spirit of the project that “in order to have a discussion we need a table”.
(Above and below) The before and after, seating is ready for tomorrow's open discussion. Photos: Ariadna Rodriguez (nyamnyam).
Above and two photos below: Miquel Coll.
Designer Curro Claret brought in an earthenware cup used in India to drink tea before boarding on a train. Once used the cup is thrown out the window and hence, naturally recycled into the landscape, an “evident example of what circular economy is and should be”. Plastic cups took over but pollution along the tracks was so bad the government encouraged tea makers to go back to earthenware.
Ingrid Guardiola began mentioning Octavi Comeron’s “La Fábrica Transparente” and how institutions’ obsession with transparency, in turn, generates opacity from within those institutions or, as Peter Sloterdijk warned, is an example of cynical transparency. Then moved on to reflect on how institutions could learn from forest’s entropy and efficiency and how exceeding energies could be used within institutions.
Lidia Guitart, a forest engineer from the Associació Propietaris Forestals del Montnegre i el Corredor (from where nyamnyam’s wood was originally purchased) discussed perceptions of forest management in Catalunya in relation to Finland (the leader in paper pulp supplier) and shared some interesting data: 60–70% of Catalunya is forest, yet 80% of that is in private hands.
The 2h session was punctuated by printed cards with words/concepts triggering several subjects related to each of the guests' practices which were then chosen at random to encourage interlinking rather than monothematic presentations.
2 February 2022: Ràdio Web MACBA publishes a podcast with Claudia Pagès (in Spanish) where she discusses “Gerundi Circular” (2021) a new video-installation commissioned for MACBA’s “Apunts per a un incendi dels ulls”. The work is presented in her solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” in Madrid’s gallery The Ryder in June 2022.
Photos above and below by Ana Domínguez.
The book includes a preface by art centre director Joana Hurtado Matheu, new texts by Latitudes, a text-based intervention by participating artist Eulàlia Rovira, and texts on each exhibited work also written by Latitudes.
Photos: Latitudes
22–25 February 2022: Trip to Madrid for ARCOmadrid. Max previewed “What to see during this year's ARCOmadrid” for frieze. Worth adding to the list is the joyous retrospective of Bruno Munari at Fundación Juan March, the catalogue currently on our desk.
27 February 2022: After a four-month run, the exhibition ‘Notes for an Eye Fire’ comes to an end at MACBA. Here is a selection of the most relevant reviews, clips from television and radio programmes that have covered the show, and of course photo documentation.
As a poetic colophon of the exhibition, the publication “Passió i cartografia per a un incendi dels ulls” was released. It includes a new poem in three movements by exhibition participant Gabriel Ventura, and photos of the works in the museum galleries documented by Roberto Ruiz, Eva Carasol, Miquel Coll and Latitudes.
Photos: Gemma Planell.
2 March 2021: Ràdio Web MACBA publishes a podcast with Panorama artist Marc Vives (85'22'' in Spanish) where he discusses his practice and for MACBA’s “Apunts per a un incendi dels ulls”.
10 March 2022: Lecture about our curatorial practice and on the recently concluded MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls” to fourth-year students at the Fine Arts Department of the Universitat de Barcelona. The student Rita Duarte Lli tagged us during our presentation, so we asked if she would mind sharing the mental map she drew during the session, see below.
Mental mapping of the session courtesy of Rita Duarte Lli (@ritinacaipirina ) following the @cursogenius.es technique.
We donated three more publications (“Passió i cartografia per a un incendi dels ulls” published by MACBA in 2022, Lola Lasurt’s “Joc d'infants” published by La Capella in 2020 and Anna Moreno’s “The Drowned Giant” also published by La Capella in 2017) to PUBLICS Library, joining the first 5kg we donated back in 2019. These will soon be joined by the publication of the exhibition “Things Things Say” published by Fabra i Coats: Centre d'Art Contemporani de Barcelona. You can search here.
[Note that not all the results are under “Latitudes”, others are under “Max Andrews” or “Mariana Cánepa Luna” as writers]. PUBLICS library is the third location where the whole set of Latitudes’-edited publications sleep, alongside the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
A selection of Latitudes and Laia Estruch publications available for consultation at PUBLICS.
On March 15, we had the chance to do an adaptation of our itinerant “Near-Future Artworlds Curatorial Disruption Foresight Group” workshop (earlier iterations took place in Bari, San Francisco, Birmingham, and Barcelona), this time under the “Professional Skills for Artists” class led by Prof. Suzanne Mooney. We met around fifteen MFA students in the new Sörnäinen campus building of the Academy of Fine Arts of the Uniarts Helsinki. Throughout our 2-hour encounter, issues such as the lack of free-of-charge exhibition spaces for younger artists or affordable studio spaces emerged when reflecting on the weaknesses of Helsinki’s art ecology and how could these needs be “hacked”, improved, and ideally eliminated.
Photos at PUBLICS by Noora Lehtovuori.
