LONGITUDES

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

“The Pilgrim” in Barcelona and Askeaton

Left to right: Eulàlia Rovira (photo by Aníbal Parada), Ruth Clinton (photo by Colm Keating) and Niamh Moriarty (photo by Cian Flynn).


Askeaton Contemporary Arts and Latitudes are delighted to announce the launch of “The Pilgrim”, a pilot exchange programme linking the two organisations in southwest Ireland and Barcelona, respectively, and Irish artists Ruth Clinton & Niamh Moriarty with Catalan artist Eulàlia Rovira. Throughout 2023, artist residencies and a public programme will enhance new artistic and curatorial research, and create new possibilities for international collaboration.

The Pilgrim’s curatorial framework derives from an extraordinary story from over two centuries ago. It is recalled that a Barcelona merchant named Don Martínez de Mendoza, one of the wealthiest men in Catalonia during the mid-1700s, murdered his son-in-law to avenge the death of his daughter in childbirth in a Barcelona convent years before. Don Martínez ended up living his last sixteen years as a pilgrim in penance in Askeaton, County Limerick. A cryptic inscription can still be found in the cloister of Askeaton Friary: “Beneath lies the Pilgrim’s Body, who died January 17, 1784”.

More info here.

#PilgrimAskeaton

The Pilgrims Grave, Duffy’s Fireside Magazine, January 1853.

Since 2006, the artist-led initiative Askeaton Contemporary Arts has commissioned, produced and exhibited over a hundred contemporary art projects in County Limerick, Ireland. 

Latitudes is a Barcelona-based curatorial office that works internationally across contemporary art practices. It was initiated in 2005 by Max Andrews and Mariana Cánepa Luna.

The Pilgrim” is supported by the Irish Arts Council’s International Residency Initiatives Scheme 2022.


RELATED CONTENTS:

  • Audio – "The Pilgrim" by Tim Kelly. Read by Carl Doran. Published in Askeaton-Balysteen Community News, Summer 1984, August 2018, 24'57''
  • Cover Story–August 2018: Askeaton Joyride, 1 August 2018
  • Residency report: Askeaton Contemporary Arts, County Limerick, Ireland, 20–29 July 2018x, 30 July 2018

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Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA

Rueda de prensa 20 octubre 2021 — “Apunts per a un incendi dels ulls” (43'24'', català + castellano)

Hiuwai Chu parla sobre “Apunts per a un incendi dels ulls” (català).

Ruta de Autor habla su proyecto presentado en la exposición “Apunts per a un incendi dels ulls” (castellano).

Rosa Tharrats habla sobre su proyecto presentado en la exposición “Apunts per a un incendi dels ulls” (catalán).
Josep Playà Maset, "El Macba evoca el nuevo panorama artístico a través de 17 propuestas emergentes", La Vanguardia, 20 octubre 2021 (castellano).

José Ángel Montañés, "El Macba toma el pulso al arte de Barcelona", El País, 20 octubre 2021 (castellano).
Maria Palau, "El Macba rep l’energia de l’escena local", El Punt avui, 21 octubre 2021 (català).

Montse Frisach, "Radiografia artística en 360º", Catorze.cat, 21 octubre 2021 (català).

Juan Pedro Chuet-Missé, "El arte contemporáneo del MACBA enciende los ojos", Tendencias hoy, 21 octubre 2021 (castellano).

Carolina Rosich, Telenotícies vespre, TV3, 21 octubre 2021 (2'08'', català) 

Gisela Chillida Espinosa, "Panorama 21: incendiar-se per renéixer"El Temps de les Arts, 22 octubre 2021 (català).

Mery Cuesta, El Ojo Crítico, 27 octubre 2021, entre min. 30'19''–21'57'' (castellano).


Marc Hernández, Avui sortim, rtve.es, ràdio 4, 24'56'', 29 octubre 2021 (català).

Josep Paris, Àrtic, betevé.cat, 29 novembre 2021. Clips aquíaquí i aquí (català)

Ángela Molina, “Els ulls que no veuen”, Quadern, El País, 9 desembre 2021 (català).


Berta Galofré Claret, “Rosa Tharrats eixampla significats al MACBA”, nuvol.com, 29 desembre 2021 (català)


Maite Garbayo Maeztu, “Deseos y derrumbes”, Tea-tron.com, 13 enero 2022 (castellano).

 “Toni Hervàs conquista el CCCB i el MACBA”, 4:46min, àrtic, betevé.cat, 21 gener 2022 (català).


