LONGITUDES

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

20th and concluding dispatch of “Incidents (of Travel)” from Barcelona, Spain

 Wed, Oct 26 2022

📲 TAP, SCROLL, SWIPE and 📖 READ on incidents.kadist.org 


In the twentieth and concluding dispatch of Incidents (of Travel), Latitudes, the curators and editors of the project, are led by Mexican-born, Bilbao-based artist Jorge Satorre in something of a “voyage around our room”. Manifested itself all over the world since 2016 through the perspectives of other invited curators and artists, Incidents (of Travel) now takes place in our own home: Barcelona, latitude 41° 23' 19.64" N.

Satorre’s itinerary follows a route from the north to the south of the city – from Collserola to Montjuïc – tracing wild boars, two mysterious dolmens, and the devil’s hoof prints along the way.

By chance, this episode takes place on September 19, 2022, exactly ten years later to the day of the first tour commissioned for the first phase of Incidents (of Travel), a day we spent with Minerva Cuevas around Mexico City’s city centre on the 27th anniversary of the deadly 1985 earthquake. 

Episode #20 culminates Latitudes’ collaboration with KADIST, producers of 20 wonderful episodes published online between 2016 and 2022 as part of their online projects. In 2015, KADIST hosted another three tours during Latitudes’ residency at their San Francisco hub. In 2013, Spring Workshop in Hong Kong produced four itineraries within the frame of the long-term multi-part project “Moderation(s)” in partnership with (then known as) Witte de With Center for Contemporary Art in Rotterdam, and in 2012, at the invitation of UNAM’s Casa del Lago, Latitudes commissioned the first five itineraries around Mexico City. 



The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan.


The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.


The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.


The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by “men and women who work(ed) multiple jobs as fishermen, housebuilders, boat builders, farmers, coconut pickers, food producers, and everything else that matters.”


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.


The seventh episode comes from Hobart, the capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home-sharing their mutual love for quinces.


In the eighth 'Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.


In the ninth dispatch, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík's surroundings considering Þorgerður's “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites collecting moments and considering the ways in which geologic time surfaces in the context of human time.”

http://incidents.kadist.org/rio


The tenth dispatch begins with an itinerary proposed by Barcelona-born, Rio de Janeiro-based artist Daniel Steegmann Mangrané and is followed by images and videos recording a day roaming Rio's natural and artistic landscapes with Bogotá-born, Mexico City-based curator Catalina Lozano, who narrates their day spent together. 


In the 11th episode, Swiss curator Sandino Scheidegger (Random Institute) visits Panama City in preparation for a solo exhibition by Donna Conlon and Jonathan Harker at Casa Santa Ana in 2021. 

The places Sandino, Donna and Jonathan visited together pointed to the origin of some of their video works, the ideas behind them, or simply served as stages in their pieces, turning into “an exercise in sneaking through fences to reach former recycling plants, imagining how things looked before the skyscrapers took over, and navigating the complex social fabric of Panama City — all while getting a taste of local food between every stop.” 


The 12th episode from Tbilisi, Georgia, set a different tone in the online series as it was programmed to take place in late May 2020, during the Covid-19 pandemic. 

The itinerary set by Tbilisi-based artist Nino Kvrivishvili to lead Melbourne-based Associate Professor Tara McDowell became a WhatsApp video tour/conversation around Nino's artistic practice and the Georgian silk industry — a production that began in Tbilisi in the 5th century and continued until the collapse of the Soviet Union in the 1990s. 

 

Incidents (of Travel) from Cabo Rojo

In the 13th dispatch, and on week 23 of lockdown, Sofía Gallisá and Marina Reyes begin their day together driving to the Cabo Rojo Salt Flats where Sofía researched her 2018 film ‘Assimilate & Destroy I’. They later end up in Poblado de Boquerón, the queer capital of Puerto Rico's south where a large public beach and a usually busy street still show traces of 2017’s devastating Hurricane Maria.

Incidents (of Travel) from Singapore.

In the 14th dispatch, Singapore-based curator Kathleen Ditzig joins artists Fyerool Darma and Nurul Huda Rashid nearby ‘Safe Entry‘ (2020), a mural presented at the Singapore Art Museum (SAM) by the artist Heman Chong that repeats a single, enlarged QR code, “the new digital skin of the city”, as Nurul points out. From there, they head towards the boardwalk connecting Harbourfront with Sentosa Island, the pleasure island home to many tourist attractions. Fyerool and Nurul weave in stories of past pirates and deities against the backdrop of the glass-green waters that stage the “blue aesthetics against the imported sands [from Indonesia] of reclaimed lands.”

