Programa público de “Apuntes para un incendio de los ojos”, MACBA, hasta el 27 febrero 2022
Mon, Nov 15 2021
Vistas de la exposición. Fotos: Miquel Coll.
Actividades gratuitas. Con inscripción previa. Plazas limitadas.
Cada domingo, 12 h: Visitas comentadas de la exposición a cargo de pli-é collective.
18 noviembre 2021, 18:30 h: Hablemos de... Apuntes para Apuntes con los curadores de la exposición.
20 noviembre 2021, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
2 diciembre 2021, 18:30 h: Hablemos de... Cabaret con Antoni Hervàs, artista de la exposición. El itinerario continuará fuera del museo y finalizará en el Teatre Arnau.
9 diciembre 2021, 18:30 h: Hablemos de... Anecdotes to be forgotten (2021). Un recorrido performativo a cargo de Arash Fayez, artista de la exposición.
20 diciembre 2021, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
13 enero 2022, 18:30 h: Hablemos de... Passió i cartografia per a un incendi dels ulls, una visita cantada a cargo de Gabriel Ventura y Pere Martínez.
29 enero 2022, 10 h: Sistematurgia de A quatre potes. Encuentro en la sala del museo con nyamnyam y Pedro Pineda, Lídia Guitart, Curro Claret, Ingrid Guardiola, el equipo curatorial y grupo de participantes de los talleres.
29 enero 2022, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
26 febrero 2022, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
Cada domingo, 12 h: Visitas comentadas de la exposición a cargo de pli-é collective.
18 noviembre 2021, 18:30 h: Hablemos de... Apuntes para Apuntes con los curadores de la exposición.
20 noviembre 2021, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
2 diciembre 2021, 18:30 h: Hablemos de... Cabaret con Antoni Hervàs, artista de la exposición. El itinerario continuará fuera del museo y finalizará en el Teatre Arnau.
9 diciembre 2021, 18:30 h: Hablemos de... Anecdotes to be forgotten (2021). Un recorrido performativo a cargo de Arash Fayez, artista de la exposición.
20 diciembre 2021, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
13 enero 2022, 18:30 h: Hablemos de... Passió i cartografia per a un incendi dels ulls, una visita cantada a cargo de Gabriel Ventura y Pere Martínez.
29 enero 2022, 10 h: Sistematurgia de A quatre potes. Encuentro en la sala del museo con nyamnyam y Pedro Pineda, Lídia Guitart, Curro Claret, Ingrid Guardiola, el equipo curatorial y grupo de participantes de los talleres.
29 enero 2022, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
26 febrero 2022, 18:30 h: Ensayo abierto de Ocells perduts (2021) de Laia Estruch, artista de la exposición.
Ensayo de Ocells Perduts (2021) de Laia Estruch. Foto: Eva Font/Latitudes.
Ocupando la segunda planta del MACBA, “Apuntes para un incendio de los ojos” reúne obras obras encargadas para la ocasión y producciones recientes realizadas por 17 artistas afincados en Barcelona y alreadedores. La exposición presenta pintura, la escultura, obra en papel, la videoinstalación, la performance, la fotografía y el textil, y se podrá visitar hasta el 27 de febrero 2022.
“Apuntes para un incendio de los ojos” evoca una potente metáfora que nos lleva a cuestionar el predominio de lo visual y nos alienta a explorar una definición expandida del ver que implique al resto de nuestros sentidos mediante nuevos modos de navegar el mundo, de recordar y de producir conocimiento. La forma ocular adquiere vida propia en la imaginación de esta muestra evocando los panoramas del siglo xviii, y representa los lazos que el museo establece a su alrededor y viceversa, en una época en que quizá reconsideremos qué lugar deberíamos ocupar en el mundo.
Participantes: Ana Domínguez, El Palomar (Mariokissme & R. Marcos Mota), Laia Estruch, Arash Fayez, Antoni Hervàs, Rasmus Nilausen, nyamnyam (Ariadna Rodríguez & Iñaki Álvarez) con Pedro Pineda, Claudia Pagès, Aleix Plademunt, Marria Pratts, Stella Rahola Matutes, Eulàlia Rovira, Ruta de autor (Aymara Arreaza R. & Lorena Bou Linhares), Adrian Schindler, Rosa Tharrats, Gabriel Ventura y Marc Vives.
