Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group

Latitudes' home page www.lttds.org

The June 2018 Monthly Cover Story "Near-Future Artworlds Curatorial Disruption Foresight Group" is now up on Latitudes' homepage.

"Sporadically convened by Latitudes, the Near-Future Artworlds Curatorial Disruption Foresight Group is a forum for informal dialogue about megatrends and the future of contemporary art institutions.

In order to be conducive to freedom of interaction, this by-invitation, closed-door meetings have been held under the Chatham House Rule. The list of attendees is not circulated beyond those participating in the meeting, and no documentation is made."


—> Continue reading
—> After June it 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 activities.


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • Cover Story – May 2018: "Shadowing Roman Ondák" 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017




Photo report: Trip to London and Oxford


 (Above and four below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
 (Above) Apostolos Georgiou, "FROM MY HEART" at Rodeo Gallery.

(Above and below) The magnificent main hall of the Pitt Rivers Museum in Oxford.

 An example of Micronesian currency – we're reminded of our extended conversation with Melbourne-based artist Nicholas Mangan published in his 2016 Sternberg Press publication "Limits to growth" (and also during Chisenhale's live conversation and while chasing Ancient Lights).


(Above and below) These column capitals are the main reasons we visited Oxford. They were carved for the Oxford Museum of Natural History in 1859-60 by Irish brothers James and John O'Shea, along with their nephew Edward Whelan. Commissioned by John Ruskin, all the works were carved freestyle, without previous sketches, using only plant specimens from the botanical garden, and their sheer imagination, as references.

They are the protagonists of Sean Lynch's 2013 piece "A Blow by Blow Account of Stonecarving in Oxford", which we have been discussing with Sean for a while and finally saw in 2015 in Bordeaux. We continued learning more about this piece and its making during our joint adventure in Banff's "Geologic Time" residency programme last Fall. 

 (Above and 3 below) Leonor Antunes's "a thousand realities from an original mark" at Marian Goodman.


 Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003).


(Above) Tacita Dean's "Landscape" exhibition premiered "Antigone", a new 1-hour long film and cloud paintings at The Royal Academy. Part 2 and 3 in the National Portrait Gallery (a retrospective of portrait films works) and at the National Gallery a two-room exhibition curated by the artist presenting a selection of historical and contemporary still lives. 

 Fantastic assembly of square-format paintings by Markus Lüperz at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.

 (Above and below) Batia Suter's work at The Photographers' Gallery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018.

(Above) The 2018 awardee was Luke Willis Thompson with his striking film "autoportrait" (also nominated for this year's Turner Prize).

 Nicolas Lamas (above and immediately below) and Petra Feriancová (two following) two-person show "Becoming animal" at Tenderpixel
(Above) "Pregnant Landscape" by Phoebe Unwin at Amanda Wilkinson Gallery in SoHO.

 (Above and below) Wilhelm Sasnal at Sadie Coles.

  (Above and below) August Sander's "Men without masks" at Hauser & Wirth included an extensive selection of rare large-scale photographs made between 1910 and 1931. The photographs were printed in a unique oversize format for inclusion in an exhibition at the Mannheimer Kunstverein in 1973.
  (Above) Group exhibition curated by Gianni Jetzer at Hauser & Wirth. 


  (Above and detail below) Rose Wiley's "Lolita's House"three-floor solo show at David Zwirner.

  (Above and below) 1960s vinyl sculptures by South Korean Seung-taek Lee at White Cube (Mayfair). Works have been recreated for the exhibition using urethane vinyl to achieve greater durability whilst retaining a similar visual quality.


  (Above and below) Abigail Reynolds mid-career survey at Peer.

  (Above) Visiting Ian White and Sadie Benning (photographed) at Camden Art Center with Antoni Hervàs.


  (Above and 2 below) Last day to see Magali Reus solo show at South London Gallery. 


   (Above and two below) Osaías Yanov's "Orphan Dance" at Gasworks.

   (Above and below) Antoni Hervàs studio at Gasworks, his 3-month residency is supported by Acción Cultural Española (AC/E)
   (Above and 2 below) Joan Jonas exhibition at Tate Modern.

   (Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.