In the 15th dispatch curator Àngels Miralda (current participant of de Appel's Curatorial Programme 2020-21) and artist Salim Bayri (current resident at Rijksakademie van beeldende kunsten 2019–21) follow a tour created during the winter 2021 Covid-19 restrictions in the Netherlands. 

Their day in Amsterdam together features public sports locations as social meeting spaces, as well as urban architecture, a visit to a supermarket chain, and a food takeaway. 

http://incidents.kadist.org/beirut

In the 16th dispatch, curator Marie-Nour Hechaime 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 [1]. “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.”

http://incidents.kadist.org/Riga

In the 17th dispatch, curator Inga Lāce and artist Linda Boļšakova forage for environmental histories in Riga. The day that takes them from manicured park lawns to a thicket of sea buckthorn bushes near a “post-apocalyptic” sauna, and from a housing project allotment to the laboratories of the National Botanic Garden of Latvia. 


In the 18th dispatch, curator Xenia Kalpaktsoglou and artist Pegy Zali conceive an itinerary and a screenplay-like commentary that takes us through the Attica peninsula, from a mysterious inscription sprayed at the site of a railway sabotage that transpired near Piraeus Port in 2010, to the vestiges of an enormous wildfire that consumed the forest around Alepochori in 2021. Formed through their long-standing friendship and shared research interests, this episode flows around Greece’s links with the emerging infrastructure of China’s New Silk Road, and the “cyber-eco-feminist” traces of the goddess Gaia.

http://incidents.kadist.org/seoul

In the 19th episode of Incidents (of Travel), curator Sooyoung Leam reports on a day exploring Yongsan-gu, a district at the heart of Seoul, and the neighbourhood of artist Jeong Yeoreum. Documented by photographer and videographer Swan Park, Sooyoung and Jeong explore this conflicted territory that served as the headquarters of the Imperial Japanese Army between 1910 and 1945, and subsequently as a US military base. 


→ RELATED CONTENT:

Episode #19 of ‘Incidents (of Travel)’ – Dispatch by curator Sooyoung Leam and artist Jeong Yeoreum from Seoul, 22 June 2022

Episode #18 of ‘Incidents (of Travel)’ – Dispatch by curator Xenia Kalpaktsoglou and artist Pegy Zali from Attica, 18 April 2022

Episode #17 of ‘Incidents (of Travel)’ – Dispatch by curator Inga Lāce and artist Linda Boļšakova from Riga, 28 December 2021

Episode #16 of ‘Incidents (of Travel)’ – Dispatch by Marie-Nour Hechaime and Panos Aprahamian from Beirut, 3 October 2021

Episode #15 of ‘Incidents (of Travel)’ – Dispatch by Àngels Miralda and Salim Bayri from Amsterdam, 13 May 2021

Episode #14 of ‘Incidents (of Travel)’ – Dispatch by Kathleen Ditzig and artists Fyerool Darma and Nurul Huda Rashid from Singapore, 21 December 2020

Episode #13 of ‘Incidents (of Travel)’ – Dispatch by Marina Reyes and Sofía Gallisá from Cabo Rojo, Puerto Rico, 27 Sep 2020

Episode #12 of ‘Incidents (of Travel)’ – Dispatch by Nino Kvrivishvili and Tara McDowell from Tbilisi, 25 Jun 2020 
https://www.lttds.org/longitudes/index.php?id=7159211982397983135/episode-12-of-incidents-of-travel

Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City, 9 April 2020
https://www.lttds.org/longitudes/index.php?id=4425215029591365006/11-episode-of-incidents-of-travel

Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro, 
29 January 2020
https://www.lttds.org/longitudes/index.php?id=144735152408473327/tenth-episode-of-incidents-of-travel

The ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir, 8 February 2019
https://www.lttds.org/longitudes/index.php?id=6371927610418460689

The eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi, 6 September 2019
https://www.lttds.org/longitudes/index.php?id=8721104601538735691

The seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania, 28 June 2018
https://www.lttds.org/longitudes/index.php?id=1055853895543348027

The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia, 1 March 2018
http://www.lttds.org/blog/blog.php?id=5887133486742947361

The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia, 26 April 2017 
http://www.lttds.org/blog/blog.php?id=4083951540089486920

The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal, 2 March 2017 
http://www.lttds.org/blog/blog.php?id=4185860148466062617

The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China, 6 September 2016 
http://www.lttds.org/blog/blog.php?id=1437935620149738144

Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda, 30 June 2016 
https://www.lttds.org/longitudes/index.php?id=2504250800654900933

