Wed, Dec 31 2025For ten years, we have been publishing a monthly cover story on our homepage (www.lttds.org) highlighting past, present, or upcoming projects. Alongside these features, we explore our research, travels, or texts that connect to artworks, exhibitions, films, collaborators or objects related to our curatorial work. Below are the 2025 publications, which you can revisit here. See you in 2026!
October 2025: Stockholm, September, Sessions, Studios, Samuelson
May 2005: Río, Ría. Sweet, brackish, or salty Satorre
February 2025: Bananas, Potatoes, Río, Ría: Jorge Satorre at CA2M
→ RELATED CONTENT:
Sun, Nov 30 2025 
December 2025 cover story on www.lttds.org
NEW
NEW MONTH
NEW MONTHLY COVER
NEW MONTHLY COVER STORY
“Since Spring, we’ve been mentoring Caimin Walsh, a thoughtful curator based between County Cork and Limerick, Ireland, through a bursary that he was awarded from the Arts Council of Ireland. The dialogue has been flowing and rewarding—we quickly discovered a shared taste for sprawling, tangled research.” → Continue reading (after December, this story will be archived here).
Cover Stories are published monthly on Latitudes’ homepage, showcasing past, present, or upcoming projects, research, texts, artworks, exhibitions, films, objects, or field trips related to our curatorial work and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story, December 2025: Mentorship and Movement, 30 Nov 2025
- Cover Story, November 2025: Lido Lagoon, 3 Nov 2025
- Cover Story, October 2025: Stockholm, September, Sessions, Studios, Samuelson, 1 Oct 2025
- Cover Story, September 2025: Krasiński at 130 centimetres, 1 Sep 2025
- Cover Story, July-August 2025: Hello Everyone: A Catalogue of Voices, 1 Jul 2025
- Cover Story, June 2025: Hello Everyone Re-Mix, 2 Jun 2025
- Cover Story, May 2025: Ria, Ría: sweet, brackish, or salty Satorre, 2 May 2025
- Cover Story, April 2025: Wrecking the Floor Tiles, 1 April 2025
- Cover Story, March 2025: “Hello Everyone from the Museo Reina Sofía”, 3 Mar 2025
- 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
Mon, Sep 5 2022
Foto cortesía de Matheus Calderón Torres.
Matheus Calderón Torres (Sullana, 1994) es crítico cultural, traductor y curador residente en Lima, licenciado en Literatura Hispánica (BA) y en Historia del Arte y Estudios Curatoriales (MA) por la Pontificia Universidad Católica del Perú. Junto con Meier Ramírez Publicaciones, ha traducido y editado al español las conferencias de arte contemporáneo del filósofo francés Alain Badiou. Recientemente ha curado la exposición “Indigno de ser humano” de la artista Ali Salazar para
Ginsberg Galería (2022), y prepara “Rituales de la modernidad” del artista Luis Enrique Zela-Kort (mayo 2023). Actualmente es profesor de escritura no ficcional en el Centro de la Imagen, Escuela de Artes Visuales y Fotografía, y trabaja como periodista en la plataforma peruana Comité de Lectura.
Su propuesta de investigación gira entorno a la autorrepresentación a través de la práctica artística de cinco artistas peruanxs contemporáneos. Calderón analizará los distintos modos en que lxs artistas se autoinsertan en sus respectivas obras, espacios desde donde piensan la propia institución, desde donde la rechazan o aceptan la propia escena artística.
→ CONTENIDO RELACIONADO:
- Latitudes / Perfil / Actividades / Pedagogía
- Jurado y tutoría de Barcelona Producció 2019–2020: Proyectos ganadores, 3 June 2019
- Barcelona Producció – Anuncio de los proyectos ganadores temporada 2017–2018, 25 mayo 2017
- Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona, 2 febrero 2016
Fri, Sep 1 2017
Photo: Roberto Ruiz. Cortesía: David Mutiloa.
The September 2017 Monthly Cover Story "Dark disruption: David Mutiloa’s "Synthesis" is now up on www.lttds.org – after this month it will be archived here.