30 March 2022: frieze.com publishes Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” at Cordova in Barcelona. The frieze summer issue will include a printed version.
31 March 2022: Press trip to Córdoba on the occasion of “Abundant Futures”, the inaugural exhibition Thyssen-Bornemisza Art Contemporary (TBA21) organises in C3A Centro de Creación Contemporánea de Andalucía, Córdoba, as part of their three-year-long collaboration agreement.
(Above) Ceramic pieces by Asunción Molinos Gordo. (Below) Installation by Ernesto Neto.
(Above) Installation by Daniel Steegman Mangrané.
(Below) "Apagón" (2017) by Allora & Calzadilla, included a performance activated in the opening evening performed a capella by a local choir.
(Above) Installation view with works by Ai Weiwei (left) and Regina de Miguel (right).
1 April 2022: New cover story on Latitudes’ home page on Laia's performance “Mix” and PUBLICS & Latitudes match.
Shimmer’s Instagram, 9 April 2022.
23 April 2022: “Things Things Say” cover is peaking out amongst the selection of publications sold at the Serveis Editorials de l'Ajuntament de Barcelona book stall in Passeig de Gràcia on the occasion of Sant Jordi 2022.
photo via @bcn_llibres Twitter.
2 May 2022: “Things Things Say” book features in the May Cover Story. The exhibition began with a list of thirty-three questions that confronted visitors, which find their answers in the (mini) catalogue. Ranging from literary quotations and curatorial touchstones to theoretical anecdotes and red herrings, the “answers” wander around the exhibited works, and tack back-and-forth between exceptionally normal things and the extraordinary global narratives of labour, obsolescence, and the industrialisation of nature, that they trigger.
Between June and September, Irina will lead a series of three workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of a “tour” of Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context to human bodies in Helsinki, the sessions will broach performative practice, translation and transcription, and the non-verbal capacity of the voice.
18 May 2022: Visiting “The Milk of Dreams”, the 2022 edition of La Biennale di Venezia curated by Cecilia Alemani. So great to see you again Venezia.
Rosa Tharrats’s first solo show at Galería Ehrhardt Flórez.
View of Aleix Plademunt solo show at Sala Canal Isabel II. Photo: Aleix Plademunt.
11 June 2022: Opening of “Cracking a nut” a solo show by Barcelona-based artist Lúa Coderch on three floors of Fabra i Coats: Centre d'Art Contemporani, Barcelona. [The exhibition had to close two days later due to climate control issues and will reopen on September 13].
Curated by the art centre director Joana Hurtado Matheu, the exhibition includes the work “La declaración del arcoíris” (The Rainbow Statement, 2022), originally commissioned by Latitudes as one of five “Compositions” interventions produced for the Barcelona Gallery Weekend 2016. In its first incarnation, Coderch guided sunlight and a spectrum of colours down into the underground gaming space of the Barcelona Billiards Club with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards.
(Above) “La declaración del arcoiris” (The Rainbow Statement, 2022) at Fabra i Coats: Centre d'Art Contemporani.
“La declaración del arcoiris” (2022). Photo courtesy Lúa Coderch. Image Adrià Sunyol Estadella and Alex Weecha.
(Above and two below) Lúa Coderch’s “The Rainbow Statement” (2016) at the Barcelona Billiards Club, part of “Composicions” series of interventions curated by Latitudes for the Barcelona Gallery Weekend 2016. Photos: Roberto Ruiz.
The voice-over features the voice of Mariana Cánepa Luna of Latitudes, which was recorded in March 2017 in a highly DYI mode by improvising a soundproof environment with blankets and carpets in the quietest space in the home on a Sunday morning: the WC.
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Some things to look forward to in the 2022–2023 season: In September we will begin a three-month online mentorship of the first curatorial residency given to a young Peruvian curator organised by TROPICAL PAPERS and submit an essay commissioned for the catalogue of the group exhibition “Futuros Abundantes” organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba.
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(Above) Lúa Coderch, (Still) “SHELTER (Entering the work)”, 2015-18. Work produced with the support of Ayuda Fundación BBVA a la Creación en Videoarte 2015. Courtesy Lúa Coderch. Image Adrià Sunyol Estadella.
20 June 2022: Writer and curator Irina Mutt leads the first of a series of workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of an “itinerancy” of Laia Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context [presented in “Panorama 21. Notes for an Eye Fire”] to the human bodies of PUBLICS YOUTH’s members in Helsinki, the sessions broached performative practice, translation and transcription, and the non-verbal capacity of the voice.
via @publics Instagram.
23 June 2022: 19th dispatch of Incidents (of Travel) from Seoul is live on incidents.kadist.org! Narration written by curator Sooyoung Leam and itinerary devised and led by artist Yeoreum Jeong from Seoul’s Yongsan district. Photography by Swan Park, produced by KADIST.
21 July 2022: Adrian Schindler and Eulàlia Rovira (“Panorama 21. Notes for an Eye Fire” alumni) guided visit and in conversation with Mexican curator and researcher Paulina Ascensio, as part of their exhibition “The Plague, The Profit” at the non-profit The Green Parrot.