Kadist and Latitudes present 'Incidents (Of Travel)' online, 31 May 2016
http://www.lttds.org/blog/blog.php?id=1076947282278624159


 10th anniversary, 2012, 2016, 2022, Barcelona, edited by Latitudes, fieldwork, Incidents of Travel, itineraries, Jorge Satorre, Kadist, online, out of the studio, report
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Cover Story, July–August 2022: Incidents (of Travel) from Seoul

 Fri, Jul 1 2022
Summer 2022 cover story on www.lttds.org

The July–August 2022 monthly Cover Story “Incidents (of Travel) from Seoul” is now up on our homepage: www.lttds.org 

“This summer’s Cover Story features twelve photographs by Swan Park that were taken during the day that curator Sooyoung Leam and artist–filmmaker Yeoreum Jeong spent together in Seoul for the nineteenth dispatch of ‘Incidents (of Travel)’. Reload (or resize) the page to display a different image.”

Reload (or resize) the page to display a different image.

→ Continue reading

→ After July–August 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, 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, April 2022: Mix and Match. Laia Estruch at PUBLICS, 1 April 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
  • 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

 2016, 2022, cover story, curatorial writing, edited by Latitudes, Incidents of Travel, itineraries, Kadist, Seoul
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Cover Story, October 2021: Fear and Loathing in Lebanon

 Fri, Oct 1 2021

 

October 2021 cover story on www.lttds.org

The October 2021 monthly Cover Story “Fear and Loathing in Lebanon” is now up on our homepage: www.lttds.org

“The Beirut River, at least in its current state, is a testament to infrastructural failure in Beirut”, writes artist and filmmaker Panos Aprahamian in his itinerary for the latest edition of Incidents (of Travel), from the Lebanese capital.”

→ Continue reading

→ After October 2021 this story will be archived here.

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


→ RELATED CONTENTS: 

  • Archive of Monthly Cover Stories
  • Cover Story, 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
 2021, Beirut, conversations, cover story, field trip, Incidents of Travel, itineraries, Kadist
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Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020

 Wed, Jan 15 2020
Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

A partir del 31 de enero 2020, Casal Solleric en Palma de Mallorca acogerá la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. La exposición ‘COLAPSO. Máquina célibe’ es una adaptación del proyecto que el artista presentó simutáneamente en tres sedes de la ciudad condal entre septiembre 2018 y enero 2019 [1] y se podrá visitar hasta el 3 de mayo 2020.

Las majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogerán una selección de seis proyectos producidos entre 2007 y 2017 desarrollados mediante el lenguaje artístico de la performance, así como un programa continuado de ocho piezas de audio: grabaciones de lecturas dramatizadas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.  
Joan Morey, COS SOCIAL. Lliçó d'anatomia (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

Joan Morey ha producido un extenso conjunto de performances, vídeos, instalaciones y obras sonoras y gráficas que, desde finales de los años noventa, explora la intersección entre teatro, cine, filosofía, sexualidad y subjetividad. 

Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).

Joan Morey, ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ (2006–2007). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 27 septiembre 2018. Foto: Noemi Jariod. Cortesía del artista.

Joan Morey, ‘LLETANIA APÒRIMA’ (2009). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 11 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’, 2009. Inter by Carme Callol and Tatin Revenga. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 25 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘BAREBACK. Fenomenología de la comunión’ Reenactment de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 15 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘IL LINGUAGGIO DEL CORPO’, 2015. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 29 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ (2017). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 13 diciembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘COLAPSO. Máquina esquizofrénica’ nueva performance site-specific, prisión la Modelo, Barcelona, 10 enero 2019. Foto: Noemí Jariod. Cortesía del artista.

El recorrido se inicia con uno de sus más recientes trabajos: la “performance para pantalla” ‘COS SOCIAL. Lliçó d'anatomia’ (2017), que actúa como eje conceptual de la exposición, y que obtuvo el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona. Ésta y la performance ‘TOUR DE FORCE’ (2017), también incluída en la exposición, le valieron el Premi Ciutat de Barcelona d'Arts Visuals 2017.

La exposición ‘COLAPSO. Máquina célibe’ en Casal Solleric está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.


[1] ‘COLAPSO. Máquina deseante, máquina de trabajo’, Centre d’Art Contemporani de Barcelona - Fabra i Coats (del 20 de septiembre de 2018 al 13 de enero de 2019); ‘COLAPSO. Cuerpo social’, Centro de Arte Tecla Sala (L’Hospitalet de Llobregat, del 15 de noviembre de 2018 al 13 de enero de 2019), y ‘COLAPSO. Máquina esquizofrénica’, en la antigua cárcel Modelo (Barcelona, 10 de enero de 2019).

