Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’
Mon, Jan 2 2023
January 2023 cover story on www.lttds.org
The January 2023 monthly Cover Story “Gerundi Circular” is now up on our homepage: www.lttds.org
“Happy New Year! This month’s Cover Story focusses on Claudia Pagès’s Gerundi Circular (2021), a video installation that was commissioned for the exhibition Panorama 21: Apunts per a un incendi dels ulls (Notes for an Eye Fire), curated by Latitudes and Hiuwai Chu for the Museu d’Art Contemporani de Barcelona (MACBA). The work was recently incorporated into the MACBA Collection via a purchase by the Government of Catalonia for the National Collection of Contemporary Art.” Continue reading
After January 2023 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 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
- Cover Story, November 2022: Jorge Satorre’s Barcelona, nov 1 2022
- Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022
- Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
- Cover Story, May 2022: Things Things Say in print, 2 May 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
2022 in 11 monthly Cover Stories
Tue, Dec 27 2022Since Spring 2015 we have been publishing a monthly cover story on our homepage (www.lttds.org) featuring past, present or forthcoming projects, as well as sharing our research, texts, artworks, exhibitions, films, objects or travel related to our curatorial practice.
→ RELATED CONTENT:
2022, apunts per a un incendi dels ulls, cover story, gabriel Ventura, Incidents of Travel, Jorge Satorre, Laia Estruch, MACBA, online, PUBLICS, Rasmus Nilausen, Rosa Tharrats, things things say, website, writing
Here are those published in 2022, which you can read again in this archive:
Cover Story, January 2022: “Rasmus’ Doubts”, 2 January 2022.
Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 February 2022.
Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022.
Cover Story, April 2022: Mix and Match. Laia Estruch at PUBLICS, 1 April 2022.
Cover Story, May 2022: Things Things Say in print, 2 May 2022.
Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022.
Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 Jul 2022.
Cover Story, September 2022: The means of print production: Erick Beltrán and lumbung press, 1 September 2022.
Cover Story, October 2022: Stray Ornithologies–Laia Estruch, 3 October 2022.
Cover Story, November 2022: Incidents (of Travel), Jorge Satorre’s Barcelona, 1 November 2022.
Cover Story, December 2022: “Melt Goes On Forever. David Hammons and DART Festival”, 1 December 2022.
→ RELATED CONTENT:
- 2019 in 10 monthly Cover Stories, 23 Dec 2019
- 2020 in 11 monthly Cover Stories, 28 Dec 2020
- 2021 in 11 monthly Cover Stories, 31 Dec 2021
“‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age
Tue, Sep 27 2022
Latitudes’ Max Andrews, a curator, writer and lifelong birder, recently conducted the podcast “Minor” Ornithologies for TBA21 on st_age (Season 4, Episode 4). The podcast’s guests are Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – what Anna-Sophie Springer and Etienne Turpin have coined “minor ornithologies”.
The interviews are complemented by two audio clips, one of a Pied Butcherbird recorded in N Queensland, and another of a Superb Lyrebird mimicking birdsong and two flute phrases recorded in New South Wales, both courtesy of Hollis Taylor.
This edition accompanies Laia Estruch’s performance “Ocells Perduts V67” (2022) also produced by TBA21 on st_age, and takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries.
(Above and below) Laia Estruch, “Ocells Perduts” (2021) was performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Estruch’s research was supported by the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.
“Ens han canviat el cel a ple vol” (Nos han cambiado el cielo a pleno vuelo / They changed the sky in mid flight) part of Laia Estruch’s “Ocells Perduts” (2021) installed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”, October 2021–February 2022. Photos: Roberto Ruiz.
Latitudes has been collaborating with Laia Estruch since early 2020 in preparation for a year-long programme to be hosted at the Helsinki-based curatorial and commissioning agency PUBLICS, based around the notion of a partial, distributed, and fragmentary retrospective of her artistic practice. The pandemic changed those plans and soon after the invitation to curate MACBA’s first Panorama triennial (“Panorama 21: Apunts per a un incendi dels ulls”) came along, for which Laia presented the commission “Ocells Perduts” (2021). The project was produced with the support of PUBLICS, and for the research phase, Laia received the support of the beca Premis Barcelona 2020 of the Ajuntament de Barcelona.
→ RELATED CONTENT:
- Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21: Apunts per a un incendi dels ulls” and four open rehearsals, Museu d'Art Contemporani de Barcelona (MACBA), October 2021–February 2022.
- Laia Estruch performs “Mix” (2021–ongoing” at PUBLICS, Helsinki, March 2022.
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Panorama in Madrid and Córdoba, 14 June 2022
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir river in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Cuerpos de voz conversation between Laia Estruch and TBA21 Chief Curator Soledad Gutiérrez.
Latitudes’ "out of office" 2021–22 season
Mon, Aug 1 2022
Frozen facemask, Helsinki, March 2022.
As the summer break creeps up on us with a weary smile in the already sweltering heat-and-humidity of Barcelona, it’s once again time for our annual looking-back post wrapping up the last twelve months of Latitudes’ activities, a period of time which includes the most extensive exhibition we’ve made to date in Spain: MACBA’s “Panorama 21. Notes for an Eye Fire”.
In thinking of how to pen this little introduction to a compilation that’s an ending of sorts, our thoughts turned back to a request we received in February from Shimmer, the exhibition space in Rotterdam, The Netherlands. The artist Jo-ey Tang was creating a new version of a project which would comprise an endless loop of the favourite endings of films suggested by friends of Shimmer. Our contributions: Mariana chose Giuseppe Tornatore’s Cinema Paradiso (1988) and Max, the Coen Brothers’ The Big Lebowski (1998).
In the ending of Cinema Paradiso, Salvatore watches a final bittersweet gift from Alfredo: a reel with all the romantic scenes that had been censored from the cinema. Looking back brings happy nostalgia and a chance to make peace with the past.
