LONGITUDES

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Latitudes' "out of office": wrap up of the 2018–2019 season

 Thu, Aug 1 2019
Seen in Malasaña, Madrid. Photo: @marianacanepaluna

This is our tenth ‘Out of Office’ post, a tradition which started with this 2008-9 post in pre-Facebook, pre-Twitter, pre-Instagram days. We’ve come a long way, but remain faithful to the idea of sharing behind-the-scenes moments. Below we share a selection of the art we’ve seen, the trips we had a chance to take, the conversations we began, the meals we shared, and (oh, we particularly love these) installation scenes. Subverting the institutional convention of the year-end report, our ‘out of office’ mixes official and unofficial photos, screengrabs and we-fies, even! Revision, reflection, remembrance, re-ignition. Create or die!

September 1, 2018: New season, new month, and new cover story on the Harald Szeemann exhibition in Bern (cover story archive here).
September 5, 2018: Launch of a new dispatch of ‘Incidents (of Travel)’ from Buenos Aires, Argentina. In this eighth episode, Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around the self-regulated community Velatropa, the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi’s interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

 Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images. 

 ‘Incidents (of Travel)’ is an ongoing editorial project edited by Latitudes and produced by KADIST. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia) and Yerevan (Armenia).


September 11–15, 2018: Installation and opening of the exhibition ‘Cream Cheese and Pretty Ribbons!’ at Martin Janda Gallery, Vienna. 

But before that, works like those by Eulàlia Rovira and Adrian Schindler were carefully crated and traveled to Vienna from their studio in Barcelona.
Photo: Eulàlia Rovira and Adrian Schindler.

Installation process of ‘Cream Cheese and Pretty Ribbons!’. Photo: Martin Janda Gallery.

Exhibition file with correspondence, floor plan, artist's CVs, checklist, price list, technicians notes, etc. Above and following photos: Latitudes.

Mariana installing David Bestué’s ‘Trencadissa’ (2013).

(Left) Eulàlia Rovira and Adrian Schindler’s ‘Els peus fixats al terra delatant cap impaciència’ [THE FEET FIXED TO THE GROUND BETRAY NO IMPATIENCE] (2016) and (right) photograph series by Sean Lynch, part of the installation ‘A BLOW BY BLOW ACCOUNT OF STONE CARVING IN OXFORD’, (2013-14).
Eulàlia and Adrian holding their print. Where shall we hang it?

With Sean, Eulàlia and Adrian. Unanimously decided Adrian’s arm was the longest and therefore would perform better as a ‘we-fie’ stick. 
September 14, 2018: The day after the opening Eulàlia and Adrian presented “One motif says to another ‘I can't take my eyes off you’” a new performance produced for the occasion at the gallery (focus of the October Cover Story), and Sean Lynch performed the lecture ‘A Blow by Blow Account of Stonecarving in Oxford’, parrots and owls! More photos.
October 2018 cover story. Archived here.

September 2—18, 2018: Intermittent installation of Joan Morey’s exhibition ‘COLLAPSE’ at the Centre d’Art Contemporani de Barcelona — Fabra i Coats.
Deciding among the two options for the façade banners. Italics or not?

Last-minute proofreading of exhibition captions and panels.
Planning the next steps during the installation with technician guru Alberto Calvete.
A heads up to visitors.
Listing the contents in each vitrine.
Wall labels, exhibition guide, essay and remote controls.

September 19, 2018: Opening of Morey’s exhibition ‘COLLAPSE’, Centre d'Art Contemporani de Barcelona – Fabra i Coats. 
 Opening photos: Eva Carasol. 

September 27, 2018: First reenactment of Joan Morey’s performance ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) interpreted by Sònia Gómez, in the context of the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats.

‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ [POSTMORTEM. To have done with the judgment of God] (2006–2007) published in frieze magazine Instagram.

September 28–October 7, 2018: Research trips to London  during Frieze art week (blog post here, art-agenda round-up here) and Liverpool for the Liverpool biennial (photo report here). 

While in London we met with Valentina Ravaglia, Assistant Curator, to donate Lawrence Weiner's limited edition tote bag, designed in 2015 to commemorate Latitudes’ 10th anniversary. Shortly after, the tote was included in Tate's ‘ARTIST ROOMS: Lawrence Weiner’ exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

(Above and below) View of ‘Lawrence Weiner. ARTIST ROOMS’, National Galleries of Scotland and Tate. ©Lawrence Weiner. 

October 11, 2018: Second reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘LLETANÍA APÒRIMA’ [APORIC LITANY] (2009) was interpreted by Jordi Vall-lamora.

Joan Morey. LLETANIA APÒRIMA (2009). Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring MKachine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.

October 12, 2018: art-agenda.com publishes Mariana Cánepa Luna’s Frieze Roundup review. Read it here.


October 12–14, 2018: Train to Arlès to visit the exhibition ‘Picture Industry: A Provisional History of the Technical Image’ at LUMA Arlès (Max Andrews’s review was published in December).


Frank Gehry’s building under construction. 
 A large exhibition devoted to Gilbert & George works. 
Saturday morning reception at LUMA.
Before the morning reception, a quick walkthrough Arlès busy Saturday market. 

October 19, 2018: (Secret) Site-visit to La Modelo prison with Joan Morey (artist) and Esther Doblas (executive production) to check the spaces, discuss script possibilities (plan A, B, C, D...), identify mobility issues, etc. At this point in time, nobody knew the location of the event which was only disclosed the very same evening of the performance.

Salvador Puig Antich, the last political activist executed by Franco’s dictatorial regime, was jailed in this wing, in the cell 443. He was garroted in March 1974 in a room where parcels were delivered to the prison.
 Advanced tangle wiring techniques.
 Central space. Morey makes notes on his map of all the access, exits, gallery numbering, etc.
 Exit to the largest prison yard.
 Cisterns placed outside the cells in cages to avoid prisoners hiding anything in them.

 Joan taking further notes nearby the room where prisoners were given methadone.

Joan, Esther and Mariana discuss options in the Panopticon-inspired central space (this cabin is not the original structure).