23 July 2022: El Palomar (“Panorama 21. Notes for an Eye Fire” alumni) curates an evening with music productions by trans artists, as part of MACBA’s Lorem Ipsum programme, “connecting the musical and the festive with their potential for empowering possible queer scenes”. The evening includes remixes from the soundtrack of the film “Schreber is a Woman” (2020) presented in MACBA (Spanish première).
More soon, onwards!
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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
Cover Story – August 2020: ‘Màquina possible’: going viral at Can Balaguer
Sat, Aug 1 2020
The July 2020 monthly Cover Story ‘Màquina Possible: going viral at Can Balaguer’ is now up on our homepage: www.lttds.org
“Joan Morey’s ‘COL·LAPSE. Màquina possible‘ (COLLAPSE. Possible machine) took place on 23 July in Palma de Mallorca. Conceived for two bodies, a single voice, and live organ accompaniment, the performance was an adaptation of the prologue and first act of ‘TOUR DE FORCE’ (2017). A small audience was confined in the rooms of the Can Balaguer, including its grand music room, with two of the original performers.”
→ Continue reading
→ After August 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—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
- 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
Performance ‘COLAPSO. Máquina posible’ de Joan Morey en Can Balaguer, 23 de julio 2020, 19h y 20:30h
Mon, Jul 13 2020 |
| ‘TOUR DE FORCE’ © Joan Morey. Foto: Noemi Jariod | Cortesía del artista y del Centre de Cultura Contemporània de Barcelona (CCCB). |
Performance ‘COLAPSO. Máquina posible’
23.7.2020
Can Balaguer
Carrer de la Unió, 3
07001 Palma de Mallorca
El próximo 23 de julio 2020 a las 19h y las 20:30h, Joan Morey presentará en Can Balaguer la performance ‘Máquina posible’, en el marco de su retrospectiva ‘COLAPSO. Máquina célibe’ que actualmente se puede visitar en Casal Solleric hasta el 6 de septiembre de 2020.
Es imprescindible inscribirse previamente (formulario abierto hasta el viernes 17 julio) para acceder a la performance, así como cumplir con un código de vestuario y acatar estrictas normas de acceso.
Es imprescindible inscribirse previamente (formulario abierto hasta el viernes 17 julio) para acceder a la performance, así como cumplir con un código de vestuario y acatar estrictas normas de acceso.
 |
| (↑ ↓) Sala dedicada al proyecto ‘TOUR DE FORCE’ en la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en Casal Solleric, Palma de Mallorca, 31 enero–6 septiembre 2020. © Joan Morey. Fotografías: Roberto Ruiz | Cortesía del artista y Casal Solleric.
‘Máquina posible’ (2020) consiste en la reactivación, adaptación y actualización de la obra dramática ‘TOUR DE FORCE’ (2017), que trazaba de manera poética varios recorridos por la breve historia del sida, desde la aparición de la enfermedad y su conversión en pandemia a finales del siglo pasado hasta las parafilias generadas alrededor de la transmisión y la difusión del virus que la provoca, el VIH. Dos de las intérpretes originales se confinan ahora en el espacio doméstico de la planta noble del dieciochesco edificio de Can Balaguer.
La consuetudinaria estructura en actos rige una vez más la formalización de la performance, ideada para dos cuerpos, una sola voz y un acompañamiento musical. En este caso las interpretaciones femeninas se ven punteadas por interludios ejecutados en directo desde el imponente órgano que ocupa la gran Sala de Música en Can Balaguer.
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Protagonizada por Anna Sabaté, Candela Capitán y Nadal Roig, ‘Máquina posible’ configura una dramática maquinaria de movimiento coreográfico, música y voz que toma el interior de la casa como espacio de transmisión y memoria basándose en ejes temáticos como la pandemia, el encarcelamiento y la fragilidad humana.
‘COLAPSO. Máquina célibe’ es una adaptación del proyecto original ‘COLAPSO. Máquina deseante, máquina de trabajo’ que tuvo lugar simultáneamente en el Centre d'Art Contemporani de Barcelona - Fabra i Coats, el Centre d'Art Tecla Sala y la prisión celular la Modelo entre el septiembre 2018 y enero 2019, ambas comisariadas por Latitudes.
‘COLAPSO. Máquina posible’ de Joan Morey está comisariada per Latitudes y es una producción de la Direcció General d’Arts Visuals de la Regidoria de Cultura i Benestar Social de l’Ajuntament de Palma, Casal Solleric y Can Balaguer, con la colaboración de HM hotels.
→ CONTENIDO RELACIONADO:
- Wakelet archivo redes sociales
- Ressenya de Pere Antoni Pons, ‘L'Art provocador i litúrgic de Joan Morey’, El temps de les arts, 10 juliol 2020
- Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
- December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
- "Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
- November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
- November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
- October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
- October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
- Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
- Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
- NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018