And to paraphrase the Coens’ Stranger... well, that about does her, wraps her all up. Things seem to have worked out pretty good. Parts, anyway. Aw, look at me, I’m ramblin’ again. Well, I hope you folks enjoyed yourselves. Catch ya later on down the trail...
This end-of-the-season post is the fourteenth in the “out of the office” series published every end of July to mark the beginning of our holidays (or the desire of having one). Check earlier posts from 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20 and 2020–21 seasons. All photos are by Latitudes unless stated otherwise in the photo caption.
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The September 2021 issue of frieze magazine includes a review of David Bestué's exhibition at Centre d'art La Panera, published online last May.
via @marcnavarro facebook.
Above photo by Hiuwai Chu. Below are co-curator Hiuwai Chu and Rasmus Nilausen under Felix Gonzalez-Torres’s “Untitled (Perfect Lovers)” (1987–1990).
13 September 2021: Boules of oak (Quercus canariensis), cedar (Cedrus sp.) and pine (Pinus pinea) arrive at TMDC in La Verneda, the material for a new iteration of Nyamnyam and Pedro Pineda’s project ‘A quatre potes’ (2014–ongoing) that will be presented in MACBA's exhibition “Panorama 21. Notes for an Eye Fire”.
As the exhibition wall text pointed out, the project is “founded on the principle that in order to share a meal or have a discussion you first have to build a table to sit at. Leading up to and during the exhibition, a group of people with diverse roles within the MACBA are participating in a series of co-design and collaborative making workshops that began with the purchase of several tree trunks from a sustainable forestry initiative in the nearby Montnegre massif.”
During the next week, the trees would be “transformed into planks and laths at the shared machine shop TMDC, this locally sourced wood is being adapted in the gallery by the museum workers into a range of tables, benches, and other structures. This furniture acts as a mediator between natural and human resources, creating different social settings throughout the course of the exhibition and becoming the scenography and motive for a series of discussions around practices of collectivity and cultures of sustainability within and beyond the institutional walls.”
Photo: TMDC
22 September 2021: Conversation with Jorge Satorre as part of the series “Dialogues with artists from the Contemporary Art Collection” and within the framework of “El tiempo en las cosas”, an exhibition curated by Tatiana Cuevas at the Museo Amparo in Puebla, Mexico.
Due to work and time differences, the talk was recorded a few days earlier. The conversation revolved around the production process of "The Erratic. Measuring Compensation", a work included in Satorre's exhibition and commissioned by Latitudes as one of the ten projects produced throughout 2009 in the public space of the Port of Rotterdam, The Netherlands.
‘The Erratic’ is also featured as the September 2021 Cover Story on our homepage.
27 September–19 October 2021: Three weeks installing the first edition of MACBA’s Panorama triennial, “a new series of transdisciplinary projects that reflects the museum’s desire to deepen its collaboration and dialogue with local artists and cultural agents”. The inaugural project of Panorama is the group exhibition “Notes for an Eye Fire” which occupies MACBA's top floor. During this first install week, efforts centred on shipping, registering, and installing Rasmus Nilausen’s “Theatre of Doubts” (2021) at one end of the museum and Stella Rahola Matutes’ “Fig Juice” (2020) at the other end, while walls were being painted, final sound checks were done and artworks were finally arriving at the museum.
Stella Rahola Matutes and Alex Castro (Conservator, MACBA) photo-documenting Stella's work before installation.
Xavi (install crew of Coolturart) installed one of Stella's glass figures.
Stella Rahola Matutes and Xavi (install crew of Coolturart) carefully installed Stella’s “Fig Juice”.
Lluis Roqué (Conservator at MACBA) documented Rasmus Nilausen’s paintings.
Rasmus Nilausen’s paintings (walls) and Stella Rahola Matutes glass pieces and chains (tables) are analysed and registered by the conservation team before installation.
While Rasmus's wooden supports are being assembled, the improvised office at the museum landing is busy checking the “final-final-final” version of the wall labels, intro text and the leaflet.
First of Rasmus Nilausen’s large paintings (1 of 49) is finally up, supervised by Eva Font (left, space coordinator of the exhibition, MACBA), Alex Castro and Lluís Roqué (centre, Conservators, MACBA), ARAM staff (the carpenters that produced the wood supports) and the install crew of Coolturart.
Nilausen's “Wax Cabinet” (2021, 300 x 205 x 6cm, oil on linen) being moved and hung (below).
Ongoing metamorphosis in the largest exhibition space on the second floor.
Last sound checks with Pablo Miranda and Laia Estruch.
R. Marcos Mota of El Palomar doing a mock-up of the archival material to be presented in vitrines.
Meanwhile, nyamnyam and Pedro Pineda’s tree is sent to Lleida to be fireproofed.
To end the first week, Antoni Hervàs’s “La Meiers” (above) arrives at the museum from La Escocesa, as well as Claudia Pagès’s silkscreened and fireproofed cardboard from Capellades (two below), alongside the structure manufactured by Tallers Soteras to hold the LED panels shipped from Shenzhen that forms her new commissioned video installation “Gerundi Circular” (2021) – soundtrack here.
Week 2 begins with the exciting placement of Antoni Hervàs’s “La Meiers” becoming the entrance to the exhibition.
Meanwhile, Arash Fayez’s wall is almost fully painted in the nearby gallery...
...and Claudia Pagès starts installing the LEDs around the circular metal structure.
Claudia amidst the cable maze.
Coolturart team fixing the circular screen to the ceiling.
First sound and image test of El Palomar’s “Schreber is a Woman” with R. Marcos Mota. The amazing soundtrack that accompanies the video can be listened to here, on Spotify or you can also purchase the 12'' vinyl edition.
Drawing of the structures that hold Laia Estruch’s “Ocells Perduts” net structure drawn by the museum architecture department, placed below by RMG Redes.
Vinyl placed in Plaça dels Àngels promoting MACBA’s programme this trimester includes two sketches by Laia Estruch of her “Ocells perduts” piece.