 October 25, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘GRITOS Y SUSURROS. Conflicte dramàtic cinquè (amb l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)] (2009) was interpreted by Carme Callol and Tatin Revenga.

Carme Callol and Tatin Revenga rehearsal. Photo: Joan Morey.

Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’ [CRIES & WHISPERS. Fifth Dramatic Conflict (with the Work of Art)], 2009. Interpreted by Carme Callol and Tatin Revenga. Performance reenactment within the frame of the exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ (2018–2019). Photo: Noemi Jariod. Courtesy the artist.

October 26–27, 2018: Attending the opening of ‘Te toca a tí’ in Espai d'art contemporani de Castelló (EACC). Mariana’s review of the exhibition would be published on January 7, 2019, in art-agenda. 
Teresa Lanceta’s work, exhibition view of ‘Te toca a tí’ in Espai d’art contemporani de Castelló (EACC). 

November 1, 2018: Morey’s first performance of the series is this months’ focus on Latitudes’ home page. 
November 13, 2018: frieze.com publishes the review of Pere Llobera show at Bombon Projects and SIS galería by Max Andrews. Read the review here. Also included in the January-February 2019, issue #200, page 242.

November 15, 2018: Fourth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) was interpreted by Manuel Segade.

Preparation of Manuel Segade’s outfit before the reenactment of the performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) by Joan Morey. Photo: Noemi Jariod. Courtesy the artist.

Portrait of Manuel Segade at the end of his performance ‘BAREBACK. Fenomenología de la comunión’ [BAREBACK. Phenomenology of Communion], (2010) on Max Andrews’s Instagram.
November 18–22 Vienna Art Week; November 22-25 Amsterdam Art Weekend: This blog post documents the exhibitions and studios visited during our trip to Vienna, hosted by the Vienna Art Week. As part of the programme, Latitudes participated in a panel discussion on ‘Some Current Positions of Curating’ at das weisse haus.
(Above and below) Photos by eSeL.


 November 22, 19:30h: Unfortunately due to our earlier engagement to attend the Vienna Art Week and a sudden change of dates, we were unable to attend the opening of Joan Morey’s ‘COS SOCIAL’ at Centre d’Art Tecla Sala, the second chapter of ‘COLLAPSE’. Below some install shots when the works arrived from Lleida’s La Panera.
Morey striking a pose on the façade of Tecla Sala. Photos: Latitudes.

November 22-25, 2018: Amsterdam Art Week. Visited De Appel, Rijksakademie OPEN Studios, Andriesse, Oude Kerk, RongWrong, Stedelijk museum, Ellen de Bruijne, Fons Welters, tegenboschvanvreden, andriesse eyck, a.o. Photo report here (with photos from the Vienna Art Week, too).

 November 29, 2018: Fifth reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘IL LINGUAGGIO DEL CORPO. Prólogo’ [IL LINGUAGGIO DEL CORPO. Prologue] (2015–2016) was interpreted by Catalina Carrasco and Gaspar Morey.

The final shot of ‘IL LINGUAGGIO DEL CORPO’ published on Max Andrews' Instagram (later deleted by Instagram due "not following their community guidelines on nudity").

December 1, 2018: Following on our recent trip to Vienna’s Kunsthistorisches Museum to see their historic Brueghel exhibition, we decided to dedicate December’s cover story to another of their current shows: ‘Spitzmaus Mummy in a Coffin and Other Treasures’ conceived by filmmaker Wes Anderson and his partner Juman Malouf. 
December 2018 cover story on www.lttds.org

 December 2–4, 2018: Short research trip to Madrid to visit exhibitions: group show ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo in Móstoles; Lúa Coderch’s ‘La vida de O.’ at CentroCentro; comprehensive solo shows by Luigi Ghirri, Luis Camnitzer, Dorothea Tanning, and Dierk Schmidt at Museo Reina Sofia; Lina Bo Bardi at Fundación March; works by Portuguese artists Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida; and a few solo exhibitions in commercial galleries such as David Goldblatt at Elba Benítez; Alejandro Cesarco in Parra & Romero; Eva Fàbregas at garcía galería; Enric Farrés Duran at NoguerasBlanchard and Daniel Jacoby at Maisterravalbuena. We also had time to squeeze in a visit to the Museo Geominero, a place we’ve long wanted to visit and never managed to find time for. And it didn’t disappoint. Highly recommended to everyone not only into minerals and stones but also nerds (as we are) on exhibition display and cabinets.

Lúa Coderch’s ‘La vida de O.’ at CentroCentro.
Alejandro Cesarco at ParraRomero, Madrid.

Above and below: Museo Geominero, Madrid.


Group exhibition ‘Querer parecer noche’ at the Centro de Arte 2 de Mayo (CA2M) in Móstoles.


Dierk Schmidt at Museo Reina Sofia’s Palacio Velázquez.

December 13, 2018: Sixth and final reenactment of Joan Morey’s performance within the exhibition ‘Desiring machine, Working machine’ at the Contemporary Art Centre of Barcelona – Fabra i Coats. ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE. The Utopian Body] (2017) was interpreted by Eduard Escoffet.
Backstage makeup and application of fake tattoos – in the hurry the ‘Memento Mori’ tattoo on one on Escoffet’s arm was upside down. No big deal. 

December 20, 2018: frieze.com publishes Max’s review on the exhibition ‘Picture Industry: A Provisional History of the Technical Image’, a survey exhibition at LUMA Arlès captures the history of mechanically-reproduced imagery from the 19th century to the present. Read the review here.
January 7, 2019: art-agenda publishes Mariana’s review of the group exhibition ‘Te toca a tí [It's your turn]’ at Espai d'art contemporani de Castelló (EACC). Read the review here.

The review is also the focus of our January’s Monthly Cover Story on Latitudes home page (archived here).
January 8–10, 2019: Set up for the performance ‘Schizophrenic Machine’ by Joan Morey, the closing event of the three-part project ‘COLLAPSE’. Both exhibitions at the Centre d’art contemporani de Barcelona – Fabra i Coats and Centre d’art Tecla Sala close on January 13, 2019. 