“Apuntes para un incendio de los ojos” está curada por Hiuwai Chu y Latitudes, y coordinada por Berta Cervantes.
Hoja de sala (pdf)
Archivo redes sociales
Museu d'Art Contemporani de Barcelona (MACBA)
#PanoramaMACBA
#apuntsperaunincendidelsulls
#macbaBCN
→ CONTENIDOS RELACIONADOS:
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021.
- Curators, solo exhibition “José Antonio Hernández-Díez. I will fear no evil ”, Museu d'Art Contemporani de Barcelona, 2016.
- Curators, Film programme ‘What are we going to do after we have done what we are going to do next?’, part of the programme ‘The Uncertainty Principle’, Capella MACBA, 1–7 June 2009.
- Latitudes' publications available for consultation from MACBA's study centre
- Proyecto de investigación, “Itinerarios transversales. Entrevista con Sònia López y Anna Ramos”, #OpenCurating, Barcelona Producció 2012–13. (pdf)
- Latitudes in conversation with Yasmil Raymond, MACBA auditorium, 19 March 2013.
Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’
Mon, May 31 2021
June 2021 cover story on www.lttds.org
The June 2021 monthly Cover Story ‘Fitness food: Salim Bayri’s Amsterdam’ is now up on our homepage: www.lttds.org
“For me, sport brings aspects that I miss in art: direct group interaction and a clear reward and penalty system”, writes artist Salim Bayri in his Itinerary for the latest edition of Incidents (of Travel), in which he devised an alternative day-long tour of Amsterdam for curator Àngels Miralda.”
→ After June 2021 this story will be archived here.
→ Follow: #IncidentsofTravel
Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story–May 2021: RAF goes viral, 2 May 2021
- Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 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
Research project ‘Naming, possessing Critique of taxonomic practice’ by Agustín Ortiz Herrera, Barcelona Producció 2019–2020
Wed, Oct 21 2020
Photo: Agustín Ortiz Herrera
As part of Agustín Ortiz Herrera's research project ‘Naming, possessing Critique of taxonomic practice’, awarded the grant Barcelona Producció 2019-2020 from La Capella (and one of the three projects mentored by Latitudes throughout the 2019–20 season), and organised in collaboration with Hangar's Fictions of Dis-order programme, Ortiz Herrera presents a series of guided tours and reading sessions where queer strategies will be questioning the narratives agreed upon by the modern scientific construct, introducing a decolonial narrative, and thus unveiling the secrets of plant species such as Sparrmannia, Washingtonia or Tulbaghia.
‘The colonial garden. Deconstructing the narratives of modern taxonomy’
Agustín Ortiz Herrera
To Name, To Own. Critique of Taxonomic Practice
Research Project
1 Linnaeus was the first to use it consistently throughout his book, although the system now known as binomial nomenclature was partially developed by the brothers Gaspard and Johann Bauhin 200 years earlier.
2 Linnaeus published 12 editions of Systema Naturae during his lifetime. The 10th edition from 1758 is considered the starting point of zoological nomenclature.
3 Sir James Edward Smith purchased Linnaeus’s botanical, zoological and library collections for 1,000 guineas to found The Linnean Society of London in 1788. It was at a meeting of the Society in 1858 that papers from Charles Darwin and Alfred Russel Wallace outlining the theory of evolution by natural selection were first presented. https://www.linnean.org
4 The Salvador family were a dynasty of apothecaries and naturalists from Barcelona that between the 17th and 19th centuries collected over 14,000 specimens. The Gabinet Salvador is the most important example of a Cabinet of Curiosities or wunderkammer in the country, a presentation format which predates the invention of the modern museum and the separation between the sciences and the humanities. https://museuciencies.cat/es/area-cientifica/colecciones/coleccion-salvador/
5 With its origins in the 17th century, the Gabinet Salvador includes the oldest known herbarium in Spain, as well as books, documents, collections of molluscs, fossils, and stuffed animals. The Zoology Museum of Barcelona was located in the Modernista building known as the ‘Castle of the Three Dragons’ between 1920 and 2010 when it was relocated and changed its name to Museu de Ciències Naturals de Barcelona (Museum of Natural Sciences of Barcelona, aka the ‘Museu Blau’).