On the way to see Tacita Dean's-curated exhibition "STILL LIFE" at the National Gallery, a much-obliged stop in the room with Vermeer and Dutch still life. Jacob van Walscapelle (1644-1727) and Jan van Huysum (1682–1749) masters in flower painting.


(Above) English singer-songwriter, record producer and humanitarian Peter Gabriel during the internet interspecies symposium "The Shape of a Circle in the Mind of a Fish" curated by Lucia Pietroiusti and Filipa Ramos for the Serpentine Gallery at the London Zoo.

Not photographed but also visited: Chisenhale Gallery, Matt's Gallery, Spruth Magers, Blain Southern, Pilar Corrias, Frith Street Gallery (both locations), Hollybush Gardens, Josh Liley Gallery, Kate McGarry, Mother's Tankstation, Modern Art (unexpectedly closed when it should have been open!, and so was Project Native Informant – which had a broken lift so had to go up 3 flights of stairs). 






Photo report: Trip to Berlin Gallery Weekend 2018 and Cologne

(Above) Detail from the K, inaugural show dedicated to exploring the work of East German designer and exhibition-maker Klaus Wittkugel. K, A Year with P. Krishnamurthy on Ebersstrasse 3 (Schöneberg) is a workshop for exhibition-making led by designer, curator, writer and educator Prem Krishnamurthy, co-director of the multidisciplinary design Wkshps, which extends his previous exhibition space and ‘mom-and-pop’ P! based in New York between 2012-2017. The project is organised in collaboration with KW Institute for Contemporary Art. All photos: Latitudes.

 (Above and below) Claudia Comte's ‘When Dinosaurs Ruled the Earth’ at König Galerie's St Agnes, Berlin. 

 (Above) ‘ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS’ at the Julia Stoschek Collection

(Above) Loris Gréaud at Max Hetzler.

 (Above and below) Lawrence Weiner and Manfred Pernice in the old/new venue of Konrad Fischer Galerie, Berlin. 

  (Above and below) Nevin Aladağ's ‘Mustrop’ exhibition at Wentrup, Berlin. 


(Above) Andro Wekua at Spruth Magers. The gallery concurrently presented exhibitions by Senga Nengudi and Kara Walker. 

 (Above and two below)  Ibrahim Mahama at DAAD Galerie, Berlin.


 (Above and below) Views of the exhibition ‘Neolithic Childhood. Art in a False Present, c. 1930’ at Haus der Kulturen der Welt.

 (Above and two below) View of ‘Hello World. Revising a Collection’ in the central nave Hamburger Bahnhof – Museum für Gegenwart, Berlin.

 (Above and below) One of the most interesting sections of the expansive Hello World. Revising a Collection’ exhibition, was ‘Colomental. The Violence of Intimate Histories’ curated by Sven Beckstette and Azu Nwagbogu. The curators commissioned four artists (Joël Andrianomearisoa, Peggy Buth, Astrid S. Klein and Dierk Schmidt) to produce work critically reflecting on the lack of contemporary art holdings of the National Galerie on the connections between African countries and Germany. Above Peggy Buth's work tracking the display and inventories in colonial museum revealing their historical narratives and representations. Below works by Joël Andrianomearisoa.
Very happy to see this finally be able to see this object in the flesh: "Nuage articulé" one of the most beautiful Surrealist objects firstly executed in 1937 with dry natural sponges by the German-Austrian-Mexican artist Wolfgang Paalen.
 (Above and below) Olivier Laric's ‘Year of the Dog’ at Tanya Leighton, included the European debut of his latest animation video ‘Betweenness’ (all 2018), alongside ‘Hundemensch’ a group of pigmented cast resin anthropomorphic sculptures.

 (Above and below) Becky Beasley's ‘Depressive Alcoholic Mother’ show at Galeria Plan B.

  (Above and below) AA Bronson + General Idea, 1968–2018, ‘Catch me if you can!’ exhibition at Esther Schipper.

  (Above and following two) Mariana Castillo Deball's ‘das Haut-Ich’ at Galerie Barbara Wien, taking the tonalpohualli calendar and the deity Xipe Totec as a starting point.

 (Above and below) Haegue Yang's installation ‘Silo of Silence – Clicked Core’ in the Boiler House space at KINDL - Centre for Contemporary Art in Berlin’s Neukölln district. 