January 10, 2019, at 7pm: Performance ‘COLLAPSE. Schizophrenic Machine’ by Joan Morey. Performance structured in a prologue and five acts inside Barcelona’s La Model prison. A group of people was driven by coach to the location from each of the two art centres that hosted the first two parts of ‘COLLAPSE’. The performance was integrated into the architecture and the memory of the building, creating an imposing immersive experience. Public restricted by capacity to 113 spectators. Attendance had to be requested in advance and was subject to prior selection and the acceptance of specific rules and a strict dress code. More here.

‘COLLAPSE. Schizophrenic Machine’ by Joan Morey.© 2019. All documentation photographs by Noemi Jariod. Courtesy of the artist.

January 14, 2019: frieze.com publishes Max’s fan letter on ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’. Published in Issue 200, January - February 2019. Read the text here.
February 1, 2019: New cover story focusing on Morey’s closing performance ‘COLLAPSE. Schizophrenic Machine’ at La Model prison in Barcelona.
February 8, 2019: Launch of a new ‘Incidents (of Travel)’ dispatch from Reykjavík (and cover story on Latitudes’ home page between March-April 2019). In this new itinerary, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík’s surroundings considering Þorgerður’s “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites, collecting moments and considering the ways in which geologic time surfaces in the context of human time.”

Each of the 27 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.

‘Incidents (of Travel)’ is an editorial project that began in Spring 2016. It’s edited by Latitudes and produced by KADIST as part of their online projects. Earlier offline conversations have taken place in Chicago (USA), Jinja (Uganda), Suzhou (China), Lisbon (Portugal), Terengganu (Malaysia), Yerevan (Armenia) and Buenos Aires (Argentina).




February 20, 2019: After a few weeks facing the screen and months mining hard disks, we finally upload Latitudes’ redesigned portfolio, available to download for desktop/laptop/tablet view (83pp, 30.9 MB), for mobile (164pp,15.8 MB) or for print (164pp, 155.3 MB).

February 26–March 1, 2019: Three intensive days navigating ARCOmadrid events. We enjoyed Reina Sofía’s exhibitions dedicated to Chicago-based artist H. C. Westermann (reviewed by Mariana in the April issue of L’Officiel Art International) and Mapa Teatro’s site-specific installation as part of the Fisuras programme; David Bestué’s solo show at García Galería; Catalina Lozano’s exhibition ‘Winning by Losing’ at CentroCentro; Charlotte Moth’s subtle play with three works from CA2M’s collection in Móstoles, and Armando Andrade Tudela also at CA2M.
Above and below: David Bestué solo show at García Galería, Madrid.
(Above and below): Following on from Joao Laia’s earlier exhibition ‘Transmissions from the Etherspace’ in the same institution, his latest exhibition ‘Drowning in a sea of data’ —despite the ubiquity of the topic of the incessant presence of technology and algorithms in our daily lives — included great works such as Clemens von Wedemeyer’s film and Tomasz Kowalski’s small canvases.

Downstairs the highlights of this year’s Generación 2019 were Susanna Inglada and Lucía P. Moreno.
 Catalina Lozano’s group exhibition ‘Winning by Losing’ at CentroCentro. Above: work by Patricia Esquivias. Below: Work by Asier Mendizábal and (next images) Jorge Satorre and Xavier Salaberría.
(Above and below) Bravo to Charlotte Moth’s subtle play with three pieces in CA2M’s collection in dialogue with some of her work. A highlight was the two-part theatre backdrop painted by Leonor Fini in the 1950s and commissioned by Antonio el Bailarín for the 1956 International Festival of Granada.


March 13, 2019: Max’s review on ‘Domènec. Y la tierra será el paraíso’ exhibition at adn galería, Barcelona, published on frieze.com (also included in frieze, issue 202, April 2019).
23 March–16 April 2019: Montevideo (family trip) and Buenos Aires (work trip). Read a fully documented report of our week in Buenos Aires, invited by arteBA.

Max Andrews and Lara Marmor conversation ‘First Things First: Making Exhibitions for a General Audience’ covered the contradictions for curatorial and artistic strategies addressing larger audiences. Photo: Art Basel.

In ‘Beyond the Museum: New Institutional Frames for Art’ Mariana Cánepa Luna and Solana Molina Viamonte discussed some of the current transformations institutions undergo, as well as identifying forthcoming challenges. Photo: Art Basel.

Pizza and fugazza at El Cuartito with Alejandra Aguado.

April 2019: Two articles were published this month. Latitudes wrote a 14-page feature on Joan Morey for THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art, and Mariana wrote a review of H. C. Westermann’s retrospective ‘Goin’ Home’ (Volver a casa) exhibition at the Museo Reina Sofía in Madrid, published in L’Officiel Art International’s issue #29. More on our writing archive.

The first page of the 14-page feature on Joan Morey’s performative practice was published on THE SEEN—Chicago’s International Online Journal of Contemporary and Modern Art.

Views of the H. C. Westermann's retrospective "Volver a casa" exhibition at the Museo Reina Sofía in Madrid. Photo: Latitudes.

Additionally, a third text appeared later this month: the essay ‘Thinking like a drainage basin’ included in the exhibition catalogue ‘Lara Almarcegui. Béton’ published by Silvana Editoriale, accompanying her solo exhibition at CAIRN centre d’art in Digne-les-Bains in southern France.

In 2011 Latitudes edited the monograph ‘Lara Almarcegui. Projects 1995–2010’ published by Archive Books.

(Two above) IVAM’s new sculpture park under construction.



(Two above) Views from their current permanent collection display ‘TIEMPOS CONVULSOS. Historias y microhistorias en la colección del IVAM’.

(Above and below) Views from the exhibition ‘Ice and Earth: The Shimmering Abstractions’ by Anna-Eva Bergman at Bombas Gens, Valencia. Read here. 


May 2–4, 2019: Trip to Valencia to research for an article on the Valencia art scene in the framework of IVAM’s 30th anniversary (to be published in November 2019 in frieze magazine).

 May 6–31, 2019: Intense jury duty selecting Barcelona Producció awardees of the 2019–2020 season, an initiative of La Capella. Three long weeks reading 259 applications, debating with the rest of the jury, and interviewing 32 shortlisted candidates in order to award 15 production grants.