6 Teresa Castro, The Mediated Plant, e-flux Journal #102, September 2019, https://www.e-flux.com/journal/102/283819/the-mediated-plant/
7 Emanuele Coccia, The Life of Plants: A Metaphysics of Mixture, Polity Press, 2018.
‘The colonial garden. Deconstructing the narratives of modern taxonomy’
Activity: Urban Route around the streets of Poblenou
Date: Friday 23 October 2020, 6–7:30 pm
Ortiz Herrera invites us to join him on a tour that aims to bring to light forgotten episodes in the development of botanical knowledge during the modern project while experimenting with queer/cuir confrontation strategies.
Meeting place to be confirmed. Participants will be notified.
Capacity: 20 people.
Date: Friday 23 October 2020, 6–7:30 pm
Ortiz Herrera invites us to join him on a tour that aims to bring to light forgotten episodes in the development of botanical knowledge during the modern project while experimenting with queer/cuir confrontation strategies.
Meeting place to be confirmed. Participants will be notified.
Capacity: 20 people.
Booking essential: lacapella@bcn.cat
Activity: Guided tour of the Barcelona Botanical Gardens
Date: Saturday 24 October 2020,11.30–13:30 am
During this second dérive, historical events will be explained using a methodology of situated knowledge that exposes the scale of the strategy of the cabinet of curiosities in botanical gardens.
Meeting place to be confirmed. Participants will be notified.
Capacity: 20 people.
Activity: Guided tour of the Barcelona Botanical Gardens
Date: Saturday 24 October 2020,11.30–13:30 am
During this second dérive, historical events will be explained using a methodology of situated knowledge that exposes the scale of the strategy of the cabinet of curiosities in botanical gardens.
Meeting place to be confirmed. Participants will be notified.
Capacity: 20 people.
Booking essential: lacapella@bcn.cat
Activity: Modern Nature: a tribute to Derek Jarman
Date: Thursday 5 November 2020, 6–8 pm
Activity: Modern Nature: a tribute to Derek Jarman
Date: Thursday 5 November 2020, 6–8 pm
Location: Hangar (Sala Ricson)
Reading group and discussion around Derek Jarman’s book Modern Nature. We will also be talking about Jarman’s film The Garden (1990) and his design for his garden at Prospect Cottage in the south-east of England.
Capacity: 40 people.
Reading group and discussion around Derek Jarman’s book Modern Nature. We will also be talking about Jarman’s film The Garden (1990) and his design for his garden at Prospect Cottage in the south-east of England.
Capacity: 40 people.
Booking essential: https://forms.gle/4MQQXy72SwBxpV6V7
Organised by Hangar. With the support of Caja Negra Editorial.
Organised by Hangar. With the support of Caja Negra Editorial.
Agustín Ortiz Herrera (Barcelona, 1970) works between moving image and performance. He studied Fine Arts at the University of Barcelona (1998), film-making in New York (2003) and obtained an MA in Fine Arts at the Konstfack College of Arts, Stockholm (2016). Recent exhibitions include Oblivion at K.R.O.P.P., Uppsala Konsert & Kongress, Uppsala (2019), Konst tar plats at Österbybruk, Sweden (2018), Potenciación a largo plazo at Paratext 24, Hangar, Barcelona (2017) and El umbral de primavera, Madrid (2018). He is currently resident at Hangar – Visual Arts Production and Research Centre in Barcelona.
Co-produced in the context of the “Fictions of Dis-order” programme of Hangar's Research and Transfer of Knowledges activities.
Co-produced in the context of the “Fictions of Dis-order” programme of Hangar's Research and Transfer of Knowledges activities.
Agustín Ortiz Herrera, Laboratori de Natura, Museu de Ciències Naturals de Barcelona, Video Still, 2020.