Berlin skyline from KINDL's second floor.

 (Above and below) ‘Defying Gravity’ exhibition by Swiss artists Taiyo Onorato and Nico Krebs occupying the two floors of the Maschinenhaus (Power House) at KINDL - Centre for Contemporary Art, gathering photographs, 16mm films, sculptures and new installations from the past decade.

 After a 4h train to Cologne: Visit to "KölnSkulptur #9". The 2017 edition, titled ‘La fin de Babylone’ added new works by Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar and Pedro Wirz to the existing collection; and was curated by Chus Martínez. Above and following seven photos.

 (Above and below) ‘Pumping Station’ (2017) by Teresa Solar.
  (Above) ‘The Nordic Cactuses’ (2017) by Claudia Comte.
  (Above) Michael Sailstorfer (helicopter) and Mark di Suvero.
  (Above) ‘Untitled’ (2017) by Solange Pessoa.
  (Above and below) ‘Schale’ (2017) by Andrea Büttner.
 (Above) ‘Pagliaccio non son’ (2011) by Jimmie Durham. 
(Above) ‘Garten’ (1997–1999) by Peter Fischli and David Weiss. 
(Above) Pathway into the park.
 (Above and below) View of ‘Games of Decentralized Life’ exhibition by Simon Denny at Galerie Buchholz, Cologne, around Bitcoin and other cryptocurrencies. 

 (Above and below) View of the exhibition ‘The Superman’ by Alex da Corte on view the at Kölnischer Kunstverein. 

(Above) Beautiful 1950s architecture of the Kölnischer Kunstverein. 

 (Above and following) View of Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig in Cologne. In this room ‘Series of Vulnerable Arrangements’ are displayed alongside ‘Seven Basel Lights’ and ‘Medicine Men’.

 (Above) ‘Mountains of Encounter’ and ‘Sol Lewitt Upside Down — K123456. Expanded 1078 Times. Doubled and Mirrored’.
(Above) Installation ‘5, Rue Saint-Benoît’.

  (Above) View of the first solo exhibition ‘ DAS – IST — DAS?’ in Germany by Ana Jotta at Temporary Gallery, Cologne. Curated by Regina Barunke and Miguel Wandschneider.



RELATED CONTENT






Cover Story–May 2018: "Shadowing Roman Ondák"

Latitudes' home page www.lttds.org

The May 2018 Monthly Cover Story "Shadowing Roman Ondák" is now up on Latitudes' homepage: www.lttds.org

This month we revisit Roman Ondák’s exhibition ‘Some Thing’ at The Common Guild, Glasgow, in 2013, during which Latitudes was invited to give a talk. Roman’s show comprised a series of composite works in display cases. Early still-life paintings and pencil drawings from his student days in Slovakia in the 1980s were coupled with the actual objects depicted – a chair, a length of rope, a helmet, a vase (a detail of "Shadow, 1981/2013" is the work above), and so on, which were placed in a deadpan way on top of them.

—> Continue reading
—> After May it 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 activities.



RELATED CONTENT:






Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze

Review ‘The Molecular Turn’: While Social Media Flourishes Ecological Systems are Collapsing. At La Panacée, Montpellier, Nicolas Bourriaud’s manifesto for a new movement and attempt to demarcate an artistic peer group." on frieze magazine.

Max Andrews, co-founder of Latitudes and contributing editor to frieze, has recently reviewed the group exhibition ‘Crash Test. The Molecular Turn’ (at La Panacée, Montpellier, until May 6, 2018) as well as Lúa Coderch's solo exhibition ‘The girl with no door on her mouth’ (àngels barcelona, on view until April 13, 2018) for friezeBoth texts are available online and are included in print in the April issue.

—> Video of Lúa Coderch presenting her work (Spanish with English subtitles).

Review "The Girl with No Door on Her Mouth: Lúa Coderch's Acts of Making Noise. The artist explores the politics of the female voice that speaks out or is shut up, at àngels barcelona, Spain." on frieze magazine.

A review on Julia Spínola's solo show "Lubricán" at the Centro de Arte 2 de Mayo (Móstoles, Madrid), has also just been published online and will also be included in the forthcoming May 2018 issue.