On June 3, winners are announced. Latitudes will tutor three of the fifteen awarded projects: ‘Joc d'infants’ [Children’s game] by Lola Lasurt (solo exhibition, June-October 2020), the offsite project ‘La Balena del Prat al Prat’ [The El Prat Whale to El Prat] by Consol Llupià, and the research ‘Nombrar, poseer. Crítica de la práctica taxonómica’ [To name, to own. Critique of taxonomic practice] by Agustín Ortiz Herrera.
May 29, 2019: Frieze published Max’s review ‘Ice and Earth: The Shimmering Abstractions’ on Anna-Eva Bergman’s retrospective of the terrestrial geographies at Bombas Gens, Valencia. Printed in the September 2019 issue of frieze (#205). 

Exhibition catalogue ‘Lara Almarcegui. Béton’ published by Silvana Editoriale.

 June 4, 2019: We received copies of the publication ‘Lara Almarcegui. Beton’ (Silvana Editoriale, April 2019), which includes Latitudes' essay ‘Thinking like a drainage basin’. 
One of the cleverest interventions: (Theresa) ‘May you live in interesting times’, Venice Biennale 2019.

June 10–14, 2019: Visiting the Venice Biennale. Highlights: Jannis Kounellis at the Fondazione Prada; in the biennale enjoyed works by Khalil Joseph, Ed Atkins, Gabriel Rico, Hito Steyerl, Otobong Nkanga, Haris Epaminonda, Ulrike Müller, Michael Armitage, Gauri Gill (a highlight of Documenta14), Cyprien Gaillard, Jimmie Durham and Lara Favaretto, et. al. The group show at Punta della Dogana (always impeccably installed) had great pieces by Hicham Berrada, Charbel Joseph H. Boutros, Stéphane Saade, and Ari Benjamin; Christopher Kulendran Thomas at V-A-C; mixed feelings about Luc Tuymans at Palazzo Grassi; visited the empty Lithuanian (performances were only on Saturdays, Wednesdays has now been added to the schedule). In the Giardini, we enjoyed the presentations in France, Brazil, Belgium and Switzerland, and elsewhere Ghana, Cyprus, Wales, France, Madagascar, Dineo Seshee Bopape's work in the South African pavilion, the maze-like Italy and Hong Kong. Future Generations is always good to visit, though we'd be grateful if they could provide a leaflet or sheet with information on the exhibited works and artists. We enjoyed the presentations by Toyin Ojih Odutola, Jakob Kudsk Steensen, Daniel Turner and Gala Porras-Kim and had time to swing by Victoria Miro which presented great paintings by Njideka Akunyili Crosby. Others are photographed below.

Detail from Cathy Wilkes’s work at the British Pavilion, Venice Biennale 2019.

Ingela Ihman’s work at the Nordic Pavilion, Venice Biennale 2019.

 Sergio Prego’s sculptures at the back of the Spanish Pavilion, Venice Biennale 2019.

Yu Ji sculptures in the Central Pavilion, Giardini, Venice Biennale 2019. 

Jimmie Durham’s ‘Black Serpentine’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Lara Favaretto's ‘Thinking Head’ in the Central Pavilion, Giardini, Venice Biennale 2019.

Haris Epaminonda in the Arsenale, Venice Biennale 2019.

Joël Andrianomearisoa at the Madagascar Pavilion, Corderie, Venice Biennale 2019.

Lynette Yiadom-Boakye’s paintings at the Ghana Pavilion, Corderie, Venice Biennale 2019.

 Irish pavilion with work by Eva Rothschild, Corderie, Venice Biennale 2019.

Welsh Pavilion presented work by Sean Edwards, Venice Biennale 2019.

July 1, 2019: New cover story rewinding 10 years to Francesc Ruiz's (visionary?) participation in the group show ‘Sequelism, part 3: Possible, Probable and Preferable Futures’ in Arnolfini, Bristol.
July 11, 2019: Conversation with Lara Almarcegui at the Institut Valencià d’Art Modern (IVAM) in the context of her new exhibition ‘Lara Almarcegui. Agras volcano. Mining rights’. 


Photo © Institut Valencià d'Art Modern (IVAM).

July 16, 2019: Website update with a new page on our forthcoming participation in PUBLICS’s ‘Today Is Our Tomorrow’ art festival taking place in early September in Helsinki. Running parallel during the same week (9–15 September), Frame Contemporary Art Finland is organising ‘Gathering for Rehearsing Hospitalities’, a six-day gathering in which artists, curators, researchers and other critical minds ‘are invited to rehearse and debate hospitality towards diverse ways of knowing and challenging of dominant knowledges’.
July 19, 2019: As a board member of the Fundació Privada AAVC governing HANGAR since 2015, Mariana attends the last HANGAR board meeting before the Summer break. This is a longer than usual session as 2018 accounts have to be approved. Enjoying the blue sky and bright colours before entering the spreadsheet world.

Nearby building to HANGAR on c. Marroc / Espronceda.


July 22, 2019: We learn Joan Morey is one of the eight beneficiaries of the 27th edition of the Botín Foundation’s International Visual Arts Grants. Yey! 

 July 26-28, 2019: Trip to Madrid to catch a few exhibitions before they finished and the August exodus. Henrik Olesen, David Wojnarowicz, Miriam Cahn, Sara Ramo and Rogelio López Cuenca at the Museo Reina Sofía; Inéditos 2019 at La Casa Encendida; Eva Fàbregas and Aimée Zito Lema at CentroCentro; the recently inaugurated Paloma Polo at CA2M in Móstoles; Joël Andrianomearisoa (at Galería Sabrina Amrani) and Darío Villalba at Sala Alcalá 31, two shows ending this weekend.
 Joël Andrianomearisoa at Galería Sabrina Amrani.

 Above and below: Darío Villalba at Sala Alcalá 31

 Eva Fàbregas ‘Gut feeling’ at CentroCentro.

  Paloma Polo, ‘A Fleeting Moment of Dissidence Becomes Fossilised and Lifeless After The Moment Has Passed’ 2014, at CA2M in Móstoles.