Habemus Ruta de Autor newspaper!
Parallel to all the activities going on, Hervàs continues customising “La Meiers” to fit what will become the entrance to the exhibition.
Eulàlia Rovira’s replica of Richard Meier’s signature column arrives at the museum. Since we have all the hands and machinery ready, it soon goes up.
Eulàlia shares instructions on how to assemble the yellow supports.
Laia Estruch’s large red net slowly goes up and takes shape.
Photo: Hiuwai Chu
Making a selection of Eulàlia Rovira’s new photo collages.
Hervàs in progress.
Technical difficulties. Please bear with us.
Laia is finally able to go up the net and do her first and only rehearsal. High expectations from artists colleagues, curators and staff observing below.
Final calculations before hanging Arash Fayez’s 310 papers documenting his migrant “limbo” status in the US and Europe.
Meanwhile, in the Teatre Molino in Paral·lel, Antoni Hervàs’ begins “La Meller”, the second part of his contribution to Panorama 21: a 27-metre mural in which Hervàs and his collaborator Pau Magrané unfold a chronicle of the neighbourhood's beloved theatres and venues, both past and present, resulting in "a frieze-carousel" where authors, actors and actresses such as Violeta la Burra, Escamillo, Johnson, Pierrot, Ángel Pavlovsky, float timelessly intertwined by boas.
(Above and below) Pau Magrané and Antoni Hervàs working on the graffiti. Photo: Eva Carasol.
Tecnodimensión testing Laia Estruch’s wind sock before mounting it on the wall.
Adrian Schindler goes through the ephemera that will be displayed as part of his installation.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Placing the newspaper spread by Ruta de Autor to check heights.
Entrance / Exit of the exhibition in progress.
Marria Pratts’s “Sento una música dintre del cap (I Hear Music Inside My Head (Transformation of a Blurry Thought)), 2021.
Antoni Hervàs’ “La Meiers” is almost there.
Installing Rosa Tharrats’s work in the atrium/corridor space.
Iñaki of nyamnyam and Pedro Pineda placing the fireproofed wood boules (detail below)
Max Andrews, Hiuwai Chu and Aleix Plademunt checking the measurements between the 18 images.
Important message from Antoni Hervàs: “Do not paint in white!! (please) You were right, thank you. NO!” :-)
As the day ends we leave the museum and take a gander at the lighting colours on Rosa Tharrats’s installation as the days get shorter.
Entrance vinyl is in place and final cleaning.
In the 16th dispatch, curator Marie-Nour Héchaimé navigates Beirut with artist-filmmaker Panos Aprahamian a year after the August 2020 explosion, when hundreds of tons of ammonium nitrate stored for six years without safekeeping in the port of the Lebanese capital were set on fire and exploded. The blast killed more than 200 deaths, 6,500 wounded, 300,000 displaced, and great destruction in the city. “I say that I am living with ghosts—of people, places, memories, stories”, she reflects. “He answers that Beirut is disintegrating in front of our very eyes.”
Part of the series produced by KADIST and edited by Latitudes since 2016, exploring the chartered itinerary as a format of an artistic encounter between curators and artists.
21 October 2021: Press conference and evening opening of the exhibition “Panorama 21: Notes for an Eye Fire” at MACBA. We realise this is the first time all the artists and curators are able to meet IRL.
Final clean-up before the press conference.
Photo: Pedro Pineda.
Participants of “Panorama 21. Apunts per a un incendi dels ulls” (nyannyam and Ana Domínguez are missing) posing for the press. Photo: Hiuwai Chu
(Above and three below) Press conference in MACBA's atrium, 21 October 2021. Photos: Miquel Coll.
(Left to right) Max Andrews (Latitudes), Hiuwai Chu (Head of Exhibitions, MACBA), Elvira Dyangani Ose (Director, MACBA) and Mariana Cánepa Luna (Latitudes) during the press conference, 21 October 2021. Photos: Miquel Coll.
Participating artist Eulàlia Rovira responded to Carolina Rosich's questions for TV3 news. Photo: Hiuwai Chu.
(Above and nine below) Opening of the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA. Photos: Miquel Coll.
Photo by Hiuwai Chu.
19 November 2021: First change of Nyamnyam and Pedro Pineda’s “A quatre potes” (2014–ongoing), a scenography presented as part of MACBA’s exhibition “Notes for an Eye Fire”.
20 November 2021: First of four open rehearsals of “Ocells perduts” [Stray Birds] (2021) by Laia Estruch presented as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
Above and below photos: Miquel Coll.
25 November 2021: Jury of the 5th edition of DART Festival, alongside the film critic Quim Casas and the journalist Ianko López, and festival team members Enrichetta Cardinale and Silvana Fiorese, to choose the best national and international documentary in the competitive section.
2 December 2021: Parlem de...cabaret, a guided visit led by participating artist Antoni Hervàs as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”. The audio was edited and later made available on Latitudes’ Soundcloud.
Audio of Toni’s 1h guided tour on Soundcloud.
Second part of Antoni Hervàs’ itinerary we stopped at the bar Atlanta FC in Rambla del Raval, where Hervàs explained the origins of his proposal for his two-part project for MACBA's exhibition: the 1980s board game “El Chino” (as part of El Raval neighbourhood was formerly known). Hervàs also shared a selection of preparatory drawings that we would later see on the wall he and Pau Magrané graffitied in Paral·lel.
The itinerary ended in front of Teatre Arnau in Paral·lel, where Toni Hervàs and his collaborator Pau Magrané painted the wall that protects the theatre during its restoration. Hervàs’ mural honours the cabaret history of Paral·lel’s nightlife, its cabaret, bars, and actresses.
9 December 2021: Parlem de...Anecdotes to be Forgotten, a performative walkthrough by Arash Fayez as part of MACBA’s exhibition “Panorama 21. Notes for an Eye Fire”.