"Human worker-performers move sluggishly around a modular platform in a permanently gloomy La Capella; they are employed to apparently do nothing much at all, embodying an uncanny kind of work–life balance. It’s the gig economy, stupid. David Mutiloa’s melancholy Barcelona exhibition Synthesis shadows how changes in the modern office workplace have heeded novel notions of management and business efficiency, abiding by a labour market that progressively favours flexibility and adaptability." Continue reading
Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities.
Photo: Pep Herrero / La Capella/ Barcelona Producció 2017.
Below the text written by Latitudes, mentors of the project:
"In the modern office workplace, spatial design and brand communication have evolved in step with novel notions of management, business efficiency and a labour market that progressively favours flexibility and adaptability. The typical Western office worker – their physiology as well as their psychology – has also been overhauled. Twentieth-century time-and-motion studies first standardised and rationalised the salaried worker’s time and space. And today the twenty-first-century worker is increasingly a co-working independent contractor who navigates an entirely dissolved working-week structure, continuous competitive ‘disruption’ and the so-called ‘gig economy’.
Using sculpture, video projections and human presence, David Mutiloa’s exhibition Synthesis proposes that this condition has led to the appearance of pharmacologically managed depression, “an illness of responsibility”. It has also induced a terrible form of boredom – the spectre of both the boundless outsourcing of undesirable labour to the developing world, and automation leading to a world without work. Synthesis shadows these ideas through two video projections, live action by human worker-performers and the display of a series of sculptures made from steel, silicon, resin, computer components, pharmaceutical drugs and other materials. These sculptures derive from human anatomy and iconic industrial design forms conceived for the office environment from the 1960s to the 1990s. These decades saw a transition from the typewriter to the personal computer, and from rooms with regimented rows of desks to spaces with customisable cubicles, ‘neighbourhoods’ and flexible work ‘nests’. Arranged on and around a modular platform like industrial still lifes, the sculptural elements are sometimes juxtaposed with office-systems brochures. They often represent variations based on an individual element that Mutiloa has abstracted, augmented or made into its inverse form through moulding and casting – furniture, desk accessories and structural systems, for example, that were designed with both high style and ergonomics in mind. Prominent among the sculptural forms are those based on the classic Pop-era Valentine typewriter, first produced in 1969 for the Italian brand Olivetti. Large metal forms are derived from wall connectors from the revolutionary Action Office systems, introduced by the Herman Miller company in the 1960s. Modular ‘workstations’ for the ‘human performer’ were comprised of angled and movable fabric-wrapped walls, which an office worker could supposedly arrange to create his or her own ideal work space. Other sculptures adopt the form of articulated arms with support for screens or are taken from the Aeron chair, also produced by Herman Miller.
Photo: Pep Herrero / La Capella/ Barcelona Producció 2017.
The latter, a seat with exaggerated lumbar support, become so popular with Web startup companies in the late 1990s that it was nicknamed the ‘Dot-Com Throne’. Other forms recall the frame of the 543 Broadway chair, and a metal grid evokes the Shopping Cart desk; both of the earlier pieces were designed by Gaetano Pesce in the 1990s for the notoriously open-plan, multicoloured offices of the advertising agency TBWA/Chiat/Day New York. A large suspended video projection will present a series of highly composed shots of the installation itself, and will be filmed and edited during the exhibition and later inserted into the composition as if following a just-in-time production methodology. The second video projection of Synthesis also gives the whole exhibition space its uncanny soundtrack – a relentless, evolving, aural collage that seems to evoke the hum of a post-industrial factory floor, or the placeless drone of the knowledge economy. The screen shows a virtual camera moving over and around a spatial environment that Mutiloa derived from the 1970s office system produced by Olivetti, from which the exhibition also takes its title. Continuously generated from a 3D digital model, the visualisation comprises a looped animation that is screened throughout the exhibition. Human work-performers move listlessly around the exhibition; they are employed by Mutiloa’s exhibition, yet are apparently doing nothing at all. In a widely cited study published in 2013, experts predicted that almost half of the jobs in the US were at risk of being automated in the next two decades. Driverless technology, cheap computers, deep learning and big data are leading to increasingly sophisticated tasks being done by ever-smarter machines across a whole range of sectors – from translation to logistics, but especially in office and administrative work. A pessimist would argue that wherever office work can be broken down into a series of routine tasks, no job is safe. If new technologies are not yet replacing workers, they may
nevertheless be putting them under increased surveillance in order to monitor their activity and productivity minute by minute.