To Name, To Own. Critique of Taxonomic Practice
Research Project
Barcelona Producció 2019–2020
→ Download this text as a pdf
Agustín Ortiz Herrera’s research project To Name, To Own. Critique of Taxonomic Practice focuses on taxonomy and the modern classification system for natural species developed by Swedish botanist, zoologist, and physician Carl Linnaeus (1707–1778). Linnaeus’s most notable contribution to science was his invention of a system of binomial nomenclature for naming organisms. For example, the two-term name Homo sapiens describes the only living species of the genus Homo: humans. This convention became universally accepted and the nested hierarchy became quickly consolidated as the dominant cognitive basis of the Western worldview of nature.[1] Linnaeus’s 1735 volume Systema Naturae not only classified the natural world, it also gendered it and thereby conditioned an understanding of natural history as a highly patriarchal structure. This condition has transcended science and come to dominate other fields of culture and knowledge.[2]
Ortiz has carried out his research in botanical collections, academic centres, and libraries specialising in Linnaeus’s scientific work located in Uppsala, Sweden (where Linnaeus ultimately became rector of the city’s university) and London (where the world’s oldest active biological society, The Linnean Society of London, was established in 1788).[3] Honouring the Society’s motto “Naturae Discere Mores” (To Learn the Ways of Nature), Ortiz furthermore connects Linnaeus’s legacy with two key nodes of research in Spain: the Gabinet Salvador at the Botanical Institute of Barcelona and the former Museum of Zoology in Barcelona’s Ciutadella Park.[4] In doing so he aims to bring taxonomic paradigms into the present and to critique them against recent and emerging post-human, queer, feminist and decolonial theories.[5]
Taking up Teresa Castro’s call for “queering nature” and “queering botanics”, Ortiz’s research refuses the anthropocentric and dualistic conception that has separated humans from non-humans in order to go beyond the constraints of Western exceptionalism and its colonising grip.[6] Castro has identified a “plant turn” in current fields of knowledge and creation, where philosophers including Emanuele Coccia are inviting us to think about and with vegetation or fungi and to consider herbivorous or fungal relations and non-hierarchical modes of being. Such an approach chimes with the Brazilian anthropologist Eduardo Viveiros de Castro’s call for “decolonising thought” and to contest the hierarchical relationships between “our” thoughts and those of others.[7]
Another important point of Ortiz’s research has been foregrounding the scientific work of Lynn Margulis (1938–2011), the unorthodox scientist whose theories around evolution and symbiosis were often mocked and ignored by the male establishment for appearing to contradict Charles Darwin’s dogma of natural selection. As a proponent of the endosymbiotic theory, Margulis posited that simple life forms merged, forming cell organelles, like mitochondria. Life, she believed, is a symbiotic and cooperative union that allows those who associate to succeed, a theory that later has been widely accepted and substantiated.
Ortiz’s research introduces queer epistemologies through a series of gatherings, an urban walking tour and a collective reading. The first will be a two-hour guided tour around Poblenou to identify and discuss plant taxonomy and its colonial provenance. A similar tour will take place the following day in Montjuïc’s Botanical Garden, where Agustín will lead a discussion within the framework of a man-made “natural” environment.
A third activity, developed in collaboration with Hangar – Visual Arts Production and Research Centre in Barcelona as part of its Fictions of Dis-order programme, will consist of a collective reading of Derek Jarman’s Modern Nature. Published in 1991, this biography is a diary of the British film-maker, artist and activist on his late years at Prospect Cottage, on the arid Kent coast in south-east England. Jarman purchased this fisherman’s house in Dungeness in 1986 shortly after being diagnosed as HIV positive, with the aim of withdrawing in the years before his death (in 1994). The now-iconic black timber cottage with yolk yellow window frames is overlooked by the imposing Dungeness nuclear power station and surrounded by a vast shingle beach and a noteworthy garden, the boundaries of which he described as the horizon.