14 December 2021: Ràdio Web MACBA publishes a podcast with El Palomar (in Spanish) where they discuss “Schreber is a Woman” (2020) their most recent film produced for the 11th Berlin Biennial and presented for the first time in Spain as part of MACBA’s “Apunts per a un incendi dels ulls”.
Phone view of → http://incidents.kadist.org/Riga
17–19 December 2021: After months of uncertain planning, Paul O'Neill, director of PUBLICS, is able to visit Barcelona to meet Laia Estruch and attend the second rehearsal of her work ‘Stray Birds’ (2021), a new commission produced for the exhibition “Notes for and Eye Fire” at MACBA, and supported by PUBLICS.
January 2022: Visiting MACBA’s exhibition with long-time artist friend Lara Almarcegui based in Rotterdam.
13 January 2022: Hablemos de... Passió i cartografia per a un incendi dels ulls, a sung visit by poet Gabriel Ventura and flamenco cantaor Pere Martínez, reading and singing poems written for the occasion by Gabriel. Pell de gallina!
Gabriel started the itinerary under Antoni Hervàs’s work “La Meiers”, a work commissioned for MACBA’s exhibition, that became the entrance and the exit to the neighbourhood.
17 January 2022: Exactly a year after its closure, we receive a copy of the publication accompanying the exhibition “Things Things Say”, which took place at Fabra i Coats: Centre d'Art Contemporani de Barcelona between October 2020 and January 2021. We are elated to finally have it in our hands!
A discussion around “A quatre potes”, the project presented in the exhibition by nyamnyam and Pedro Pineda, around forest management, design as an investigative tool, and the limits of the museum with the participation of Lídia Guitart (forest engineer), Curro Claret (industrial designer), Ingrid Guardiola (writer, cultural researcher and Director of Bòlit, Centre d'Art Contemporani), the artists, exhibition curators, and workshop participants. This activity was part of Education from Below, a project with the support of Creative Europe's programme of the European Union Creative Europe.
The setting for the event was rearranged the evening before with workshop participants (MACBA staff that have volunteered in a number of workshops cutting the wood planks, arranging them in the exhibition space, and changing the set-up on a monthly basis) following the principle and the spirit of the project that “in order to have a discussion we need a table”.
(Above and below) The before and after, seating is ready for tomorrow's open discussion. Photos: Ariadna Rodriguez (nyamnyam).
Above and two photos below: Miquel Coll.
Designer Curro Claret brought in an earthenware cup used in India to drink tea before boarding on a train. Once used the cup is thrown out the window and hence, naturally recycled into the landscape, an “evident example of what circular economy is and should be”. Plastic cups took over but pollution along the tracks was so bad the government encouraged tea makers to go back to earthenware.
Ingrid Guardiola began mentioning Octavi Comeron’s “La Fábrica Transparente” and how institutions’ obsession with transparency, in turn, generates opacity from within those institutions or, as Peter Sloterdijk warned, is an example of cynical transparency. Then moved on to reflect on how institutions could learn from forest’s entropy and efficiency and how exceeding energies could be used within institutions.
Lidia Guitart, a forest engineer from the Associació Propietaris Forestals del Montnegre i el Corredor (from where nyamnyam’s wood was originally purchased) discussed perceptions of forest management in Catalunya in relation to Finland (the leader in paper pulp supplier) and shared some interesting data: 60–70% of Catalunya is forest, yet 80% of that is in private hands.
The 2h session was punctuated by printed cards with words/concepts triggering several subjects related to each of the guests' practices which were then chosen at random to encourage interlinking rather than monothematic presentations.
2 February 2022: Ràdio Web MACBA publishes a podcast with Claudia Pagès (in Spanish) where she discusses “Gerundi Circular” (2021) a new video-installation commissioned for MACBA’s “Apunts per a un incendi dels ulls”. The work is presented in her solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” in Madrid’s gallery The Ryder in June 2022.
Photos above and below by Ana Domínguez.
The book includes a preface by art centre director Joana Hurtado Matheu, new texts by Latitudes, a text-based intervention by participating artist Eulàlia Rovira, and texts on each exhibited work also written by Latitudes.
Photos: Latitudes
22–25 February 2022: Trip to Madrid for ARCOmadrid. Max previewed “What to see during this year's ARCOmadrid” for frieze. Worth adding to the list is the joyous retrospective of Bruno Munari at Fundación Juan March, the catalogue currently on our desk.
27 February 2022: After a four-month run, the exhibition ‘Notes for an Eye Fire’ comes to an end at MACBA. Here is a selection of the most relevant reviews, clips from television and radio programmes that have covered the show, and of course photo documentation.
As a poetic colophon of the exhibition, the publication “Passió i cartografia per a un incendi dels ulls” was released. It includes a new poem in three movements by exhibition participant Gabriel Ventura, and photos of the works in the museum galleries documented by Roberto Ruiz, Eva Carasol, Miquel Coll and Latitudes.
Photos: Gemma Planell.
2 March 2021: Ràdio Web MACBA publishes a podcast with Panorama artist Marc Vives (85'22'' in Spanish) where he discusses his practice and for MACBA’s “Apunts per a un incendi dels ulls”.
10 March 2022: Lecture about our curatorial practice and on the recently concluded MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls” to fourth-year students at the Fine Arts Department of the Universitat de Barcelona. The student Rita Duarte Lli tagged us during our presentation, so we asked if she would mind sharing the mental map she drew during the session, see below.
Mental mapping of the session courtesy of Rita Duarte Lli (@ritinacaipirina ) following the @cursogenius.es technique.
We donated three more publications (“Passió i cartografia per a un incendi dels ulls” published by MACBA in 2022, Lola Lasurt’s “Joc d'infants” published by La Capella in 2020 and Anna Moreno’s “The Drowned Giant” also published by La Capella in 2017) to PUBLICS Library, joining the first 5kg we donated back in 2019. These will soon be joined by the publication of the exhibition “Things Things Say” published by Fabra i Coats: Centre d'Art Contemporani de Barcelona. You can search here.