Bernat Dedéu, "Un incendio que no arde", The New Barcelona Post, 15 enero 2022 (castellano). 

Entrevista a Laia Estruch, programa “Quan arribin els marcians”, TV3, entre min. 10:20–13:03, 8 febrer 2022 (català)

Analía Iglesias, “Las hazañas del hombre blanco, a debate”, El País, Blogs/Planeta Futuro, 24 Febrero 2022.


#PanoramaMACBA
#apuntsperaunincendidelsulls
#macbaBCN

Museu d'Art Contemporani de Barcelona (MACBA)
Plaça dels Àngels 1
08001 Barcelona
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Cover Story, November 2021: Notes for an Eye Fire

 

November 2021 cover story on www.lttds.org


The November 2021 monthly Cover Story “Notes for an Eye Fire” is now up on our homepage: www.lttds.org

There are days when an event, by the logic of the unforeseen, makes a cut in history and a different world is born. The MACBA exhibition ‘Apunts per a un incendi dels ulls’ (Notes for an Eye Fire) welcomes us after the global reset with a new generation.

 Continue reading

→ After November 2021 this story will be archived here.

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, October 2021: Fear and Loathing in Lebanon, 1 Oct 2021
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
  • Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
  • 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
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Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC

Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista.


El 22 de septiembre 2021 a las 19h (UTC -5) se transmitirá a través de Facebook Live del Museo Amparo una conversación que mantuvimos con el artista Jorge Satorre (Ciudad de México, 1979). La conversación quedará registrada en el canal Youtube del museo. 

Programada dentro del ciclo ‘‘Diálogos con artistas de la Colección de Arte Contemporáneo”, la conversación se enmarca dentro de la programación de la exposición “El tiempo en las cosas” curada por Tatiana Cuevas en las Salas de Arte Contemporáneo del Museo Amparo en Puebla, México.

La conversación giró entorno al proceso de producción de “The Erratic. Measuring Compensation” (2010), actualmente incluída en la exposición “El tiempo en las cosas”, realizada por Satorre y comisionada por Latitudes como uno de los diez proyectos producidos a lo largo del 2009 en el espacio público del Puerto de Rotterdam, en los Países Bajos.

Durante el verano de 2009, Satorre buscó y localizó una de las gigantescas rocas que los glaciares llevaron a los Países Bajos desde Escandinavia durante la última Edad de Hielo. A raíz de la fascinación del artista por los proyectos de compensación medioambiental que se llevaron a cabo durante el proyecto de ampliación portuaria Maasvlakte 2 (2008–13), Satorre con la ayuda de un equipo de científicos identificó el lugar de origen de un bloque errático y lo devolvió a su lugar de origen, un acto de restitución sintética y compensación escultórica transnacional. 

El gesto geológico inverso de Satorre además de reflejar la construcción monumental de Maasvlakte 2 como una escultura de la forma de la tierra que, como la acción del deshielo pero en un tiempo mucho más corto, está alterando para siempre la morfología de los Países Bajos. La acción también se refleja en el hecho de que gran parte de la defensa marítima existente y futura en la zona portuaria se hará con roca traída de Escandinavia. Satorre ofrece un relato del proceso de devolución a través de dibujos que incorporan detalles reales e imaginarios. Uno de estos detalles representa una protesta imaginada al comienzo del viaje de vuelta a casa de la roca y fue presentado a modo de prólogo del proyecto en una valla publicitaria en el Puerto de Rotterdam, el puerto más grande de Europa.

Portscapes fue un encargo de la Autoridad Portuaria de Rotterdam con el asesoramiento y apoyo de la desaparecida organización SKOR (Fundación Arte y Espacio Público, Ámsterdam), y fue curado por Latitudes. En este contexto se encargaron proyectos a Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Hans Schabus y a Jorge Satorre, quien realizó “The Erratic. Measuring Compensation” (2010).

Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista. Foto: B. Wind.



CONTENIDO RELACIONADO

  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Portscapes project page
  • Portscapes photo documentation
  • Web of the artist about ‘The Erratic. Measuring Compensation
  • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze 29 April 2015
  • Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews, 28 Mar 2012
  • Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
  • Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
  • Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
  • 2009 Video of the making of Jorge Satorre's project
  • Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten small exhibition at the visitor centre Futureland and surroundings, 2 October 2009

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Cover Story July–August 2021: a wide view from a fixed point

July–August 2021 cover story on www.lttds.org


The July–August 2021 monthly Cover Story “A wide view from a fixed point” is now up on our homepage: www.lttds.org

Panorama is a new series of exhibitions at the Museu d’Art Contemporani de Barcelona (MACBA) dedicated to contemporary art practices in, around, and from Barcelona. Curated by Hiuwai Chu and Latitudes, the first edition will open its doors on 22 October 2021 under the title Apunts per a un incendi dels ulls (Notes for an Eye Fire) after the recent poetry collection by Gabriel Ventura.”