→ CONTENIDOS RELACIONADOS:

 2018, 2019, 2020, exhibition-making, fabra i coats, itineraries, Joan Morey, Latitudes-curated, performance, Solo show
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'Compositions' a programme of five artists' interventions for the second Barcelona Gallery Weekend, 29 September–2 October 2016

 Tue, Sep 20 2016

Compositions presents five artistic interventions in unique sites across the neighbourhoods of the city of Barcelona. Each of the commissioned artists is represented by a gallery participating in the second edition of the Barcelona Gallery Weekend.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people, as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums. 

In its second edition, Composiciones will present interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects will offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Interior of the Club Billar Barcelona. Photo: Courtesy Club Billar Barcelona.
 Zoom in a map here.

Intervention by Lúa Coderch – Club Billar Barcelona
Gran Via de les Corts Catalanes, 595-599
08007 Barcelona

Public transport:
Metro: Passeig de Gràcia (L2, L3, L4)
Bus: 7, 50, 54, 67, 68, H12

Opening hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm 

Lúa Coderch’s project for the Compositions programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, “The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. “The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics.

Sunday 2 October, 12am: 
Free guided visit by the Lúa Coderch and Latitudes at the Club Billar Barcelona, Gran Via de les Corts Catalanes, 595-599.

Interior of the Biblioteca Pública Arús.
Zoom in a map here.

Intervention by Lola Lasurt  –  Biblioteca Pública Arús
Passeig de Sant Joan, 26
08010 Barcelona

Opening hours:
Thursday 29 September: 5–9pm;
Friday 30 September: 11am–7pm;
Saturday 1 October: 11am–2pm;
Sunday 2 October: CLOSED;
Monday 3 October: 11am–6pm;
Tuesday 4 October: 11am–6pm.
 
Public transport:
Metro: Arc de Triomf (L1)
Rodalies: R1, R3, R4 Arc de Triomf
Bus: 19, 51, 55, B20, B25, N4, N11

For her intervention for the Compositions programme, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with an outstanding collection related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings that form a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

Thursday 29 September, 6pm: 

 Free guided visit by Lola Lasurt and Latitudes at the Biblioteca Pública Arús, Passeig de Sant Joan, 26.

 Interior of Can Trinxet factory in L'Hospitalet de Llobregat.
 Zoom in a map here.
Intervention by Regina Giménez will take place at the Antigua fábrica textil Can Trinxet
c/ Santa Eulàlia 182–212
08902 L’Hospitalet de Llobregat (Barcelona)

Opening hours:
Thursday 29 September: 5–8pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Public transport:
Metro: Santa Eulàlia o Torrassa (L1)
Bus: L16, L52, L82, L85, LH1, N13

The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpin Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprise Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project "La Constancia" (2016) in tribute to the labour union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Friday 30 September, 12am:

Free guided visit by Regina Giménez and Latitudes at Can Trinxet, c/ Santa Eulàlia 182–212, L’Hospitalet de Llobregat.

Zoom in map here.

Robert Llimós' intervention will connect all the participating galleries of the Barcelona Gallery Weekend. 

Hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, "Los Corredores" (The Runners) was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Encounters). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes 

Friday 30 September, 5pm:  
Free guided visit by Robert Llimós and Latitudes. Meeting point: BlueProject Foundation, c/Princesa 57.
Façade of the Unitat Muntada de la Guàrdia Urbana de Barcelona in Parc de la Ciutadella.
Location of the Unitat Muntada in the southeastern part of the Parc de la Ciutadella. Zoom in a map here.

The intervention by Wilfredo Prieto will take place at the Unitat Muntada de la Guàrdia Urbana de Barcelona (Barcelona City Police Stables)
c/ Wellington s/n 
08018 Barcelona

Public transport:
Metro: Vil·la Olímpica (L4)  
Tram: Ciutadella–Vil·la Olímpica (just opposite)
Bus: 36, 59, 92, N0, V21, V27

Opening hours:
Thursday 29 September: CLOSED
Friday 30 September, Saturday 1 and Sunday 2 October: 11–12am*
[*] Doors open daily at 10:30am. Kindly note that a photo ID (DNI or passport) is required to enter.]
  