[Note that not all the results are under “Latitudes”, others are under “Max Andrews” or “Mariana Cánepa Luna” as writers]. PUBLICS library is the third location where the whole set of Latitudes’-edited publications sleep, alongside the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.
A selection of Latitudes and Laia Estruch publications available for consultation at PUBLICS.
On March 15, we had the chance to do an adaptation of our itinerant “Near-Future Artworlds Curatorial Disruption Foresight Group” workshop (earlier iterations took place in Bari, San Francisco, Birmingham, and Barcelona), this time under the “Professional Skills for Artists” class led by Prof. Suzanne Mooney. We met around fifteen MFA students in the new Sörnäinen campus building of the Academy of Fine Arts of the Uniarts Helsinki. Throughout our 2-hour encounter, issues such as the lack of free-of-charge exhibition spaces for younger artists or affordable studio spaces emerged when reflecting on the weaknesses of Helsinki’s art ecology and how could these needs be “hacked”, improved, and ideally eliminated.
Photos at PUBLICS by Noora Lehtovuori.
30 March 2022: frieze.com publishes Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” at Cordova in Barcelona. The frieze summer issue will include a printed version.
31 March 2022: Press trip to Córdoba on the occasion of “Abundant Futures”, the inaugural exhibition Thyssen-Bornemisza Art Contemporary (TBA21) organises in C3A Centro de Creación Contemporánea de Andalucía, Córdoba, as part of their three-year-long collaboration agreement.
(Above) Ceramic pieces by Asunción Molinos Gordo. (Below) Installation by Ernesto Neto.
(Above) Installation by Daniel Steegman Mangrané.
(Below) "Apagón" (2017) by Allora & Calzadilla, included a performance activated in the opening evening performed a capella by a local choir.
(Above) Installation view with works by Ai Weiwei (left) and Regina de Miguel (right).
1 April 2022: New cover story on Latitudes’ home page on Laia's performance “Mix” and PUBLICS & Latitudes match.
Shimmer’s Instagram, 9 April 2022.
23 April 2022: “Things Things Say” cover is peaking out amongst the selection of publications sold at the Serveis Editorials de l'Ajuntament de Barcelona book stall in Passeig de Gràcia on the occasion of Sant Jordi 2022.
photo via @bcn_llibres Twitter.
2 May 2022: “Things Things Say” book features in the May Cover Story. The exhibition began with a list of thirty-three questions that confronted visitors, which find their answers in the (mini) catalogue. Ranging from literary quotations and curatorial touchstones to theoretical anecdotes and red herrings, the “answers” wander around the exhibited works, and tack back-and-forth between exceptionally normal things and the extraordinary global narratives of labour, obsolescence, and the industrialisation of nature, that they trigger.
Between June and September, Irina will lead a series of three workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of a “tour” of Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context to human bodies in Helsinki, the sessions will broach performative practice, translation and transcription, and the non-verbal capacity of the voice.
18 May 2022: Visiting “The Milk of Dreams”, the 2022 edition of La Biennale di Venezia curated by Cecilia Alemani. So great to see you again Venezia.
Rosa Tharrats’s first solo show at Galería Ehrhardt Flórez.
View of Aleix Plademunt solo show at Sala Canal Isabel II. Photo: Aleix Plademunt.
11 June 2022: Opening of “Cracking a nut” a solo show by Barcelona-based artist Lúa Coderch on three floors of Fabra i Coats: Centre d'Art Contemporani, Barcelona. [The exhibition had to close two days later due to climate control issues and will reopen on September 13].
Curated by the art centre director Joana Hurtado Matheu, the exhibition includes the work “La declaración del arcoíris” (The Rainbow Statement, 2022), originally commissioned by Latitudes as one of five “Compositions” interventions produced for the Barcelona Gallery Weekend 2016. In its first incarnation, Coderch guided sunlight and a spectrum of colours down into the underground gaming space of the Barcelona Billiards Club with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards.
(Above) “La declaración del arcoiris” (The Rainbow Statement, 2022) at Fabra i Coats: Centre d'Art Contemporani.
“La declaración del arcoiris” (2022). Photo courtesy Lúa Coderch. Image Adrià Sunyol Estadella and Alex Weecha.
(Above and two below) Lúa Coderch’s “The Rainbow Statement” (2016) at the Barcelona Billiards Club, part of “Composicions” series of interventions curated by Latitudes for the Barcelona Gallery Weekend 2016. Photos: Roberto Ruiz.
The voice-over features the voice of Mariana Cánepa Luna of Latitudes, which was recorded in March 2017 in a highly DYI mode by improvising a soundproof environment with blankets and carpets in the quietest space in the home on a Sunday morning: the WC.
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Some things to look forward to in the 2022–2023 season: In September we will begin a three-month online mentorship of the first curatorial residency given to a young Peruvian curator organised by TROPICAL PAPERS and submit an essay commissioned for the catalogue of the group exhibition “Futuros Abundantes” organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba.
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(Above) Lúa Coderch, (Still) “SHELTER (Entering the work)”, 2015-18. Work produced with the support of Ayuda Fundación BBVA a la Creación en Videoarte 2015. Courtesy Lúa Coderch. Image Adrià Sunyol Estadella.
20 June 2022: Writer and curator Irina Mutt leads the first of a series of workshops with PUBLICS YOUTH, an education project for Helsinki-based 18-21-year-olds. Based on the idea of an “itinerancy” of Laia Estruch’s “Ocells Perduts (Stray Birds)” from its original museum context [presented in “Panorama 21. Notes for an Eye Fire”] to the human bodies of PUBLICS YOUTH’s members in Helsinki, the sessions broached performative practice, translation and transcription, and the non-verbal capacity of the voice.
via @publics Instagram.
23 June 2022: 19th dispatch of Incidents (of Travel) from Seoul is live on incidents.kadist.org! Narration written by curator Sooyoung Leam and itinerary devised and led by artist Yeoreum Jeong from Seoul’s Yongsan district. Photography by Swan Park, produced by KADIST.
21 July 2022: Adrian Schindler and Eulàlia Rovira (“Panorama 21. Notes for an Eye Fire” alumni) guided visit and in conversation with Mexican curator and researcher Paulina Ascensio, as part of their exhibition “The Plague, The Profit” at the non-profit The Green Parrot.
23 July 2022: El Palomar (“Panorama 21. Notes for an Eye Fire” alumni) curates an evening with music productions by trans artists, as part of MACBA’s Lorem Ipsum programme, “connecting the musical and the festive with their potential for empowering possible queer scenes”. The evening includes remixes from the soundtrack of the film “Schreber is a Woman” (2020) presented in MACBA (Spanish première).
More soon, onwards!
→ RELATED CONTENTS:
- Latitudes’ "out of office" 2020–21 season, 2 August 2021
- Latitudes’ "out of office" 2019–20 season, 3 August 2020
- Latitudes’ "out of office" 2018–19 season, 1 August 2019
- Latitudes' "out of office" 2017–18 season, 2 August 2018
- Latitudes "out of office" 2016–17 season, 1 August 2017
- Latitudes' "out of office" 2015–16 season, 1 August 2016
- Latitudes' "out of office" 2014–15 season, 7 August 2015
- Latitudes' "out of office" 2013–14 season, 31 July 2014
- Latitudes' "out of office" 2012–13 season, 31 July 2013
- Latitudes' "out of office" 2011–12 season, 31 July 2012
- Latitudes' "out of office" 2010–11 season, 1 August 2011
- Latitudes' "out of office" 2009–10 season, 30 July 2010
- Latitudes' "out of office" 2008–9 season, 30 July 2009
Panorama in Madrid and Córdoba
Tue, Jun 14 2022Seven artists are currently exhibiting in Madrid or Córdoba with works produced, presented or derived from their original presentation in the group exhibition “Panorama 21. Apunts per a un incendi dels ulls” that took place at MACBA Museu d’Art Contemporani de Barcelona, between October 2021 and February 2022, curated by Hiuwai Chu and Latitudes.
Rosa Tharrats opened her first solo exhibition at Galería Ehrhardt Flórez in Madrid. Titled “Theta Wave” (until July 3, 2022) it presents a new installation made with her signature materials, including recycled textiles and clothes, bioplastics, sponges, nets or stones, and is complemented with a suite of framed drawings and a sculpture made with discarded marble pieces intersected with fabrics. The text accompanying Rosa’s exhibition is written by another Panorama participant, Gabriel Ventura, whose performative action and poem “Passió i cartografia per a un incendi dels ulls” titled the small book published as the colophon of the exhibition.
The next show at Galería Ehrhardt Flórez will be a solo by Panorama participant Laia Estruch, coinciding with Apertura Madrid Gallery Weekend that inaugurates the 2022–23 season.
View of Rosa Tharrats’ exhibition “Theta Wave” at Galería Ehrhardt Flórez, Madrid. Photos: Latitudes.
On the middle top of the Madrid installation, we recognised an orange bioplastic piece she was working on during our visit to her Cadaqués studio a year ago (see below).
Originally premiered in July 2021 at The Green Parrot, Adrian Schindler’s series of posters “The roles (notes for a film)” (2021–ongoing) is part of his ongoing research tracing Morocco’s colonial past in Spanish society, which culminates in his film trilogy “Tetuan, Tetuán, Tetwan”, whose first part was premièred at MACBA, and has been produced with the support of the Department de Cultura of the Generalitat de Catalunya, Casa de Velázquez and the Centre national des arts plastiques in Paris, with the collaboration of 2deo.
View of Adrian Schindler’s “The roles (notes for a film)”, 2021–ongoing. Poster series. Dimensions variable. Photo: Fondazione Sandretto Re Rebaudengo.
(Above and three below) Installation view of Adrian Schindler’s “Tetuan, Tetuán, تطوان” in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz / MACBA.
Besides the installation “Constellation” (2021–ongoing) Arash Fayez presents “Anecdotes From the Elsewhere” a performance developed alongside “Anecdotes to be forgotten” which was presented in MACBA on December 9, 2021, alongside his works “Apolis” (2014-18/2021) and “Limbo” (2018-2021).
Arash Fayez during his performance “Anecdotes to be forgotten” on December 9, 2021, for the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Latitudes.
(Above and two below) View of Arash Fayez’s “Apolis” (2014-18/2021) and “Limbo” (2018-2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Roberto Ruiz / MACBA.
Laia Estruch presents “Mixtape” (2022) and the performance “Improvisation #1” in “Si las palabras hablaran”, Madrid. She recently performed “Ocells perduts V67” in Sotos de la Albolafia, Córdoba, as part of “The Journeying Stream” (3–5 June 2022), a three-day event jointly convened by TBA21 Thyssen-Bornemisza Art Contemporary and TBA21–Academy. The Córdoba performance derived from “Ocells perduts” (2021) commissioned for MACBA’s exhibition and produced with the support of PUBLICS, Helsinki.
(Above and three below) Laia Estruch performing “Ocells perduts V67” in Sotos de la Albolafia, Córdoba, 5 June 2022, as part of “The Journeying Stream” (3–5 June 2022), a three-day event jointly convened by TBA21 Thyssen-Bornemisza Art Contemporary and TBA21–Academy. Photos: Fernando Sendra | TBA21.
(Above and two below) View of Laia Estruch’s “Ocells Perduts” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz / MACBA.
Claudia Pagès just opened the solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER in Madrid, where the centrepiece is the video installation “Gerundio Circular” (2021), a 14-minute, 360º film presented on a circular LED screen which was commissioned for “Panorama 21. Apunts per a un incendi dels ulls” and co-produced with ELAMOR. On view until July 30, 2022.