 Continue reading

→ After July 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–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
  • 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
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Participants announced of MACBA's “Panorama 21. Notes for an Eye Fire”


Panorama 21: Notes for an Eye Fire
Museu d'Art Contemporani de Barcelona (MACBA)
Exhibition: 22 October 2021–27 February 2022
Private view: 21 October 2021


With the participation of Ana Domínguez, El Palomar (Mariokissme & R. Marcos Mota), Laia Estruch, Arash Fayez, Antoni Hervàs, Rasmus Nilausen, nyamnyam (Ariadna Rodríguez & Iñaki Álvarez) with 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, and Marc Vives.

MACBA is launching a new series of exhibitions entitled Panorama, with a focus on contemporary art practices in and around Barcelona. With an emphasis on collaborative practices and presenting diverse perspectives, each edition of Panorama will be led by a different curatorial team, composed of a member of the MACBA team together with an independent curator or collective.

Occupying the entire top floor of the Meier Building, the first edition of Panorama, will open with the group exhibition Notes for an Eye Fire, curated by Hiuwai Chu (MACBA) and LatitudesAs the “notes” of the title suggests, this exhibition attempts to jot down, to lay out and to connect without seeking to be in any way definitive.

The group show is not driven by one overarching subject, yet the works on display weave together diverse and interconnected themes that have emerged from the curators’ studio visits and conversations with the artistic community, whether addressing the self-image of the city, notions of reparation and belonging, gender dissidence, or our relationship with non-human life.

Notes for an Eye Fire brings together works that have been specially commissioned for the occasion, along with recent productions—all being shown in Barcelona for the first time. It comprises a wide range of disciplines, including painting, sculpture, works on paper, video installation, performance, photography, and textiles, and is driven by a desire to defend and verify the making of on-site exhibitions as experiences that envelop us as whole sensing bodies in space.

The title, borrowed from a 2020 book of poetry by Gabriel Ventura, conjures up a powerful metaphor that provokes a questioning of the dominance of vision, urging us to explore an expanded definition of seeing that engages our other senses and entails new ways of navigating the world, of remembering and of producing knowledge.

This broader consideration of the sensorial in the exhibition has developed in parallel to an exploration of the conceptual and historical underpinning of the panorama itself. The word panorama was coined in the 18th century to describe vast 360-degree paintings housed in purpose-built cylindrical buildings. Looking out from a raised platform, the public enjoyed a commanding view that was nevertheless a disorientating visual experience. Long before the invention of cinema and the proliferation of screens that now characterises contemporary life for many of us, the panorama was the virtual reality headset of its time and became mass entertainment in Europe at a time when travel had not been possible due to the Napoleonic wars. Barcelona hosted three such panoramas during the Universal Exposition of 1888.

The circular form of the eye takes on a life of its own in the exhibition’s imagination, whether through projects that address theatre or performance, the spatial relationship between stage and auditorium, or the loop as narrative. Such perspectives and scales also encircle how the museum establishes a connection with its neighbourhood, and vice versa, in a time in which we are perhaps all questioning and seeing again what our own place in the world might be. 


PUBLIC PROGRAMMES, WEB and PUBLICATION

The public programming around Notes for an Eye Fire will be a mix of in-person and online activities, from workshops, performances and events in the exhibition galleries to in-person and online conversations between participating artists.

The exhibition will also have an expanded presence on the museum’s website, which will feature a webpage dedicated to each artist with complementary material of varied formats related to their artistic practice and production. The website will be updated with new content throughout the exhibition period.

A publication, designed by Ana Domínguez, will be released in Spring 2022 and will include a conversation between the curators, a text by Gabriel Ventura, and texts about the participating artists, accompanied by reproductions of their work.

Panorama is an exhibition organised and produced by MACBA Museu d’Art Contemporani de Barcelona. Its inaugural edition, “Notes for an Eye Fireis curated by Hiuwai Chu (Head of Exhibitions, MACBA) and Latitudes (Max Andrews and Mariana Cánepa Luna), and coordinated by Berta Cervantes.