 Henrik Olesen, ‘SOME GAY-LESBIAN ARTISTS AND/OR ARTISTS RELEVANT TO HOMO-SOCIAL CULTURE BORN BETWEEN C. 1300–1870’ (2007) at Museo Reina Sofía.

David Wojnarowicz's photograph ‘What Is This Little Guy’s Job in the World’ (1990) at the Museo Reina Sofía. 
The 2019–2020 season will kick off on 9–15 September. We'll be in Helsinki participating in two events. Firstly the art festival ‘Today Is Our Tomorrow’, a three-day event (12, 13 and 14 September) initiated by PUBLICS presenting a collaboratively curated program of temporary public art commissions, live performance, music, dance, theatre, literature and symposia, local and international organisations. Latitudes’ has invited Mercedes Azpilicueta to present the performance ‘Yegua-yeta-yuta’ (2015) at Club Kaiku, an underground music venue renowned for hosting an innovative lineup of DJs. 
Skype conversation with the artist Mercedes Azpilicueta and Paul O'Neill from PUBLICS.

And secondly, we'll be part of Frame Contemporary Art Finland's ‘Gathering for Rehearsing Hospitalities’, a week composed of a series of talks, performative dialogues, interventions and screenings developed in collaboration with a number of local partners.

 A few days later, we'll be participating in the 2019 EXPO CHICAGO/Red Bull Arts Global Curatorial Initiative visiting a range of institutions and artists in Chicago (17–21 September) and Detroit (21–23 September).


 2018, 2019, art-agenda, Barcelona, Barcelona Producció, Buenos Aires, Frieze, Incidents of Travel, Joan Morey, Lara Almarcegui, out of office, performance, Portfolio, Reviews, Vienna
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Joan Morey awarded the Botín Foundation's International Visual Arts Grant

 Mon, Jul 22 2019
Joan during the installation of the exhibition 'COLAPSO' in Fabra i Coats. Centre d'Art Contemporani, September 2018. A three-part project curated by Latitudes. Photo: Max Andrews.

Latitudes congratulate Joan Morey, one of the eight beneficiaries of the 27th edition of the Botín Foundation's International Visual Arts Grants. His project ‘LA INFLUYENTE’ will be exhibited at the Botín Centre in 2021.
‘LA INFLUYENTE’ is a research and artistic creation project around the mechanisms of conversion of the body into symbolic capital, a speculative element and product of veneration, which takes the relics of Saint Teresa of Ávila as its starting point.


Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018. Curated by Latitudes. Photo: Noemi Jariod. Courtesy the artist.

Last year, Latitudes curated Morey's three-venue project ‘COLLAPSE’ presented at the Centre d’Art Contemporani de Barcelona - Fabra i Coats (20 September 2018–13 January 2019), the Centre d'art Tecla Sala in L'Hospitalet de Llobregat (15 November 2018–13 January 2019), and a new site-specific performance presented at the former prison La Model (10 January 2019) in Barcelona's Eixample district.


(Above and below) View of the exhibition by Joan Morey, ‘COLLAPSE. Social Body’ at the Centre d'art Tecla Sala, Hospitalet de Llobregat (Barcelona), 15 November 2018–13 January 2019. Photos © ArtWorkPhoto.eu Courtesy of the artist.



Joan Morey, ‘Schizophrenic Machine’ site-specific performance at the former Panopticon-inspired prison La Model, Barcelona, 10 January 2019. Copyright: Photo by Noemí Jariod. Courtesy of the artist.


A year earlier, the artists Antoni Hervàs and Anna Moreno were also beneficiaries of the Botín Foundation visual arts grant. Both Moreno and Hervàs were awarded Barcelona Producció Visual Arts grants in 2017 and 2016, respectively, projects that were tutored by Latitudes.


View of Antoni Hervàs solo exhibition ‘El misterio de Caviria’, La Capella, Barcelona Producció 2016. Photo: Pep Herrero / La Capella.

Anna Moreno's publication project ‘The Drowned Giant’ awarded in Barcelona Producció 2017. Photo: Anna Moreno.


→ RELATED CONTENTS:
  • Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113.
  • ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
  • Full performance programme
  • Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 1 February 2017
  • Actividades programadas durante la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella 7 noviembre 2016
  • Documentación de la exposición "El Misterio de Caviria" de Antoni Hervàs en La Capella 23 September 2016
  • Exposición “El misterio de Caviria” de Antoni Hervàs en La Capella, 16 septiembre–13 noviembre 2016 16 September 2016
  • dOCUMENTA (13) artists and Latitudes 24 August 2012
 2019, Anna Moreno, Antoni Hervàs, Award, Barcelona Producció, Centre d'Art Barcelona, fabra i coats, grant, Joan Morey, Latitudes-curated, mentoring
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Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago

 Mon, Jul 1 2019
Latitudes' homepage www.lttds.org

The July 2019 monthly Cover Story ‘Francesc Ruiz’s Brexit Bristol sequel, ten years ago’ is now up on Latitudes' homepage: www.lttds.org

“The British political system has collapsed… Once the high streets merely declined with their pound shops, gold traders, and bargain basements… Then they slumped as the "major downturn" began to bite… Yet as the economy finally plunged into the devastating recession, countless properties and businesses across the city of Bristol already lay in ruins… Widespread rioting and looting… Shortages of food and medicines… Spiralling inflation rates and a currency crash… The troops now struggle to enforce the state of emergency… The traitors flock to the southern ports, desperately seeking safe passage to Brussels…”

→ Continue reading
→ After this month it will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


RELATED CONTENT:
 10th anniversary, 2009, 2019, arnolfini, Bristol, cover story, Francesc Ruiz, looking back, Sequelism
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11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)

 Tue, Jun 25 2019


‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.

El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.

A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.  
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.

Lara Almarcegui es seguramente la artista con la que Latitudes ha colaborado en más ocasiones. Han incluido su trabajo en la publicación ‘LAND, ART: A Cultural Ecology Handbook’ (2006) y en la revista UOVO #14 ‘Ecology, Luxury and Degradation’ (2007). Han escrito sobre su trabajo en para revistas como Mousse Magazine (abril 2010), así como para los catálogos de los proyectos ‘Estratos’ en Murcia (2008), ‘Sense and Sustainability’, Urdabai Arte (pdf aquí) (2012), y recientemente para el catálogo de su exposición monográfica en el CAIRN Centre d'art, France (2019). 
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.