(Above) View of Claudia Pagès’s “Gerundi Circular” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Miquel Coll / MACBA.
(Above and below) View of Claudia Pagès’s “Gerundi Circular” (2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photos: Roberto Ruiz/MACBA.
(Above and seven below) Installation views of Claudia Pagès’s exhibition “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER, Madrid, 9 June–30 July 2022. Photos: Pablo Gomez-Ogando.
Aleix Plademunt’s “Matter”, his most comprehensive solo show to date, is on view until July 24, 2022, at Sala Canal Isabel II as part of PHotoEspaña 2022. As Elena Vozmediano noted in her review, a selection of 18 large prints were originally premiered in MACBA’s exhibition “Panorama 21. Apunts per a un incendi dels ulls”.
(Above and below) Installation view of Aleix Plademunt’s “Matter” (2013–2021) in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” at MACBA Museu d'Art Contemporani de Barcelona, October 2021–February 2022. Photo: Aleix Plademunt (above) and Roberto Ruiz (below).
(Above and five below) Installation view of Aleix Plademunt’s “Matter” in the exhibition “Matter” at Sala Canal Isabel II, Madrid, 2022. Photos: Aleix Plademunt.
Aleix Plademunt (Ed.) “Matter” co-published by Ca l’Isidret and Spector Books, May 2022, ISBN 978-84-121090-6-1. Photos: Aleix Plademunt.
RELATED CONTENT:
- Cover Story, April 2022: Mix & Match: Laia Estruch at PUBLICS, 1 Apr 2022
- Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA, 21 Feb 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Programa público de “Apuntes para un incendio de los ojos”, MACBA, hasta el 27 febrero 2022, 15 Nov 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Latitudes’ "out of office" 2020-21 season, 2 August 2021
- Cover Story–July 2021: a wide view from a fixed point, 2 Jul 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021
Latitudes (Barcelona) and PUBLICS (Helsinki)
Sat, Mar 12 2022
Laia Estruch performing MIX at the Festival TNT in Terrassa. Photo by Alessia Bombacci.
We are delighted to announce that PUBLICS in Helsinki will be Parahosting curatorial office Latitudes for the next year by hosting a series of curatorial research and activities, beginning with a public presentation and a performance by artist Laia Estruch, on Thursday 17th of March 2022 (5–7pm) at PUBLICS’ space in Vallila.
As a first introduction to PUBLICS and to Helsinki audiences, Max Andrews and Mariana Cánepa Luna of Latitudes will present their curatorial practice and later be joined by Barcelona-based artist Laia Estruch to present “Mix” (2021–ongoing), a solo performance compilation that revisits the diverse voiced sounds, resonances, and articulations she has developed and learned throughout her projects to date. An exercise in sonic recall and muscle memory, “Mix” is a live non-chronological edit that extracts the most ephemeral aspect of her practice – the voice – while exploring it as a kind of organ of the body, and as a tool for sculpting air.
Entrance to PUBLICS in Vallila neighbourhood. Photo: Noora Lehtovuori.
PUBLICS Parahosting began in the Autumn of 2018 and has grown into a key method of decentering its own curatorial authorship, and as an essential means of working together without boundaries or containment.
Through Parahosting PUBLICS supports its para-sites, para-institutions, and para-guests, and has grown into a flexible, evolving, expanding, and sometimes messy, programme. In 2020–2021 PUBLICS Parahosted curatorial studio Shimmer (Eloise Sweetman and Jason Hendrik Hansma) with a year-long project ACROSS THE WAY WITH… where artists, poets, philosophers, and curators from around the world were invited to explore the notion of intimacy through online readings.
Mercedes Azpilicueta performing “Yegua-Yeta-Yuta” (2015-ongoing) as part of the 2019 TODAY IS OUR TOMORROW festival at Kaiku, Helsinki. Curated by Latitudes. Photo Kush Badhwar.
Latitudes collaborated with PUBLICS in September 2019 as a partner organisation in the first edition of the multidisciplinary arts festival Today is Our Tomorrow initiated by PUBLICS, presenting the performance “Yegua-Yeta-Yuta” (2015-ongoing) by Argentina-born, Amsterdam-based artist Mercedes Azpilicueta.
In 2021, PUBLICS supported the production of Laia Estruch’s “Ocells Perduts” (Stray Birds, 2021), a new work commissioned for the first MACBA triennial exhibition “Panorama 21. Notes for an Eye Fire” (October 2021–February 2022).
(Above and below) Laia Estruch, “Ocells Perduts” (2021) performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Research supported with the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.
About PUBLICS
PUBLICS is a curatorial agency with a dedicated library, event space and reading room in Helsinki, Finland. As such PUBLICS is an educational resource where critical learning, knowledge production and discursive programming are integral to its curatorial approach. Under the artistic direction of curator Paul O’Neill, with program manager Eliisa Suvanto, PUBLICS explores a “work together” institutional model with multiple overlapping objectives, thematic strands and collaborations.
https://www.publics.fi
About Laia Estruch
Laia Estruch’s practice hinges on the voice as a material reality—an expressive force and a medium that is expelled from the body. Over the last decade, her work has broached the fields of sculpture and contemporary art, spoken word, and experimental theatre, undertaking a kind of no-frills exploration of the voice’s communicative and emotive grammar while probing the conventions of staging it. Her interest focuses on the extremities and porosity of the spoken word in its relationship with song and raw sound. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. The voice is recast as an extraordinary, supra-human object. Estruch’s recent performances have involved scenes and routines in which her body is suspended above the ground, be it via the playground-like structures and inflatables of “Moat” (2016–2018), the swimming pool setting of “Crol” (2019), the hanging stage of “Ganivet” (2020–2021) or the monumental bird trap of “Ocells Perduts” (2021–2022).