— Latitudes
Agustín Ortiz Herrera’s research project To Name, To Own. Critique of Taxonomic Practice focuses on taxonomy and the modern classification system for natural species developed by Swedish botanist, zoologist, and physician Carl Linnaeus (1707–1778). Linnaeus’s most notable contribution to science was his invention of a system of binomial nomenclature for naming organisms. For example, the two-term name Homo sapiens describes the only living species of the genus Homo: humans. This convention became universally accepted and the nested hierarchy became quickly consolidated as the dominant cognitive basis of the Western worldview of nature.[1] Linnaeus’s 1735 volume Systema Naturae not only classified the natural world, it also gendered it and thereby conditioned an understanding of natural history as a highly patriarchal structure. This condition has transcended science and come to dominate other fields of culture and knowledge.[2]
Ortiz has carried out his research in botanical collections, academic centres, and libraries specialising in Linnaeus’s scientific work located in Uppsala, Sweden (where Linnaeus ultimately became rector of the city’s university) and London (where the world’s oldest active biological society, The Linnean Society of London, was established in 1788).[3] Honouring the Society’s motto “Naturae Discere Mores” (To Learn the Ways of Nature), Ortiz furthermore connects Linnaeus’s legacy with two key nodes of research in Spain: the Gabinet Salvador at the Botanical Institute of Barcelona and the former Museum of Zoology in Barcelona’s Ciutadella Park.[4] In doing so he aims to bring taxonomic paradigms into the present and to critique them against recent and emerging post-human, queer, feminist and decolonial theories.[5]
Taking up Teresa Castro’s call for “queering nature” and “queering botanics”, Ortiz’s research refuses the anthropocentric and dualistic conception that has separated humans from non-humans in order to go beyond the constraints of Western exceptionalism and its colonising grip.[6] Castro has identified a “plant turn” in current fields of knowledge and creation, where philosophers including Emanuele Coccia are inviting us to think about and with vegetation or fungi and to consider herbivorous or fungal relations and non-hierarchical modes of being. Such an approach chimes with the Brazilian anthropologist Eduardo Viveiros de Castro’s call for “decolonising thought” and to contest the hierarchical relationships between “our” thoughts and those of others.[7]
Another important point of Ortiz’s research has been foregrounding the scientific work of Lynn Margulis (1938–2011), the unorthodox scientist whose theories around evolution and symbiosis were often mocked and ignored by the male establishment for appearing to contradict Charles Darwin’s dogma of natural selection. As a proponent of the endosymbiotic theory, Margulis posited that simple life forms merged, forming cell organelles, like mitochondria. Life, she believed, is a symbiotic and cooperative union that allows those who associate to succeed, a theory that later has been widely accepted and substantiated.
Ortiz’s research introduces queer epistemologies through a series of gatherings, an urban walking tour and a collective reading. The first will be a two-hour guided tour around Poblenou to identify and discuss plant taxonomy and its colonial provenance. A similar tour will take place the following day in Montjuïc’s Botanical Garden, where Agustín will lead a discussion within the framework of a man-made “natural” environment.
A third activity, developed in collaboration with Hangar – Visual Arts Production and Research Centre in Barcelona as part of its Fictions of Dis-order programme, will consist of a collective reading of Derek Jarman’s Modern Nature. Published in 1991, this biography is a diary of the British film-maker, artist and activist on his late years at Prospect Cottage, on the arid Kent coast in south-east England. Jarman purchased this fisherman’s house in Dungeness in 1986 shortly after being diagnosed as HIV positive, with the aim of withdrawing in the years before his death (in 1994). The now-iconic black timber cottage with yolk yellow window frames is overlooked by the imposing Dungeness nuclear power station and surrounded by a vast shingle beach and a noteworthy garden, the boundaries of which he described as the horizon.
— Latitudes
1 Linnaeus was the first to use it consistently throughout his book, although the system now known as binomial nomenclature was partially developed by the brothers Gaspard and Johann Bauhin 200 years earlier.
2 Linnaeus published 12 editions of Systema Naturae during his lifetime. The 10th edition from 1758 is considered the starting point of zoological nomenclature.
3 Sir James Edward Smith purchased Linnaeus’s botanical, zoological and library collections for 1,000 guineas to found The Linnean Society of London in 1788. It was at a meeting of the Society in 1858 that papers from Charles Darwin and Alfred Russel Wallace outlining the theory of evolution by natural selection were first presented. https://www.linnean.org
4 The Salvador family were a dynasty of apothecaries and naturalists from Barcelona that between the 17th and 19th centuries collected over 14,000 specimens. The Gabinet Salvador is the most important example of a Cabinet of Curiosities or wunderkammer in the country, a presentation format which predates the invention of the modern museum and the separation between the sciences and the humanities. https://museuciencies.cat/es/area-cientifica/colecciones/coleccion-salvador/
5 With its origins in the 17th century, the Gabinet Salvador includes the oldest known herbarium in Spain, as well as books, documents, collections of molluscs, fossils, and stuffed animals. The Zoology Museum of Barcelona was located in the Modernista building known as the ‘Castle of the Three Dragons’ between 1920 and 2010 when it was relocated and changed its name to Museu de Ciències Naturals de Barcelona (Museum of Natural Sciences of Barcelona, aka the ‘Museu Blau’).
6 Teresa Castro, The Mediated Plant, e-flux Journal #102, September 2019, https://www.e-flux.com/journal/102/283819/the-mediated-plant/
7 Emanuele Coccia, The Life of Plants: A Metaphysics of Mixture, Polity Press, 2018.
→ RELATED CONTENTS: