LONGITUDES

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

Mariana Cánepa Luna in the 2024 Acquisition Committee of the Col·lecció Nacional d'Art Contemporani of the Government of Catalunya

 Wed, Mar 19 2025
At today’s press conference, Sònia Hernández Almodóvar, Ministre of Culture of the Government of Catalunya, presented the 2024 acquisitions made by the Department of Culture to expand the National Collection of the Government of Catalonia.

The collection includes contemporary art, photography, cultural artefacts, comics, illustration, postwar art, and works from the second avant-garde. The announcement comes after an extensive review process, which involved evaluating 434 applications over long spring days, followed by 8 in-depth online sessions—each lasting three to four hours—where the Acquisition Committee deliberated on the proposals.


First of several Teams meetings.

The 2024 Committee comprised Íngrid Llopart, Deputy Director General of Cultural Promotion; Manel Guerrero, a specialist in contemporary art at the Directorate General for Cultural Promotion and Libraries, and coordinator of the commission; Marta Gustà, Director of the Visual Arts Area at the Catalan Institute for Cultural Enterprises, coordinator of the commission; Joan Antoni Martínez, Head of the Dissemination and Artistic Cooperation Area; Sònia Blasco, Head of the Museums and Movable Heritage Protection Service; Antònia M. Perelló, Head of Collections at MACBA; Àlex Mitrani, Contemporary Art Curator at MNAC; Jesús Navarro, Director of Morera – Museum of Modern and Contemporary Art of Lleida and representative of the Network of Art Museums of Catalonia; Christian Alonso, director of La Panera, Lleida, and representative of the Network of Art Museums of Catalonia; Frederic Montornés, independent curator, nominated by CoNCA National Council for Culture and the Arts; Álvaro Hernández, specialist at the Directorate General for Cultural Promotion and Libraries; and Mariana Cánepa Luna of Latitudes, nominated by the Plataforma Assambleària d’Artistes de Catalunya (PAAC).

The 2024 acquisitions budget saw a significant increase, rising from 599,399.51 euros in 2023 to 1 million euros. After the Committee selected the artworks, a qualification board reviewed them before they advanced through legal departments for contract drafting, financing, and transportation. This thorough process ensures the works are delivered to their designated depository institutions across the region—a procedure that unfolds over the course of a year.

View of Joan Morey, "COS SOCIAL (Lliçó d'anatomia)", 2017. MACBA Collection. Government of Catalonia long-term loan. National Collection of Contemporary Art. © Joan Morey. Photo: Gasull Fotografia

In 2024, several works acquired in recent years for the National Collection were presented in the three-part “MACBA Collection: Prelude. Poetic Intention” (2022–2025) at the Museu d'Art Contemporani de Barcelona. Such as Mireia Sallarès’ photographs that are part of her larger project “Las muertes chiquitas” (2006-16); Joan Morey’s multipart film project “COS SOCIAL. Lliço d'Anatomia” (SOCIAL BODY. Anatomy Lesson) (2017); Regina Giménez’s large paintings “Geo-gràfics” (2021); Sinéad Spelman’s drawings “Venes” (2020); Pedro Torres’ video installation “House of the Sun” (2020); Daniel G. Andújar “Battle Cry” (2019-2020”; Eulàlia Valldosera’s “Construcció i deconstrucció (I-VIII) (El melic del món #1; El ventre de la Terra #29)” (1991-2001); Lara Fluxà’s glass installation “Delu” (2019)”; Lucía C. Pino’s sculptures “10 Amazon Quarterly vol 03. (content)” (2022); or Lúa Coderch’s “Estil Internacional (Mur d'Ònix)” (2013-14), to mention a few.


Eugènia Balcells, “FROM THE CENTER” (1982). Courtesy Fundació Eugènia Balcells.

Looking ahead, one of the most significant recent acquisitions of 2024, Eugènia Balcells’ 12-channel video installation “From the Center” (1982), will be presented this summer in the Museu Nacional d'Art de Catalunya’s Sala Oval, where it has been placed on deposit. The installation premiered at the 1983 Donostiako Nazioarteko Bideo Aldia, II Festival de Vídeo de San Sebastián. It was subsequently exhibited at Barcelona’s renowned Sala Metrònom (1985), Anderson Gallery in Richmond, Virginia (1986), and New York’s El Museo del Barrio (1987). 

“From the Center” is a technically complex and conceptually profound video installation described by Balcells as an “electronic Stonehenge”. Featuring twelve monolithic screens arranged in a walkable circle, it presents fragmented yet unified views of the world, filmed over two years from a fixed Manhattan rooftop. Accompanied by a twelve-channel soundscape by Peter Van Riper (1942-1998), the installation blends technology and spirituality, echoing Romantic ideals of universal connection and inviting comparisons to the mystical vision of Romanesque paintings in the MNAC’s collection.


→ RELATED CONTENT:

 2024, 2025, acquisitions, advisor, collection, MACBA, Mariana Cánepa Luna, PAAC
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Cover Story, March 2025: “Hello Everyone from the Museo Reina Sofía”

 Mon, Mar 3 2025

March 2025 cover story on www.lttds.org. Photo: Jonás Bel.


NEW
NEW MONTH
NEW MONTHLY COVER STORY

The March 2025 monthly Cover Story “Hello Everyone from the Museo Reina Sofía” is now up on our homepage: www.lttds.org (after March this story will be archived here).

“Curated by Latitudes, “Hello Everyone”—Laia Estruch’s largest exhibition to date—transforms the Museo Reina Sofía, in Madrid, into a resonant space for voice and sculptural presence. Across 27 works spanning more than a decade, Estruch shows how she has developed a performance language that is both physical and sonic, sculpting space with, and for, the force of vocalisation.” → Continue reading 

Cover Stories are published monthly 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, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M, 3 Feb 2025
  • Cover Story, January 2025: Folded Forms, 1 January 2025
  • Cover Story, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024
  • Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
  • Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
  • Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
  • Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
  • Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
  • Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
  • Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
  • Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
 2025, curated by Latitudes, Laia Estruch, madrid, Museo Reina Sofía, performance, sculpture, Solo show
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Claudia Pagès’s “Gerundi Circular” (2021) at the Saló dels Miralls, Teatre Liceu, Barcelona

 Wed, Feb 19 2025
View of Claudia Pagès “Gerundi Circular” (2021) at the Saló dels Miralls, Gran Teatre del Liceu, Barcelona. MACBA Collection. Government of Catalonia long-term loan. Photo: Claudia Pagès.

Claudia Pagès's video installation “Gerundi Circular” (2021) is on display at the Saló dels Miralls (Mirror Hall) in Barcelona’s Gran Teatre del Liceu opera house between 18 February and April 6, 2025. This historic hall features allegorical ceiling paintings and texts celebrating art and music.

The installation was commissioned in 2021 for the exhibition “Panorama 21: Apunts per a un incendi dels ulls” (Notes for an Eye Fire), curated by Latitudes and Hiuwai Chu, that took place at MACBA Museu d’Art Contemporani de Barcelona between October 2021–February 2022. Originally produced by MACBA and ELAMOR, it was incorporated into the Government of Catalonia National Collection of Contemporary Art in 2022, and deposited as a long-term loan to MACBA Collection.

(Above and three below) Views of “Gerundi Circular” (2021) in “Panorama 21: Apunts per a un incendi dels ulls” (Notes for an Eye Fire), curated by Latitudes and Hiuwai Chu, MACBA Museu d’Art Contemporani de Barcelona between October 2021–February 2022. Courtesy of the artist. Photo: Roberto Ruiz.



(Above and below) Claudia during “Gerundi Circular” install. Photos: Hiuwai Chu.


Following Pagès’s solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER in Madrid in June 2022, the 360º video installation was presented at Tabakalera in Donostia, Basque Country (September 2022–January 2023).

(Above and below) Views of Pagès’s solo show “Abajo el puerto suena nino-nino, y yo arriba pipí” at The RYDER, in June 2022. Courtesy of the artist and The RYDER, Madrid. Photos: Pablo Gomez-Ogando.


Claudia talking during a video produced by Tabakalera, Donostia.

Mariana Cánepa Luna of Latitudes wrote the wall text for the “Panorama 21: Apunts per a un incendi dels ulls” exhibition, which read:

Claudia Pagès’ mesmerising new video installation revolves around global maritime routes, legal jargon, and the relentless flow of commerce and people that has characterized capitalism in action. Filmed in a seamless 360° loop, the footage blends the rhythmic gestures of three performers and layers of handwritten texts into a series of music-video sequences. 
The panoramic narrative is set around three distinctive and interconnected sites related to the past and present of Barcelona’s commercial port: the ship-shaped business hub of the World Trade Center, the 19th-century customs building, and the harbour breakwater. 
Completing the installation is a cardboard carpet printed with snippets of phrases derived from law manuals in which Pagès mixes up gerunds (a verb form that does not inflect gender or number) and considers bodies as both objects and actants. “Gerundi Circular” bears witness to the logistical intricacies of the city as a seemingly frictionless interface between the open space of the sea and manmade infrastructures, behaviours, and languages.

Acknowledging that some visitors may have been unable to visit the exhibition due to COVID-19 restrictions, significant efforts were made to enhance the online presence of the 2021 exhibition. The website was designed as a repository documenting the exhibition-making process, featuring participant and artwork profiles written by the curators, images of related works, and behind-the-scenes photographs and videos. However, with the launch of MACBA’s new website in 2024, artwork descriptions disappeared, and the connection of the above-mentioned sections with the exhibition for which they were created is no longer available. Part can be found here.


RELATED CONTENT:

  • Cover Story, January 2023: Claudia Pagès’ “Gerundi Circular”, 2 Jan 2023
  • “Panorama 21” traces, a year on, 21 Oct 2022
  • Panorama in Madrid and Córdoba, 14 June 2022
 2021, 2025, Claudia Pagès, Col·lecció Nacional d'Art Contemporani, generalitat de catalunya, MACBA
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Jorge Satorre’s first monograph, “Río” published by Museo CA2M and Caniche Editorial (2025)

 Tue, Feb 11 2025
Jorge Satorre's monograph “Río” (Museo CA2M and Caniche Editorial, 2025). Photos by Latitudes.


Jorge Satorre’s first monograph, “Río”, was recently published on the occasion of his solo exhibition “Ria” at the Museo Centro de Arte Dos de Mayo on view until August 31, 2025.

The publication brings together a selection of his solo exhibitions and works from the last fifteen years, arranged in reverse chronological order. It also includes new essays such as “The Weight of the World” by Sean Lynch (artist and curator, Askeaton, Ireland); the conversation “A Matter of Distance” between the artist and Latitudes, the exhibition curators; and the essay “The Virtues of Drawing” by Daniel Garza Usabiaga (Director of the Museo del Palacio de Bellas Artes, Mexico City).

Meticulously designed by the artist and editor Gabriel Pericàs in collaboration with Satorre and coordinated by Belén Benito, the book has been co-published by Museo CA2M and Caniche Editorial in a bilingual Spanish-English edition.

In the words of Caniche Editorial, it is “a book that offers an exhaustive journey through his career and one we believe will be an essential tool for immersing oneself in the work and processes of a pivotal artist.”

Title: Río
Format: 224 pages, 32 × 24 cm, softcover
Texts: Jorge Satorre, Daniel Garza, Latitudes, Sean Lynch
Price: 30 Euros
ISBN: 978-84-451-4165-6 (CA2M) / 978-84-129787-1-1 (Caniche Editorial)
Available: Caniche Editorial, Museo CA2M and bookstores

RELATED CONTENT:

  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles, 27 Jan 2025
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021 
  • 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 an 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’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009 
 2025, artist monograph, CA2M, curated by Latitudes, Editorial Caniche, Gabriel Pericàs, Jorge Satorre, Sean Lynch
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SAVE THE DATE: 25 February 2025, opening of “Laia Estruch. HELLO EVERYONE” at the Museo Reina Sofía, Madrid

 Wed, Feb 5 2025
Laia Estruch performing “Crol (Moll)” (2019) at the Pisicines Municipals de Montjuïc, part of her solo exhibition “Laia Estruch: Crol”, Espai13, Fundació Joan Miró, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega.  

SAVE THE DATE

“Laia Estruch. HELLO EVERYONE”
26 February–1 September 2025
Museo Reina Sofía, Madrid

Opening: 25 February 2025, 8pm
Curated by Latitudes

Latitudes is thrilled to announce the opening of “HELLO EVERYONE”, a solo exhibition dedicated to the work of Catalan artist Laia Estruch (Barcelona, 1981). 

Over the last fifteen years, Estruch has produced a consistently personal body of work that treats the human voice as a material reality—an expressive force and a medium expelled from the body. Her work has spanned ancestral poetry and post-punk music but has increasingly moved beyond the performance of spoken or sung words, and towards a sonic language that explores raw communicative effects, body consciousness and non-human agency. The articulation of noises and meanings often encompasses and exceeds human vocal language: breathing, exclamation, mumbling, ululation, cries and whispers. This process has evolved in tandem with creating often monumental sculptural settings for each of her vocal projects, resulting in steel slides, inflatable buoys or giant net traps, for example. These have become surrogate bodies in themselves, as well as temporary dramatic stages and interpretive scores for creating scenes and routines that the artist has termed vocal “rehearsals”.

“HELLO EVERYONE” takes the form of a fragmentary and vociferous archive spanning live events, sculpture, audio installation, moving images, graphic works and visual scores. This ambitious exhibition acts as a living-and-breathing storage that reconfigures a body of work, as well as works-as-bodies and spans the breadth of Estruch’s artistic research to date while engaging with her history as a performer. Forming a fluid relationship between active and inactive modes of presentation, and questioning the conventions of displaying and performing artworks, “HELLO EVERYONE” explores the sense and sincerity of verbal expression and the agency of the female voice.

Laia Estruch performing “GANIVET” (2020) at the Fundació Joan Brossa, Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Daniel Cao.

A publication accompanying the exhibition will offer the first comprehensive monograph dedicated to the artist’s work. Designed by her longtime collaborator Ariadna Serrahima (Oficina del Disseny) and published by the Museo Reina Sofía, it will include a new text by artist Sharon Hayes (Estruch’s former professor at The Cooper Union) reflecting on performance pedagogy; the essay “Voice-Body-Sculpture” by Latitudes, the exhibition curators, which offers the first in-depth overview of Estruch’s practice; and a conversation between the artist and Marc Navarro, who curated Estruch’s 2019 exhibition at Espai 13, Fundació Miró. The monograph will be available in Spring 2025 in Spanish and English editions.

“HELLO EVERYONE” will take place on the fourth floor of the museum’s Sabatini building, and run concurrently with exhibitions dedicated to Huguette Caland (19 February-25 August 2025) and Naufus Ramírez-Figueroa (28 May-20 October 2025), amongst others. It will also coincide with several events programmed in Madrid around the 44th edition of ARCOmadrid art fair (5–9 March 2025).

Laia Estruch performing “TRENA” (2023) at the Museu Nacional d'Art de Catalunya (MNAC), Barcelona. Courtesy of the artist and Galería Ehrhardt Flórez, Madrid. Photo: Anna Fàbrega. 

ABOUT LAIA ESTRUCH

Laia Estruch (Barcelona, 1981) has had solo exhibitions at the Museu Nacional d'Art de Catalunya, Barcelona (2023); Spiritvessel, Espinavessa (2022); Fundació Joan Brossa, Barcelona (2020); Capella de Sant Roc, Valls (2019); and at Espai 13, Fundació Joan Miró, Barcelona (2019). 

Recent group exhibitions include “After Paradise”, Kortrijk Triennial, Belgium (2024); “Topalekuak”, Tabakalera, Donostia (2024); Patio by ZONAMACO, ABC Art Baja, San José del Cabo, Mexico (2024); “I drank words submerged in dreams”, 23 Bienal de Arte Paiz, Guatemala (2023); “After the Mediterranean”, Hauser & Wirth, Menorca (2023); “Panorama 21. Notes for an Eye Fire”, MACBA Museu d'Art Contemporani de Barcelona (2021) and “La cuestión es ir tirando”, Centro Cultural de España, Mexico City (2020).

Estruch has performed in numerous public events within the framework of exhibitions, biennials and festivals, including “Segar i cantar”, Lo Pati, Amposta (2024); “The Listening Affect”, Galeria da Biodiversidade, Porto (2023); “Passat / Present”, Centre d’Interpretació d’Art Rupestre de la Roca dels Moros del Cogul, Lleida (2022); 10th Deleste Festival, Bombas Gens, Valencia (2022); “The Journeying Stream”, TBA21, Sotos de la Albolafia, Córdoba (2022), Bianyal 2021, Vall de Bianya (2021) or “Plataforma. Festival de Artes Performativas”, Parque de Bonaval, Santiago de Compostela (2021), amongst other.

In 2022 Estruch won the 6th Premio Cervezas Alhambra de Arte Emergente (Alhambra Beer Award for Emerging Art) with the work “Zócalo”, and was awarded the 2021 Premi Ciutat de Barcelona (City of Barcelona Prize) in the category of Visual Arts. 

Works in public space include “Moat-2 / Playground Scene” (2017–18) at Fabra i Coats Fàbrica de Creació, Barcelona; and the recently completed Concomitentes public commission “Aguas Vivas”, at Llanos de Penagos, Cantabria (2024).

Estruch has a BA in Fine Arts from the Universitat de Barcelona (2010) and studied Performance Art and Sound Art at The Cooper Union, New York (2010). She regularly lectures at the Facultat de Belles Arts, Universitat de Barcelona. 

Her work is represented by Galería Ehrhardt Flórez, Madrid.


ABOUT THE CURATORS

In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.  

Latitudes has curated exhibitions including the inaugural Panorama triennial “Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d’Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COL·LAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was the Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció at the Centre d'Art La Capella (2016-2020).

Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).

Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.

Latitudes has curated the exhibition “Jorge Satorre. Ria” currently on view at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid) until August 31, 2025.

https://www.lttds.org

→ RELATED CONTENT:



 2025, announcement, curated by Latitudes, Essay, Exhibition, galería Ehrhardt Flórez, Laia Estruch, madrid, Museo Reina Sofía, performance, Solo show, text by Latitudes
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Cover Story, February 2025: Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M

 Mon, Feb 3 2025

February 2025 cover story on www.lttds.org


NEW
NEW MONTH
NEW MONTHLY COVER STORY

The February 2025 monthly Cover Story “Bananas, Potatoes, Ria, Río: Jorge Satorre at CA2M” is now up on our homepage: www.lttds.org (after February this story will be archived here).

“Jorge Satorre’s “Triplay” (2025) serves as the entrance to his exhibition “Ria”, currently on view at the Museo Centro de Arte Dos de Mayo (CA2M), curated by Latitudes. Two large wooden doors, embedded with metal casts of bananas and potatoes, form this threshold. Everyday objects are laden with both mundane associations and personal significance.” → Continue reading 

Cover Stories are published monthly 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 2025: Folded Forms, 1 January 2025
  • Cover Story, December 2024: On the (Critical,
  • Contextual) Rocks, 1 December 2024
  • Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
  • Cover Story, October 2024: Nancy Holt “Ventilation System”, 1 Oct 2024
  • Cover Story, September 2024: THE CREST OF A WAVE, 2 Sept 2024
  • Cover Story, July-August 2024: Rosa Tharrats, Curtain Call, 1 July 2024
  • Cover Story, June 2024: TERENCE GOWER—DIPLOMACY, URBANISM, URANIUM, 3 June 2024
  • Cover Story, May 2024: Richard Serra & Anne Garde—Threats of Paradise, 30 Apr 2024
  • Cover Story, April 2024: In Progress–Iratxe Jaio and Klaas van Gorkum, 2 April 2024
  • Cover Story, March 2024: Dibbets en Palencia, 4 March 2024
  • Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid, 1 February 2024
 2025, CA2M, cover story, curated by Latitudes, Jorge Satorre, madrid, Solo show
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Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles

 Mon, Jan 27 2025
Jorge Satorre, Detail of “Ricardo”, 2020. Courtesy of the artist and CarrerasMugica, Bilbao. Photo: Ander Sagastiberri.

The exhibition “Ria”, the first solo museum show in Spain dedicated to Mexican-born, Bilbao-based artist Jorge Satorre (1979), will be on view at the Museo Centro de Arte Dos de Mayo (CA2M) in Móstoles, Madrid, between February 1 and August 31, 2025. The exhibition features a new work alongside a survey of Satorre’s sculptures, drawings, and installations created since 2013.

Satorre’s artistic practice delves into unmapped and “minor” histories, whether attending to the intangible heritage of traditions and the oral transmission of stories or engaging in more formal explorations of traditional craft production methods, their environments, stories and labourers. His recent projects frequently involve acts of transformation and subversion, stemming from elemental actions such as moulding, stamping, forging, casting or breaking – processes applied to materials that he regards as intrinsic components of a process towards progressively moving away from a place where ideas originate. Just as hands and tools intertwine in Satorre’s work, so do the intimate with the industrial, the functional with misuse, anecdotes with archetypes, and remembered events with the imaginary.

“Río”, the artist's first monograph will be published alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland), alongside a conversation between the artist and Latitudes, the exhibition curators. This bilingual Spanish-English edition will cover Satorre’s exhibitions and works from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial. 

“Ria” occupies the museum’s second floor and runs concurrently with the graphic intervention by María Medem. Starting on March 1, 2025, it will also include exhibitions by Rodríguez-Méndez and David Bestué. Additionally, it will coincide with the events scheduled in the city surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).

“Ria” is organized by the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid), and is curated by Latitudes. 

Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.

ABOUT THE ARTIST

Jorge Satorre (Mexico City, 1979) lives in Bilbao. His work has been exhibited in solo shows: “Black Jacket, Gray Sweatshirt”, CRAC Alsace, Altkirch, France (2021) and CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería Labor, Mexico City (2017); “Curvar a Miguel es arruinar las baldosas”, Blueproject, Barcelona (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); “Modelling Standard” (con Erick Beltrán), FormContent, London (2010); “The indirect gaze”, Le Grand Café, St, Nazaire, France (2010).

As a curator, he has organised the group exhibition “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (CarrerasMugica, Bilbao, 2022-23) and the solo exhibition “Redonda, Redonda” by Alberto Peral (Tecla Sala, Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in “Modelling Standard” (various spaces, 2010-2011).

Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.

He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017). 

Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).


Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.


ABOUT THE CURATORS

In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.  

Latitudes has curated exhibitions including “Panorama 21. Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d'Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COLAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció, Centre d'Art La Capella (2016-2020).

Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).

Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.

Latitudes is preparing the survey exhibition “Laia Estruch: HELLO EVERYONE” at the Museo Nacional Centro de Arte Reina Sofía (26 February–1 September 2025).


ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO

Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.



→ CONTENIDO RELACIONADO: 

  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021 
  • 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 an 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’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009 

 2025, Bilbao, CA2M, carrerasmugica, catalogue, curated by Latitudes, Editorial Caniche, Gabriel Pericàs, Jorge Satorre, LABOR, madrid, México, Solo show
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Text on Joan Morey in the publication commemorating the 10th edition of the Video Creation Award

 Wed, Jan 22 2025
Cover and text in the publication “Premi de Videocreació / 10 Edicions / 2014-2024”, edited by the Generalitat de Catalunya, November 2024. ISBN 978-84-10393-04-2.


In April 2024, Latitudes was commissioned to write a short text about Joan Morey’s film “SOCIAL BODY. Anatomy Lesson” for a forthcoming publication celebrating the 10th edition of the Video Creation Award co-production project. This Award results from the ongoing collaboration between the Territorial Centers of the Public System of Visual Arts Equipment in Catalonia, the Santa Mònica Arts Center, the Department of Culture of the Generalitat de Catalunya, and Loop Barcelona.

In 2018, Latitudes curated Joan Morey’s multi-chapter solo exhibition “COLLAPSE,” which was held across three venues in Barcelona and L’Hospitalet, and a year later, in Palma (Mallorca). 

(Above and nine below) Installation view of Joan Morey, “COL·LAPSE. Cos social” at Centre d'Art Tecla Sala, l'Hospitalet de Llobregat (Barcelona). Courtesy of the artist. Photos by ArtWorkPhoto.eu/Tecla










“COS SOCIAL. Lliçó d’anatomia” [SOCIAL BODY. Anatomy Lesson] was awarded the 2017 Premi de Videocreació of the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica – Departament de Cultura de la Generalitat de Catalunya, and LOOP Barcelona.

In 2018, the Government of Catalunya acquired the work for its National Collection and deposited it in the Museu d’Art Contemporani de Barcelona, where it was recently presented as part of their collection display titled “MACBA Collection. Prelude. Poetic Prelude”.


(Above and three below) Installation view of Joan Morey, “COL·LAPSE. Cos social” at Casal Solleric, Palma de Mallorca (31 January–6 September 2020). Courtesy of the artist. Photos by Roberto Ruiz.




Morey recently presented “VOT DE TENEBRES”, subtitled “Formation of the Canon, Erotic Concepts; The visceral and its (de)content; Haptic awakenings, stimulating the senses” at the Fundació Joan Brossa, and in 2025 will be in residence at the Restoration/Conservation department of the Museu Nacional d’Art de Catalunya (MNAC) as part of their Projecte Empelt programme. 


→ CONTENIDO RELACIONADO:

  • Wakelet archivo redes sociales
  • Reseña exposición – ‘COLAPSO. Máquina Célibe’ de Joan Morey en Casal Solleric, Maria Muñoz, neo2.com, 3 agosto 2020
  • Performance ‘COLAPSO. Máquina posible’ de Joan Morey en Can Balaguer, 23 de julio 2020, 19h y 20:30h, 13 July 2020
  • Ressenya de Pere Antoni Pons, ‘L'Art provocador i litúrgic de Joan Morey’, El temps de les arts, 10 juliol 2020
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • Documentación de la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en el Casal Solleric, Palma de Mallorca, 7 February 2020
  • Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2020
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • “Joan Morey presenta "Col·lapse. Cos social”, programa Taquilla Inversa, L'Hdigital Mitjans de Comunicació de L'Hospitalet, 29 Novembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018


 2018, 2024, curated by Latitudes, generalitat de catalunya, Joan Morey, Solo show, text by Latitudes, video
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Max Andrews’ review of Gabriel Chaile's exhibition at Tabakalera in Donostia

 Thu, Jan 16 2025
Exhibition review on frieze.com

Max Andrews’ review of Gabriel Chaile's exhibition “Contemplando es como fuimos cambiando” at Tabakalera in San Sebastian/Donostia, goes live on the frieze website.