En el 2011 moderaron una conversación con la artista y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, y editaron su primera monografía ‘Lara Almarcegui. Projects 2005–2010’ publicada por Archive Books (2011). Asímismo le han encargado proyectos para proyectos en el espacio público como ‘Portscapes’ en el puerto de Róterdam (2009–10), el puerto más grande de Europa, y presentado su trabajo en exposiciones colectivas como ‘Greenwashing. Percoli, promesse e perplessità’ [Greenwashing. Peligros, promesas y perplejidades] en la Fondazione Sandretto Re Rebaudengo en Torino (2008) y ‘4.543 milliard. La question de la matière’ [4.543 billones. La cuestión de la materia], en el CAPC Musée d'art contemporain de Bordeaux (2017–2018).
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).

(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.

(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.

(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.

→ CONTENIDO RELACIONADO: 
  • ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
  • Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
  • Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
  • Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
  • Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
  • Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
  • Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
  • Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
  • Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
  • Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
 2019, catalogue, conversations, Ecology, Essay, event, IVAM, Lara Almarcegui, Mariana Cánepa Luna, talk, Valencia, writing
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Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores

 Mon, Jun 3 2019
Nueva imagen gráfica realizada en ocasión del 25º aniversario de La Capella. Foto: Folch Studio.

Después de tres intensas semanas de proceso —una dedicada a la lectura de las 259 solicitudes recibidas, otra al debate con los cinco miembros del jurado (formado por Alexandra Laudo, Antònia Folguera, Joan Casellas, Mireia Sallarès y Latitudes, junto a Oriol Gual (director de La Capella) y David Armengol (coordinador de la comisión), ambos últimos con voz pero sin voto), y una tercera semana entrevistando a 32 finalistas— el jurado y equipo de tutores de Barcelona Producció ha decidido premiar a los siguientes 15 proyectos para su producción y presentación a lo largo de la temporada 2019-2020 (fechas por confirmar):

 PROYECTOS EXPOSITIVOS

 Sala Grande – Exposición individual
  • "Kyklos" de Martín Llavaneras (29 octubre 2019—16 febrero 2020)
  • "Faula rodona / Sols i embogits / Entre la precisió total i una cançó de Sau" de Pere Llobera (10 marzo 2020—31 mayo 2020)
  • "Joc d'infants" de Lola Lasurt (16 junio 2020—4 octubre 2020)
Sala Gran – Proyecto de comisariado
  • "Esdevenir inmortal i després morir" de Caterina Almirall (20 octubre 2020—31 enero 2021)

PROYECTOS NO EXPOSITIVOS
Proyectos deslocalizados
  • "La balena del Prat al Prat / Retorn" de Consol Llupià,
  • "Serps d'aigua. Les rieres ocultes i la construcció simbòlica de Barcelona" de Sitesize (Joan Vila Puig y Elvira Pujol),
Investigación
  • "Nomenar, posseir. Crítica de la pràctica taxonòmica" de Agustín Ortiz Herrera;
  • "Correspondències simbòliques entre folklore catòlic i música màkina al Casc Antic de Barcelona" de Marc O'Callaghan;
Publicación
 Acción en vivo (22, 23, 24 septiembre 2019)
 Proyectos de creación transdisciplinar y medios digitales 
Proyecto educativo y de mediación
  • "εξέδρα (Exedra). L'Art com a eina d'equiparació social" de Jordi Ferreiro.
Latitudes tutorizará los proyectos de Lola Lasurt, Consol Llupià y Agustín Ortiz Herrera. Más información y calendario 2019–2021 se irá publicando y actualizando en nuestra web.


Exposición "El Misterio de Caviria" de Antoni Hervàs, parte de la programación de Barcelona Producció 2016 en La Capella. Su proyecto fue galardonado con el Premi Ciutat de Barcelona 2016 y el Premio ACCA al Proyecto Artístico 2016. Proyecto tutorizado por Latitudes. Fotos: Pep Herrero, Barcelona Producció/La Capella.
Si en la anterior convocatoria se habían doblado el número de categorías pasando de nueve a dieciocho y se sumaron tres nuevos tutores, en esta ocasión la sala pequeña ha sido eliminada aunque se ha introducido un proyecto de educación y mediación destinado a la realización de acciones educativas dirigidas al público general sobre la base de las actividades programadas. Los proyectos para "Entornos digitales" han pasado a denominarse "Proyectos de creación transdisciplinar y medios digitales" y serán tutorizados por Antònia Folguera.

 Los proyectos deslocalizados, los de publicación, los proyectos de creación transdisciplinar y medios digitales, y los de investigación, se producirán y presentarán a lo largo de la temporada según el calendario de cada una de las propuestas. Los de acción en vivo tendrán lugar tres días consecutivos en Septiembre (fechas por confirmar) y Joan Casellas se encargará de tutorizarlos.

Publicación ‘The Drowned Giant’ realizada por Anna Moreno producido con el apoyo de Barcelona Producció 2017, La Capella, Institut de Cultura de Barcelona. Proyecto tutorizado por Latitudes. Foto: Anna Moreno.

Vista de la exposición ‘La disidencia nostálgica’ comisariada por Joana Hurtado Matheu, parte de la programación Barcelona Producció 2017, La Capella. Proyecto tutorizado por Latitudes. Foto: Pep Herrero, Barcelona Producció/La Capella.


Barcelona Producció es una convocatoria anual dirigida a la comunidad artística de Barcelona y su área de influencia. Es una iniciativa del Institut de Cultura de Barcelona (ICUB) del Ajuntament de Barcelona.