#PanoramaMACBA #apuntsperaunincendidelsulls 📝🔥👁👁



RELATED CONTENT:

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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

↑ Robert Mitchell, “Plans, and Views in Perspective, with Descriptions of Buildings Erected in England and Scotland; and ... an Essay to Elucidate the Grecian, Roman and Gothic Architecture. (Plans, Descriptions Et Vues En Perspective, Etc.)”, 1801, London. Held at the British Library


PRESS RELEASE

Museu d'Art Contemporani de Barcelona (MACBA)
Plaça dels Àngels 1
08001 Barcelona
www.macba.cat

“Panorama 21: Notes For An Eye Fire”
22 October 2021–27 February 2022
Opening: 21 October 2021

Panorama 21: Notes For An Eye Fire” is a project that aims to reaffirm the commitment of the Museu d'Art Contemporani de Barcelona (MACBA) to the vitality of local production, by supporting site-specific creation and reconsidering what it can offer – and how it can be best used – through a new generation of artists and audiences. Conceived as a long-term commitment by the museum to support local practices, this is an initiative that aspires to make an enduring contribution to the resilience of Barcelona’s cultural ecosystem.

Panorama 21: Notes For An Eye Fire”, which takes its title from the third book of poems by Gabriel Ventura (“Apunts per a un incendi dels ulls”, Documents Documenta, 2020), will be co-curated by Hiuwai Chu (Curator, MACBA) together with Latitudes, the curatorial duo formed in 2005 by Max Andrews and Mariana Cánepa Luna. This type of collaborative work aims to widen institutional practices and bring independent perspectives, through a scheme that it is hoped will be maintained in the future. 

Occupying the entire second floor of MACBA’s Meier Building, it will consist of a group exhibition featuring a number of newly realised projects alongside recently produced works. Moreover, Hiuwai Chu and Latitudes conceive this inaugural edition as a curatorial, editorial and communication channel where in-venue displays encompass a wider spectrum of online programming, publishing, streaming and engagement with MACBA’s users beyond the Museum walls. 

Borrowing from the practices of an increasingly socially engaged generation of artists, “Panorama 21: Notes For An Eye Fire” is not guided by a top-down thematic focus. Instead, it is growing in a cumulative and responsive way from a ground-up perspective on Barcelona, the region and its imaginary. It aspires to amplify the voices of artists and cultural producers that are working in unprecedentedly challenging times.

The project will draw from the panoramic notion of a wide view seen from a fixed point, as well as the innovation that was the origin of the word itself – a neologism coined by the Irish artist Robert Barker from the Greek pan (all), and horama (view) to describe his paintings of Edinburgh, Scotland, at the end of the eighteenth century. Long before the invention of cinema and the proliferation of screens that now characterise contemporary life for many of us, panoramas offered one of the most surprising and popular visual spectacles. 

A panorama was an immersive combination of painting, theatre and architecture. A vast 360° depiction of a city, landscape or battle scene that was presented in a purpose-built circular building. Viewers entered through a tunnel and emerged onto a platform at the centre of the structure and into a startling wrap-around experience. Panoramas could offer a vicarious form of travel. The first such presentation opened to the public in London in 1791, yet the invention really took off in Europe during the following two decades when international travel was severely restricted due to the Napoleonic Wars. Barcelona’s 1888 Universal Exposition presented no less than three panoramas in the city, representing views of the fabled peaks of Montserrat, the Siege of Plevna and the Battle of Waterloo. 

Resonating with the trans-disciplinarity of these display devices, and their desire to inform and captivate, “Panorama 21: Notes For An Eye Fire” nevertheless turns the page on their seamless vista of past conflicts and decisive victories, to imagine instead a structure for supporting a fertile and diverse landscape of many complex artistic positions of the present. 

@macba_barcelona
#PanoramaMACBA
#macbaBCN
#apuntsperunindencidelsulls


RELATED CONTENT

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Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona

Anuncio en e-flux de la nueva temporada de exposiciones en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 17 octubre 2020.
Clàudia Rius, “4 novetats de la Fabra i Coats”, Núvol.com, 19 octubre 2020.
Teresa Sesé, ‘Los objetos hablan: ¡escúchalos!’, La Vanguardia, 20 octubre 2020.


Montse Frisach, “Coses que les coses diuen”, catorze.cat, 21 octubre 2020.