Laia Estruch has a Bachelor’s Degree in Fine Arts from the Universitat de Barcelona (2010) and also studied at The Cooper Union, New York (2010). She has had solo exhibitions at the Fundació Joan Brossa, Barcelona (2020–2021); Capella de Sant Roc, Valls (2019); and Fundació Joan Miró, Barcelona (2019). Her group exhibitions include “Panorama 21: Apunts per a un incendi dels ulls” MACBA Museu d’Art Contemporani de Barcelona (2021–2022), “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020), and “Back to School”, Fundación Rafael Botí, Córdoba (2018). In 2022 she won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) and in 2021 she was awarded the Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts.
https://laiaestruch.com
About Latitudes
Find out more at https://www.lttds.org/about/
Laia Estruch, “MIX” (2021-ongoing) at the Festival Domingo, La Casa Encendida. Photo: © Arturo Laso.
→ RELATED CONTENT:
- PUBLICS announcing Parahosting Latitudes in 2022.
- Laia Estruch in “Panorama 21. Apunts per a un incendi dels ulls” (Notes for an Eye Fire)
- Report: Latitudes' participation in the festival TODAY IS OUR TOMORROW initiated by PUBLICS in Helsinki, 4 October 2019
- PUBLICS' Library in Helsinki incorporates Latitudes-edited publications, 27 September 2019
- Partner organisation in ‘Today Is Our Tomorrow’, Helsinki, 12–14 September 2 September 2019
- Participating organisation: No Soul for Sale – A Festival of Independents, with Martí Anson, Tate Modern Turbine Hall, London, United Kingdom, 14–16 May 2010
- Participating organisation: No Soul for Sale – A Festival of Independents’, with The Bruce High Quality Foundation, X Initiative, New York, 24–28 June 2009
Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022)
Wed, Mar 2 2022
Autor del poema: Gabriel Ventura
Diseño: Ana Domínguez Studio (Lara Coromina y Ana Domínguez)
Editor: MACBA Museu d'Art Contemporani de Barcelona
Formato: 17 x 11.5 cm / 52 páginas / 42 ilustraciones
Idioma: catalán
Tirada: 300 copias
Fecha de publicación: febrero 2022
PVP: 15 Euros
Disponible en: Llibreria Laie
ISBN 978-84-17593-22-3
Disponible en: Llibreria Laie
ISBN 978-84-17593-22-3
La publicación “Passió i cartografia per a un incendi dels ulls” se plantea como el poético colofón de la exposición “Apunts per a un incendi dels ulls” (MACBA Museu d'Art Contemporani de Barcelona, 22 octubre 2021–27 febrero 2022), el primer proyecto de la serie Panorama – una nueva línea de proyectos trienales que inicia el MACBA enfocados en las prácticas artísticas contemporáneas de la escena catalana.
El libro incluye un nuevo poema-deriva en tres movimientos de Gabriel Ventura que se descompone en una pluralidad de voces y puntos de vista dibujando una cartografía textual de la exposición.
Como parte de la programación de actividades de la exposición, el pasado 13 de enero 2022, el cantaor flamenco Pere Martínez y Ventura recitaron y cantaron los versos durante una única visita performativa en que los visitantes eran invitados a deambular las distintas salas del museo, seducidos por la melodía y las palabras de los amfitriones.
Fotos: Latitudes.
CONTENIDOS RELACIONADOS:
- Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA, 21 Feb 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
- Cover Story, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Programa público de “Apuntes para un incendio de los ojos”, MACBA, hasta el 27 febrero 2022, 15 Nov 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- Opening of the exhibition "Notes for an Eye Fire" at MACBA, 21 Oct 2021
- Latitudes’ "out of office" 2020-21 season, 2 August 2021
- Cover Story–July 2021: a wide view from a fixed point, 2 Jul 2021
- Press Release: Co-curators of the exhibition “Panorama 21: Notes For An Eye Fire”, Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022, 9 Feb 2021
Cobertura en los medios sobre la exposición ‘’Panorama 21. Apunts per a un incendi dels ulls” en el MACBA
Mon, Feb 21 2022Rueda 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).
José Ángel Montañés, "El Macba toma el pulso al arte de Barcelona", El País, 20 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).
Marc Hernández, Avui sortim, rtve.es, ràdio 4, 24'56'', 29 octubre 2021 (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)
Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy
Tue, Feb 1 2022
The February 2022 monthly Cover Story “” is now up on our homepage: www.lttds.org
“Protruding from three of MACBA’s columns like sails lashed to the masts of a ship, Rosa Tharrats’ Akaal / Selene \ Uluru (2021) is composed of layers of woven and printed cloth that have been stitched and fused together in combination with composites of homemade bioplastics—polymers made from biological sources such as seaweed and starch that have the potential to alleviate the growing problem of marine pollution.”
→ After February 2022 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, January 2022: “Rasmus’ Doubts”, 2 Jan 2022
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- 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 2022: “Rasmus’ Doubts”
Sun, Jan 2 2022
Installation view of Rasmus Nilausen's "Theatre of Doubts" (2021) in the exhibition “Apunts per a un incendi dels ulls”, MACBA Museu d'Art Contemporani de Barcelona (22 October 2021–27 February 2022). Photo: Roberto Ruiz.
The January 2022 monthly Cover Story “Rasmus’ Doubts” is now up on our homepage: www.lttds.org
“Hermetic philosopher Giulio Camillo built his Theatre of Memory in Venice in around 1530. Inverting the perspective of ancient theatre, a single spectator could stand on a central “stage” to look out at a wooden auditorium of seven rows of seven pictures. ”
→ After January 2022 this story will be archived here.
Cover Stories are published on a monthly basis on Latitudes' homepage (www.lttds.org) featuring projects, research, writing, artworks, exhibitions, films, objects, and field trips related to past, ongoing or forthcoming endeavours.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story, December 2021: Between Meier and Meller: Toni and Pau at the Teatre Arnau, 1 Dec 2021
- Cover Story, November 2021: Notes for an Eye Fire, 2 Nov 2021
- 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