CONTENIDO RELACIONADO:
 2019, 2020, Agustín Ortiz, Barcelona Producció, BCN Producció, beca producción, Consol Llupià, convocatoria, Jordi Ferreiro, Jurado, Lola Lasurt, tutorizado por Latitudes, tutoría
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Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’

 Sat, Jun 1 2019
Latitudes' homepage www.lttds.org

The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org

“Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”

—> Continue reading
—> After May it will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


RELATED CONTENT:
 2019, catalogue, conversations, cover story, curatorial writing, Ecology, Essay, France, IVAM, Lara Almarcegui, Mariana Cánepa Luna, raw materials, talk, text, Valencia
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Cover Story – May 2019: ‘Buenos Aires in Parallel’

 Wed, May 1 2019
Latitudes' homepage www.lttds.org

The May 2019 Monthly Cover Story ‘Buenos Aires in Parallel’ is now up on Latitudes' homepage: www.lttds.org

“Latitudes recently participated in the Parallel Rooms talks programme of Art Basel Cities: Buenos Aires. Developed in collaboration with the arteBA Fundación, and taking place during the arteBA art fair itself, these events transpired in four temporary domes that popped-up on the central showground of La Rural, a venue more used to hosting prize-winning cattle than forty-two curators, artists, and collectors.”

 —> Continue reading
—> After May it will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


RELATED CONTENT:
 2019, Buenos Aires, conversations, cover story, Mariana Cánepa Luna, Max Andrews, museums, public art, public programme, talks programme
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Report: Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair

 Mon, Apr 22 2019

Invited by Art Basel Cities: Buenos Aires to participate in their Parallel Talks programme during ArteBA, Latitudes spent a week in Buenos Aires (9–15 April) visiting a range of studio spaces, non-profit initiatives, commercial galleries, residency programmes, collectors, artists, and the arteBA art fair itself. 

(Above) Mariana Tellería ("Dios es inmigrante", 2019) and Carlos Huffmann (below) "Hito de frontera", 2019).

Tuesday 9 April 2019: We arrived in the evening in time to join the opening of the Buenos Aires Art Week (Semana del Arte) at Plaza Seeber. On the square, several sculptures were commissioned for the occasion, including works by Mariana Tellería (representing Argentina in the 2019 Venice Biennale), as well as works by Margarita Paksa, Marie Orensanz, Luna Paiva and Carlos Huffmann (photographed below).


Façade of MALBA — Museo Arte Latinoamericano de Buenos Aires.

Wednesday 10 April: Morning visit to MALBA — Museo Arte Latinoamericano de Buenos Aires, who just announced the appointment of Gabriela Rangel as its new director. MALBA we saw "Inner world Modern Argentine Photography 1927-1962" with really compelling photographic work by Horacio Coppola, among others, as well as the survey "Latin American Art 1900–1970" from the MALBA collection.


 (Above) Pistal Central de La Rural.

In the afternoon we went to the Pista Central of La Rural to attend the opening of ArteBA. Later in the week, twelve concurrent talks — the Parallel Talks programme organised by Art Basel Cities: Buenos Aires — would take place inside transparent geodesic domes installed on this arena.

"Cultivar el suelo es servir a la patria" (Cultivate the soil is to serve the homeland).

 Inside the art fair ArteBA.


‘Lleno de sonrisas serias’, a 1963 work by conceptual artist and fashion designer Dalila Puzzovio (work above, the artist is photographed below on the left) was presented at Rolf Art gallery. Her discarded cast piece was included in the 1964 exhibition ‘New Art of Argentina’, organized by the Walker Art Center in Minneapolis and the Instituto Torcuato Di Tella in Buenos Aires (installation view in the background where her piece was presented on the floor). As Walker curator Siri Engberg wrote, the show ‘brought to Minneapolis Argentine artistic trends in geometric, abstract, and collage painting, constructivism, and other developments’. Rolf Art also presented works by José Alejandro Restrepo ‘Parquedades’ (1987) and María José Arjona's performance ‘Línea de Vida’.


 (Above and four images below) Nicolás Robbio at Museo Sívori

In the evening we had welcome drinks at the Museo Sívori, which hosted the fantastic solo show "3 de espaldas" by Nicolás Robbio, curated by Sebastián Vidal Mackinson.



Thursday 11 April 2019: Morning visit to several studios in the Once neighbourhood, including that of Eduardo Basualdo (above and two images below).

Later visited a group exhibition at galería Revolver which included "Aspiradora" (2017) by Alberto Borea.

Vicente Grondona's work also at Revolver.

cheLA studio spaces in parque Patricio neighbourhood.

In the afternoon we divided into smaller groups. We went to cheLA, a large 1930s industrial building in Parque Patricios hosting a programme of international residencies directed by Pablo Caligaris. In its 5,000m, cheLA hosts a range of organisations ("Constellations") including Móvil, a non-profit directed since 2014 by Alejandra Aguado and Solana Molina Viamonte, occupying the sala Tatraba.

Entrance to Móvil in cheLA. 

(Above and below) Exhibition "Sí, no y otras opciones" by Tucumán-born artist Mariana Ferreira at Móvil.


Evening opening at Centro Cultural Kirschner (CCK) (pictured above) hosted a large survey by 47 Argentinian artists titled "La marca original: arte argentino" presented over their vast exhibition spaces on the second and fourth floors. The building was a former post office and reminded us of Madrid's CentroCentro which has undergone a similar readaptation of its use, both struggling to adapt their spaces to the presentation of contemporary art.

 House-gallery of Maria Casado.

 Friday, April 12, 2019: Morning visit to El Tigre, north of Buenos Aires, visiting the home-and-gallery of Maria Casado and the residency programme Proyecto URRA.

(Left to right) Stuart Fallon (Talbot Rice Gallery, Edinburg), Marie Christine Schuh (Art Basel Cities: Buenos Aires), Latitudes, Richard Parry (Glasgow International), gallerist Maria Casado and Sandino Scheidegger (Random Institute).


Onwards to the nearby Proyecto URRA artists residencies, also in El Tigre. Introductions by the resident artists Antonio Castillo Coo, Claire de Santa Coloma, Enrique Radigales, Lucas Despósito and Marisol San Jorge, and URRA director Melina Berkenwald.

Photo: Stuart Fallon.

 (Above and below) Installation by Madrid-based artist Enrique Radigales.

Enrique discusses his piece with visitors and other residents. Photo: Stuart Fallon.