“‘Contemplating Is How We Have Been Changing’, Tabakalera’s survey of Argentine artist Gabriel Chaile, deftly shows his ability to transform humble materials into vessels of ancestral knowledge and familial intimacy. The exhibition includes several of Chaile’s characteristic anthropomorphic and zoomorphic adobe sculptures, yet it also features a selection of impressive earlier works, and hints at new forays into film narrative and mythmaking.” Continue reading


All photos: Exhibition view of “Gabriel Chaile: Contemplating Is How We Have Been Changing” at Tabakalera, San Sebastián/Donostia, 25 October 2024–2 February 2025.












RELATED CONTENT:

  • Other writing on Latitudes’ website.
  • Reviews, opinions, profiles and interviews published in frieze magazine.
  • Cover Story, January 2025: Folded Forms, 1 January 2025
  • Cover Story, December 2024: On the (Critical, Contextual) Rocks, 1 December 2024 
  • Cover Story, November 2024: Max Andrews on Robert Smithson’s text “Aerial Art” (1969), 1 Nov 2024
  • Max Andrews shares Manifesta 15 highlights in frieze, 17 September 2024
  • Max Andrews reviews Rosa Tharrats's exhibition “Residua” at Bombon Projects for Artforum, 3 Jun 2024
  • Marking 20 Years of Max Andrews as a Writer for Frieze Magazine, 4 June 2024
  • Max Andrews reviews Ibon Aranberri’s exhibition “Entresaka” at ARTIUM Museoa for frieze, 23 May 2024

 2025, Donostia, Frieze, gabriel chaile, Max Andrews, review, Tabakalera, writing
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SAVE THE DATE: 1 February 2025 opening of Jorge Satorre’s exhibition “Ria” at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)

 Wed, Jan 8 2025
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.

SAVE THE DATE
Opening: 1 February 2025, 12pm

Jorge Satorre 
“Ria”
1 February–25 May 2025

Latitudes is pleased to announce “Ria,” the first institutional solo exhibition in Spain by Mexican-born, Bilbao-based artist Jorge Satorre. The exhibition will open on Saturday, 1 February 2025, at noon at the Museo Centro de Arte Dos de Mayo in Móstoles, Madrid. It will feature a newly commissioned work and a survey of sculptures, drawings, and installations produced since 2013, and will be on view until 25 May 2025.

“Río” [River], the artist’s first monograph, will be released alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland) alongside a conversation between the artist and Latitudes, the exhibition’s curators. This bilingual Spanish-English edition covers Satorre’s works and exhibitions from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial. 

The exhibition will be held on the museum's second floor, and run concurrently with exhibitions dedicated to María Medem and from March 1, 2025, to Rodríguez-Méndez (curated by Ángel Calvo Ulloa), and David Bestué. It will also coincide with several events programmed in Madrid surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).

The exhibition is organised and produced by the Museo Centro de Arte Dos de Mayo and curated by Latitudes.


Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.

ABOUT THE ARTIST

Jorge Satorre (Mexico City, 1979). Lives in Bilbao. His work has been exhibited in solo shows: “Veste noire, sweat-shirt gris”, CRAC Alsace, Altkirch, France (2021); “Chamarra negra, sudadera gris”, galería CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería LABOR, Mexico City (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); and “The indirect gaze”, Le Grand Café, Saint-Nazaire, France (2010), amongst other.
 
As a curator, he has organised the group show “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (galería CarrerasMugica, Bilbao, 2022), the solo show of Alberto Peral “Redonda, Redonda” (Tecla Sala, l’Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in the multipart project “Modelling Standard” (Galería Joan Prats, Barcelona, 2011; Casa Vecina, Ciudad de México, 2011; FormContent, London, 2010).

Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.

He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017). 

Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).



ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO 

Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.



→ CONTENIDO RELACIONADO: 

  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021 
  • 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 an 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’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009 

 2025, Bilbao, CA2M, carrerasmugica, catalogue, curated by Latitudes, Editorial Caniche, Jorge Satorre, LABOR, madrid, México, Solo show
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