Conceived by Wilfredo Prieto as his project for the Composiciones programme, "Pantalones rotos" (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work, Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in "Pantalones rotos", this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes  

Saturday 1 October, 12am:
Free guided visit by Latitudes at the Unitat Muntada de la Guàrdia Urbana. Meeting point: c/ Wellington s/n. (Opposite the tram stop Ciutadella–Vil·la Olímpica)

Follow + Share: 
@Barcelona_Gallery_Weekend
#BarcelonaGalleryWeekend
#Composiciones2016
#LosCorredores1972   
@LTTDS 
#LatitudesBarcelona  



The Barcelona Gallery Weekend is an initiative of the de Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ajuntament de L’Hospitalet de Llobregat and Acción Cultural Española (AC/E), as well as by private sponsors and individual patrons. http://www.barcelonagalleryweekend.com/


Related content:

  • Composiciones 2015 commissions;
  • 2015 social media archive;
  • Instagram of the Barcelona Gallery Weekend;
  • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
  • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015;
 2016, Barcelona Gallery Weekend, commissions, exhibition-making, itineraries, latitudes, Lola Lasurt, Lúa Coderch, performance, public art, Regina Giménez, Robert Llimós, Wilfredo Prieto
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Tour of Devil's Peak and the Museum of Coastal Defence

 Wed, Feb 6 2013
Alongside the four tours led by Hong Kong artists Nadim Abbas, Yuk King Tan, Ho Sin Tung,  and Samson Young, Latitudes is also venturing into the city, researching around local forms of vernacular collection display and eccentric attractions. This encompasses museum-like retail spaces, or ‘marginal’ sculptural displays, as well as joining pre-existing tours.

On 30th January, Latitudes joined the "Devils's Peak and Museum of Coastal Defence" tour organised by Walk Hong Kong and led by former British Army officer and War World II specialist Martin Heyes, who has lived in Hong Kong for nearly 40 years. Heyes is a passionate and insightful guide for anyone interested in the context and details of the 1941 Japanese invasion of Hong Kong.

Following are excerpts of text from Walk Hong Kong website and images of our route.
Wilson Trail up to Devil's Peak.

 "At the end of the 19th century, and early into the 20th, the British authorities were very concerned about perceived threats to the safety of their colonial possessions in the Far East from other European powers. Hong Kong fell into this category. Accordingly, the British Government constructed impressive military fortifications to protect their imperial possessions and one of these was at Devil's Peak at the eastern extremity of the Kowloon peninsula."
Kowloon and Victoria Harbour.

"The large fortification constructed to defend the eastern approaches to Hong Kong harbour consisted of 2 fixed gun battery positions, together with a Redoubt at the summit of Devil's Peak which later became the Fire Command Headquarters for the eastern part of Hong Kong."
Overgrown trench.
 View from Devil's Peak Redoubt.

 "Although the position was eventually considered redundant and was in fact decommissioned before the outbreak of the Pacific War, the location was the scene of bitter fighting between the courageous Indian soldiers of the Rajput Battalion and the attacking Japanese army during the battle for Hong Kong in December 1941, immediately prior to the British evacuation of the mainland to Hong Kong island." 
 Gough battery.

"Following our visit to the gun battery position on Devil's Peak, we walk down through the seafood restaurant area of Lei Yue Mun to catch the ferry to Sai Wan Ho on Hong Kong island. A short taxi ride then brings us to the Museum of Coastal Defence, housed inside the late Victorian-era Lei Yue Mun Fort."
Descending towards Lei Yue Mun.

 Lei Yu Mun promenade in eastern Kowloon.
Seafood restaurants' fish tanks in Lei Yue Mun.
 Lei Yu Mun bay.

 "The fort occupied a strategic position guarding the eastern approaches to Victoria Harbour. The British military built barracks here as early as 1844, but these were abandoned shortly afterwards. In 1885, in the face of perceived aggrandizement from other European powers, artillery barracks were constructed with a redoubt at the core of the fortifications."


  Devil's Peak (right) seen from the Museum of Coastal Defence.

Display in the Museum of Coastal Defence showing the life of a British soldier in the 19th Century.

 The Hong Kong Telegraph from January 1902 – including a prominent ad for beloved Brit product Bovril.
  Japanese naval flag & pistols from the December 1941 invasion of Hong Kong.

 #IncidentsOfTravel #Moderations

 To complement the tour, please check the Social media archive with tweets, sound recordings and photo-documentation.


 Moderation(s) is a year-long programme occurring throughout 2013 between Witte de With, Rotterdam, and Spring Workshop, Hong Kong. 

–

 All photos: Latitudes | www.lttds.org

Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
 2013, Heman Chong, history, Hong Kong, Incidents of Travel, itineraries, Moderations, residency, Spring Workshop, tour
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