Afternoon at the Parque de la Memoria—a fourteen-acre remembrance park situated in front of the Río de la Plata, commemorating the victims of state-sponsored terrorism from the 1976–83 military regime. Here we met Florencia Battiti (Curator at Parque de la Memoria) who explained the mission, programme and public commissions. 





Saturday 13 April 2019: On Saturday morning we joined the arteBA tour to a few galleries in La Boca neighbourhood: Fundación El Mirador (showing Alfredo Prior), Quadro Galería (showing Karin Idelson) and (photographed) Galería Barro exhibiting Marcelo Pombo. Fundación PROA presented contemporary Argentinian design, and we had ‘choripán’ lunch at the nearby Fundación PROA 21.


Back at the fair, transparent geodesic domes had been set up by Art Basel Cities: Buenos Aires at the Pista central in La Rural. Each space hosted the three consecutive conversations, starting 5:30. Max Andrews and Mariana Cánepa Luna's individual conversations ran consecutively (at 6:30 and 7:30) each for an hour. 

As narrated by co-guest Sandino Scheidegger of the Random Institute, other talks included topics such as ‘An Exhibition By Any Other Name’, ‘How Can Art Institutions Foster Experimentation?’ or ‘Curating in Context: How to Be Site-Specific’ (programme pdf here).

 On the subject of the 3-year relationship between arteBA and Art Basel Cities: Buenos Aires, Kerry Doran wrote his impressions in Artforum diary. 





Sunday 14 April 2019: A very welcome free day Sunday. We visited MUNTREF—Centro de Arte Contemporéneo's recently opened Premio Braque 2019 exhibition featuring works by fifteen Argentinian artists: Alfredo Dufour, Belén Romero Gunset, Celina Eceiza, Erica Bohm, Gustavo Nieto, Julián Sorter, Malena Pizani, Mariana Ferrari, Mónica Heller, Nacha Canvas, Nicolás Mastracchio, Juan Sorrentino, Mariana López, Dani Zelko and Cecilia Szalkowicz, awarded this year Premio Braque with her piece ‘Cosmos’. The award consists of a six-month residency at the Cité Internationale des Arts in Paris. 

 (Above and below) ‘Cena recalentada’ by Celina Eceiza.

 (Above, left) Belén Romero Gunset ‘Pensar sola es criminal’ and (right) Erica Bohm ‘El cristal perfecto’. 
(Above) Julián Sorter ‘Doble de cuerpo’.
View of the show with works by Alfredo Dufour ‘Cest la vie I’, Malena Pizani ‘Cinco monos’ and Nicolás Mastracchio ‘Inducción VI’. 
(Above, foreground) works by Nacha Canvas ‘Símil’ and (background) Mariana Ferrari ‘Vivir aquí’.

Entrance to Carla Zaccagnini's "Mañana iba a ser ayer" curated by Lucrecia Palacios y Agustín Pérez Rubio also on view at MUNTREF—Centro de Arte Contemporéneo.




A classic fugazzeta at El Cuartito was followed by 1h walk to the Museo de Arte Moderno de Bellas Artes in San Telmo, with a short diversion to El Ateneo bookstore (below).




At the Museo de Arte Moderno de Buenos Aires: "Una Historia de la imaginación en la Argentina", subtitled "Visiones de la Pampa, el litoral y el altiplano desde el siglo XIX a la actualidad", one of the most interesting shows in town. We wished we had seen it earlier as a means of introduction to the historical and artistic context. It included 250 works from different geographical points of the country, selected around their representation of nature, the feminine body and violence. It was curated by Javier Villa, Chief Curator at the Museo de Arte Moderno de Buenos Aires.

(Above) Works by Calixto Mamani and exhibition views below.



Installation "Mi Silencio miseria" (2015-19) by Carlos Herrera.


Also at MAMBA, we caught the last day of Mercedes Azpilicueta's solo show ‘Cuerpos pájaros’, and more specifically, her performance "Oh Eduarda!".





(Above) Azpilicueta performing during her "Oh Eduarda!", a script realised in collaboration with Agustina Muñoz, who performs alongside the artist. 


RELATED CONTENT:
 2019, Argentina, Art Basel, art fairs, art weekend, Buenos Aires, Gallery Weekend, Mercedes Azpilicueta, report, residency, studio visit, studios facilities, talks programme
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Essay: ‘Thinking like a drainage basin’ in the catalogue of the exhibition ‘Lara Almarcegui. Béton’

 Mon, Apr 8 2019

(Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.

Lara Almarcegui's exhibition ‘Béton’ opened on April 5 at CAIRN Centre d'art, in Digne-les-Bains, France, and will be on view until June 30th, 2019.

 Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.



As Latitudes' writes in the essay (...) ‘As part of her most recent project for CAIRN Centre d’art, Almarcegui has produced ‘Roches et Materiaux du Bassin de la Bléone’ (2019), an inventory of the different types of geological matter comprising the entire drainage basin of the Bléone river from its source near Prads-Haute-Bléone to its confluence with the Durance at Chateau-Arnaux, a terrain of some 906 km2.

In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?”[1] She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’



 ‘Lara Almarcegui. Béton’
April 2019, 48 pages, 24 x 17 cm
Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann. 
French/English 
Published by Silvana Editoriale
March 2019
Edited by CAIRN centre d'art
ISBN 9788836640904
Purchase here for 10 Euros.

 RELATED CONTENT:
  • Writing archive on Latitudes' website;
  • Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
  • Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
  • Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
  • art-agenda review of Frieze week 2018 15 October 2018. 
  • Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018
 2019, catalogue, curatorial writing, Ecology, Essay, France, Geology, Lara Almarcegui, latitudes, writing
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Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019

 Mon, Apr 1 2019

Art Basel Cities: Buenos Aires in collaboration with arteBA Fundación will host a Talks Programme between April 12–14, 2019. Forty-two speakers from across the cultural sphere will discuss salient topics with the Buenos Aires audience. 

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"
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.


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


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 2019, Art Basel, Buenos Aires, Curatorial Practice, exhibition-making, field trip, Mariana Cánepa Luna, Max Andrews, offsite, prácticas curatoriales, talks programme
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