Proyecto deslocalizado ‘La Ballena de El Prat a El Prat / Retorno: Vibraera’ de Consol Llupià
Tue, May 19 2020
Barcelona Producció 2019-2020. Proyecto deslocalizado
22 de mayo de 2020 a las 16 h
El próximo 22 de mayo a las 16 horas, coincidiendo con la luna nueva de primavera y el 37 aniversario del hallazgo de una ballena de diecinueve metros en la playa de El Prat de Llobregat, la artista Consol Llupià te invita a ‘Vibraera’ [1], una acción energética de sincronización colectiva de vibraciones en sintonía con la red de conciencia cetácea a partir de los principios de amor, alegría, unidad y cooperación.
En la web www.vibraera.net encontrarás algunas indicaciones de como iniciar tu participación, aunque cada cual es libre de formularla de una forma personal e íntima. Tu aportación será publicada en el web y progresivamente complementada con la contribución de colaboradores de la artista procedentes de instituciones y entidades multisectoriales del ámbito energético, medioambiental, científico, jurídico, social, deportivo, humanístico y artístico, así como una red afectiva de individuos vinculados a los cetáceos que han ido sumando su entusiasmo y compromiso a lo largo del proyecto, que empezó en mayo de 2018, cuando Llupià preguntó a la ballena si quería regresar al mar.
Comparte tu experiencia a través de las redes sociales usando las etiquetas #labalenadelpratalprat y #Vibraera
Consol Llupià (Barcelona, 1983) es licenciada en Bellas Artes por la Universidad de Barcelona (2001-2006) y obtuvo una beca Erasmus para estudiar en la Academia Nacional de Artes de Sofía (Bulgaria) en 2006. Entre 2015 y 2017, Llupià realizó el proyecto ‘Performance oficial’ al amparo del Centro de Arte Contemporáneo Wifredo Lam de La Habana (Cuba). En 2016, desarrolló la mediación artística para el ciclo ‘Xarxa Zande’ en el Centre d’Art Santa Mònica de Barcelona, y entre 2007 y 2017 organizó ‘Campo de desconcentración polivalente’, un proyecto artístico multidisciplinar colectivo y autogestionado en Alcóntar (Almería).
[1] ‘Vibraera’ es una expresión coloquial usada en la sierra de los Filabres (Almería) para describir una situación o acción que crea una gran cantidad de energía o que invita o alienta a la participación. A la artista le gusta el hecho de que, al separar los componentes del vocablo –‘vibra’ y ‘era’– y alterar su orden, surge otro posible significado: ‘era de vibraciones’.
→ CONTENIDO RELACIONADO:
Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019
Mon, Apr 1 2019
Max Andrews and Mariana Cánepa Luna of Latitudes will each participate in Parallel Rooms, an Art Basel programme format that began in 2017 allowing attendees to choose from and roam among multiple conversations happening simultaneously. Check the full events programme here (in Spanish).
Parallel Rooms takes place at arteBA, Pista Central de la Rural, Palermo, and are free and open to the public.
Parallel Rooms | Session 2 | Room 3
"First Things First: Making Exhibitions for a General Audience"
"First Things First: Making Exhibitions for a General Audience"
Saturday 13 April 2019
6:30—7:30pm
In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?
This session is free and open to the public and will be held in Spanish.
6:30—7:30pm
In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?
This session is free and open to the public and will be held in Spanish.
Parallel Rooms | Session 3 | Room 2
"Beyond the Museum: New Institutional Frames for Art"
Saturday 13 April 2019
7:30—8:30pm
Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.
This session is free and open to the public and will be held in Spanish.
+ info
7:30—8:30pm
Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.
This session is free and open to the public and will be held in Spanish.
+ info
- 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux.
- Lead Faculty, ‘Geologic Time’, Banff International Curatorial Institute, Banff Centre for Arts and Creativity, Canada, September 11–October 6, 2017.
- Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h
- Lecture, “You're such a curator!”, De Appel Curatorial Programme Summit, Amsterdam, 23–24 November 2016.
- Max Andrews and Mariana Cánepa Luna in conversation with Nicholas Mangan on 7 July 2016
- Panel discussion, ‘Rethinking Institutions’, Athens Biennale 2015–2017 ‘OMONOIA’ Summit, Athens, 18–19 November 2015.
- 'Near-Future Artworlds Curatorial Disruption Foresight Group' seminar convenes in its third iteration in Birmingham's Eastside Projects, 15 November 2015 11 November 2015
- Session with first-year participants of the MA Curatorial Practice at the California College of the Arts (CCA), San Francisco, 8 September 15 September 2015
Barcelona Gallery Weekend 2016 – Artists and locations of the programme "Composiciones" announced
Tue, Jun 21 2016
A "Save The Date" press release (scroll down for different languages) has been sent out with information on the participating galleries and spaces and their exhibitions for the forthcoming Barcelona Gallery Weekend (29 September–2 October 2016).
Returning for its second edition in 2016, Latitudes will curate "Compositions" (Composiciones), a series of artistic interventions in unique sites across the neighbourhoods of the city. Each of the commissioned artists is represented by a gallery participating in the Barcelona Gallery Weekend.
Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
The invited artists are Lúa Coderch (Iquitos, Perú, 1982), Regina Giménez (Barcelona, 1966), Lola Lasurt (Barcelona, 1983), Robert Llimós (Barcelona, 1943), and Wilfredo Prieto (Santi Spiritus, Cuba, 1978), and the spaces where their interventions will take place are:
- Biblioteca Pública Arús (Passeig de Sant Joan, 26) - Lola Lasurt (Barcelona, 1983)
- Unitat Muntada de la Guàrdia Urbana (Mounted Unit of the City Police) (Carrer Wellington, s/n in front of tram stop Ciutadella-Vil·la Olímpica) - Wilfredo Prieto (Sancti Spiritus, Cuba, 1978)
- Club Billar Barcelona (Gran Via de les Corts Catalanes, 595-599) - Lúa Coderch (Iquitos, Peru, 1982)
- Former textile factory Can Trinxet (Carrer Santa Eulalia, 182-212 L'Hospitalet) - Regina Gimenez (Barcelona, 1966)
- Participating galleries and venues BGW - Robert Llimós (Barcelona, 1943)
The
full schedule of routes, guided tours and parallel programming will
be announced in September.
"Compositions" is a programme of artists’ interventions originally conceived and curated by Latitudes for the first Barcelona Gallery Weekend in 2015, when it produced five projects by David Bestué (in the former ceramics factory Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano de Barcelona); Jordi Mitjà (in the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the house of the former priest, gardens of La Central del Raval) y Daniel Steegmann Mangrané (in the Umbracle – Shadehouse – at the Parc de la Ciutadella).
#BarcelonaGalleryWeekend
#Composiciones2016
Related content:
Related content:
- Composiciones 2015 commissions;
- 2015 social media archive;
- Instagram of the Barcelona Gallery Weekend;
- PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015;
- NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015
Locating Ancient Lights signs around London with Nicholas Mangan
Tue, Jul 14 2015Nicholas Mangan’s show “Ancient Lights” recently opened at London’s Chisenhale Gallery, where Latitudes had a conversation with the artist on 7 July. The title of the show refers to a long-established English planning law enshrining the “right to light” by restricting the construction of buildings that would block sunlight reaching the windows of neighboring properties. If the sun has shined through a window for more than twenty years, there is legal protection for it not to be blocked.
In the spirit of our tour project Incidents of Travel (which has involved artist-led explorations of Mexico City, Hong Kong, and soon San Francisco) on 3 July we set out with Nick to track down some of these esoteric signs in central London.
We started with a set of signs that – thanks to Wikipedia’s entry on the Right to light – are probably the best-known examples. The back windows of houses on Albemarle Way are visible from the Memorial Garden of the Priory Church of the Order of Saint John just off the Clerkenwell Road. (Here is a map of some Ancient Lights signs in London, if you know of more let us know!). We made our way on foot to a spot at the south end of Hatton Gardens (an address now notorious for the April 2015 heist) but failed to find the rumored sign there. It was a little early in the day for a pint at the nearby Ye Olde Mitre.
Heading in to Chinatown, we found ourselves scouring the bizarrely-named Horse & Dolphin Yard, a dead-end alleyway with a pagoda-like construction where several restaurants from Gerrard Street and Shaftesbury Avenue have there back entrances. We eventually spotted the sign, which appears to have been moved from its original location as it doesn’t mark any window, just a bare brick wall.
Nearby there is a cute sign above the diminutive Rupert Court, at the back of The Blue Posts pub. (If we were going to stop for a drink it would have to be somewhere far more thematically appropriate – the Sun Tavern in Covent Garden, The Sun and 13 Cantons in Soho or the Rising Sun in Bloomsbury, would hit the spot).
Later in the week we found the huge and typographically-distinguished Ancient Lights sign in Newman Passage, a little connecting street perhaps most famous for its starring role in the murderous opening scene of the film Peeping Tom (1960).
The more modest sign that can be seen next to the lamp of The Hope pub, just near Goodge Street tube station, is a palimpsest still bearing visible traces of an earlier sign underneath. Thus endeth the tour!
RELATED CONTENT:
Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;
Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;
Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;
Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.
–
This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
2015, Chisenhale, conversations, Incidents of Travel, London, Nicholas Mangan, offsite, tour
In the spirit of our tour project Incidents of Travel (which has involved artist-led explorations of Mexico City, Hong Kong, and soon San Francisco) on 3 July we set out with Nick to track down some of these esoteric signs in central London.
We started with a set of signs that – thanks to Wikipedia’s entry on the Right to light – are probably the best-known examples. The back windows of houses on Albemarle Way are visible from the Memorial Garden of the Priory Church of the Order of Saint John just off the Clerkenwell Road. (Here is a map of some Ancient Lights signs in London, if you know of more let us know!). We made our way on foot to a spot at the south end of Hatton Gardens (an address now notorious for the April 2015 heist) but failed to find the rumored sign there. It was a little early in the day for a pint at the nearby Ye Olde Mitre.
Heading in to Chinatown, we found ourselves scouring the bizarrely-named Horse & Dolphin Yard, a dead-end alleyway with a pagoda-like construction where several restaurants from Gerrard Street and Shaftesbury Avenue have there back entrances. We eventually spotted the sign, which appears to have been moved from its original location as it doesn’t mark any window, just a bare brick wall.
Nearby there is a cute sign above the diminutive Rupert Court, at the back of The Blue Posts pub. (If we were going to stop for a drink it would have to be somewhere far more thematically appropriate – the Sun Tavern in Covent Garden, The Sun and 13 Cantons in Soho or the Rising Sun in Bloomsbury, would hit the spot).
Later in the week we found the huge and typographically-distinguished Ancient Lights sign in Newman Passage, a little connecting street perhaps most famous for its starring role in the murderous opening scene of the film Peeping Tom (1960).
The more modest sign that can be seen next to the lamp of The Hope pub, just near Goodge Street tube station, is a palimpsest still bearing visible traces of an earlier sign underneath. Thus endeth the tour!
RELATED CONTENT:
Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;
Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;
Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;
Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.
–
This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.