As automation rises, does the value of the tasks that can be done only by humans therefore increase? What is at stake when affective faculties such as creativity – the supposed domain of the artist – are more than ever part of a productive and evaluative logic? Does the notion that one must project one’s own personal brand through the splintered attention spans of social media point to a future marked by a total synthesis of individual fulfilment, freelancers’ anxiety and corporate competitiveness for all?
— Latitudes
[1] http://www.oxfordmartin.ox.ac.uk/downloads/academic/The_Future_of_Employment.
Photo: Pep Herrero / La Capella/ Barcelona Producció 2017.
RELATED CONTENT:
2017, 2018, Barcelona Producció, BCN Producció, cover story, David Mutiloa, Jurado, mentoring, text
Wed, Feb 1 2017
Antoni Hervàs receiving the award from Ada Colau, Mayor of Barcelona, at the Saló de Cent of the Ajuntament de Barcelona, 16 February. Photos: Latitudes.
We are proud to announce that Antoni Hervàs's exhibition "El Misterio de Caviria" (The Mystery of Caviria) has been awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 (City of Barcelona Award). The award has been organised on a yearly basis since 1949 by the Ajuntament de Barcelona (Barcelona City Council), “to award the creation, research and production of quality produced in Barcelona by creators or collectives working for institutions and organizations in Barcelona that promote or produce projects”.
The jury recognised “the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality.” The jury also acklowledged the “formalisation of the project into a scenographic and immersive installation and the range of public programmes it generated”. Huge congratulations to Toni, a very well-deserved recognition for his Herculian efforts!
The prize comes hot-on-the-heels of Hervàs’s exhibition winning the public vote for the best show of 2016 given by the Tria 33 programme of the Catalan TV3 channel.
"El Misterio de Caviria" (The Mystery of Caviria) took place at La Capella between September and November 2016. It was part of the BCN Producció'16 season and was one of the three projects mentored by Latitudes.
View of "El Misterio de Caviria" exhibition by Antoni Hervàs at La Capella.
This and following photos: Pep Herrero / La Capella–BCN Producció'16.
Antoni Hervàs’ artistic project revolves around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The exhibition "El Misterio de Caviria" (The Mystery of Cabeiria), divided into eight chapters (exhibition guide (pdf) and description of each chapter (pdf)), took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Here live a kind of tribe of Amazons organized under the gynaecocracy of Queen Hypsipyle who are keeping a grisly secret. Taking this fragment, Hervàs explores the transformist and genre-bending possibilities of drawing, a medium that enables him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene.
Video of the exhibition (Spanish subtitles).
Exhibition layout. Space design: Goig.
Publication of the project edited by Ajuntament de Barcelona and The Flames includes an interview between the artist and Latitudes. Photos: Latitudes.
RELATED CONTENT:
- 25 de enero 2017, 19h: Presentación de la publicación "El misterio de caviria" de Antoni Hervàs en el Antic Teatre 13 Enero 2017
- Eloy Fernández Porta, "Argonàutica i bastides”, Nuvol.com, 16 novembre 2016 (català)
- “Em sento còmode posant en relació i connectant petites comunitats que considero afins”. Una conversa amb Antoni Hervàs, Blog de BCN Producció, 7 novembre 2016 (català)
- Actividades programadas durante la exposición "El misterio de caviria" de Antoni Hervàs en La Capella 7 novembre 2016
- Cover Story – November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor 2 noviembre 2016
- Rosa Cruz, "Mitología Contemporánea", postpostpost.org 16 octubre 2016
- Documentación de la exposición "El Misterio de Caviria" de Antoni Hervàs 23 septiembre 2016
- Exposición “El misterio de Caviria” de Antoni Hervàs en La Capella, 16 septiembre–13 noviembre 16 septiembre 2016
- September Cover Story: "El misterio de Caviria" by Antoni Hervàs 1 September 2016
- Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona 2 febrero 2016.