Roberta Bosco, ‘La voz de los humanos y de las cosas’, Mirador de les Arts, 21 octubre 2020.
Ramon Casalé Soler, El Temps de les Arts, 27 octubre 2020. 

Cabe aclarar que, tal y como publicamos en Twitter el pasado 27 de octubre, ‘Cosas que las cosas dicen no se presentó anteriormente en el CAPC musée d'art contemporain de Bordeaux como menciona el articulista, sino que la exposición ha sido un encargo y una producción de Fabra i Coats: Centre d'Art Contemporani de Barcelona


Eduardo de Vicente, ‘Historias explicadas por objetos’, el periódico, 16 diciembre 2020.


c/ Sant Adrià, 20
08030 Barcelona

#CosesQueLesCosesDiuen
#CosasQueLasCosasDicen
#ThingsThingsSay

📽Tráiler 

🗺Guía 

🎧 Audioguía  
Narrada por la artista Eulàlia Rovira (click y escoge idioma)



CONTENIDO RELACIONADO:
  • ‘Things Things Say’ en las redes sociales
  • 6 de noviembre, 17:45h: Proyección ‘Popcorn’ [Palomita] (90', 2012) de Adrià Julià en el Zumzeig Cinema, 29 Oct 2020
  • Exhibition ‘Things Things Say’, Fabra i Coats: Contemporary Art Center of Barcelona, 17 October 2020–17 January 2021, 9 Oct 2020

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Cover Story–January 2021: ‘Things Things Say’: ‘VIP's Union’

 Latitudes' homepage www.lttds.org

The January 2021 monthly Cover Story ‘Things Things Say’: ‘VIP's Union’ is now up on our homepage: www.lttds.org

“People and things write mutual biographies. A folding chair from the studio of artist Ignasi Aballí and a wooden chair from the kitchen of PAAC President Montserrat Moliner sit around a table designed by teacher Lluís Vallvé Cordomí. How are things with you?” 

→ After January 2021 this story will be archived here.

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story—December 2020: ‘Things Things Say’: This Action Lies’, 1 Dec 2020
  • Cover Story—November 2020: ‘Things Things Say’: Stuart Whipps’, 1 Nov 2020
  • Cover Story—October 2020: Incidents (of Travel) Cabo Rojo, Puerto Rico, 2 Oct 2020
  • Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’, 1 Sept 2020
  • Cover Story—August 2020: ‘Màquina possible’: going viral at Can Balaguer, 1 Aug 2020
  • Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi, 1 Jul 2020
  • Cover Story—June 2020: Mataró Chauffeur Service, since 2010, 1 June 2020
  • Cover Story—May 2020: Panama, back through the lens, 4 May 2020
  • Cover Story—March-April 2020: The Bolós Cabinet, 3 March 2020
  • Cover Story—February 2020: Carioca Incidents, 3 February 2020
  • Cover Story—January 2020: Safeguarding Gestures, 2 January 2020

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Cover Story—December 2020: ‘Things Things Say’: ‘This Action Lies’

Latitudes' homepage www.lttds.org

The December 2020 monthly Cover Story ‘Things Things Say’: ‘This Action Lies’ is now up on our homepage: www.lttds.org 

One Taste and You’ll Understand. That was Dunkin’ Donuts slogan in 2001. A year earlier: Loosen Up a Little. Then a bit later: Just the Thing. 2002–2004. Bring Yourself Back. 2004–2006. Now it’s America Runs on Dunkin’, but you get the point.

→ Continue reading
→ After December 2020 this story will be archived here.

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story—November 2020: ‘Things Things Say’: Stuart Whipps’, 1 Nov 2020
  • Cover Story—October 2020: Incidents (of Travel) Cabo Rojo, Puerto Rico, 2 Oct 2020
  • Cover Story—September 2020: States of emergency—Lola Lasurt’s ‘Children’s Game’, 1 Sept 2020
  • Cover Story—August 2020: ‘Màquina possible’: going viral at Can Balaguer, 1 Aug 2020
  • Cover Story—July 2020: Nino Kvrivishvili’s silk roads: Incidents (of Travel), Tbilisi, 1 Jul 2020
  • Cover Story—June 2020: Mataró Chauffeur Service, since 2010, 1 June 2020
  • Cover Story—May 2020: Panama, back through the lens, 4 May 2020
  • Cover Story—March-April 2020: The Bolós Cabinet, 3 March 2020
  • Cover Story—February 2020: Carioca Incidents, 3 February 2020
  • Cover Story—January 2020: Safeguarding Gestures, 2 January 2020

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