—> Video of Julia Spínola presenting the show (in Spanish).

Review "Julia Spínola: Twilight. At Centro de Arte Dos de Mayo, Móstoles, a crepuscular glow lends acute poignancy to simple forms and materials" on frieze magazine.


RELATED CONTENT:
  • Writing archive on Latitudes' website (since 2005);
  • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
  • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
  • Cover Story – January 2017: How open are open calls?, 4 January 2017
  • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
  • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
  • Symposium participation, "The Shock of Victory", Glasgow, 25 September 2015
  • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
  • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015




Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz

Latitudes' home page www.lttds.org


The April 2018 monthly Cover Story "Dates, 700 BC to the present: Michael Rakowitz" is now up on Latitudes' homepage: www.lttds.org

"As Michael Rakowitz’s fourth plinth commission is unveiled in London’s Trafalgar Square, this month’s cover story image revisits Return (2004-ongoing) a related project by the artist that also speaks about the turbulent history of Iraq. And dates. In London, Michael has deployed thousands of date syrup cans to make a 1:1 scale recreation of Lamassu, the fantastic winged bull that graced the gates of the city of Nineveh from 700 BC until it was destroyed by Isis in 2015."

—> Continue reading
—> After April it will be archived here.

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.

RELATED CONTENT:

  • Archive of Monthly Cover Stories
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017





    Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition for art-agenda.com

    Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

    Jennifer Allora and Guillermo Calzadilla’s “Allora & Calzadilla
    Fundació Antoni Tàpies, Barcelona
    February 6—May 20, 2018

    by Mariana Cánepa Luna 


    "A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center. Leaning over the rim of the piano to strike the keys, the performer energetically interprets the fourth movement of Ludwig van Beethoven’s Symphony No. 9 (1824), while slowly pushing the wheeled instrument around the space. The building has become a musical box, the exhibition orchestrated such that one movement flows into the other, spilling through the gallery’s spaces to create a dissonant soundscape."


    —> Continue reading...

    Originally published in art-agenda.com on March 19, 2018.



    Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.



    Allora & Calzadilla. ‘Stop, Repair, Prepare: Variations on Ode to Joy, No.3’ (2008). Modifyed Piano Bechstein © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.


    Allora & Calzadilla. ‘Hope Hippo’ (2005). © Photo: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.


    Allora & Calzadilla. ‘Lifespan’ (2014) © Foto: Roberto Ruiz © Fundació Antoni Tàpies, Barcelona, 2018.

    Allora & Calzadilla, ‘Sweat Glands, Sweat Lands’ (2006). Video SD, color, sound. Duration: 2 minutes, 21 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018.

    Allora & Calzadilla, ‘A Man Screaming is Not a Dancing Bear’ (2008). 16 mm film, color, sound. Duration: 11 minutes, 15 seconds. Courtesy Thyssen-Bornemisza Art Contemporary (TBA21). Photo: Roberto Ruiz. © Fundació Antoni Tàpies.

    Allora & Calzadilla, ‘Apotomē’ (2013). 16 mm film transferred to HD, color, sound. Duration: 23 minutes, 9 seconds. Courtesy Galerie Chantal Crousel. Photo: Roberto Ruiz. © Fundació Antoni Tàpies, 2018.

    RELATED CONTENT: 





    Cover Story – March 2018: Armenia's ghost galleries

    Latitudes' home page www.lttds.org 

    The March 2018 Monthly Cover Story ‘Armenia's ghost galleries’ is now up on www.lttds.org – after this month it will be archived here.

    Incidents (of Travel)’ – Latitudes collaboration with Kadist – returns with a dispatch from Yerevan, Armenia. The itinerary leads us on something of a ghost tour. Photographs and reportage unearth the fragmented memories of galleries and art spaces that no longer exist. This haunted dispatch is the fruit of two-years of meticulous shared inquiry by Armenian curator Marianna Hovhannisyan (currently based in San Diego) with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan, alumni of the former Studio College of the National Center of Aesthetics in Yerevan. 


    —> 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.


    RELATED CONTENT:
    • Archive of Monthly Cover Stories
    • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
    • Cover Story – January 2018: I'll be there for you, 2 January 2018
    • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
    • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
    • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
    • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
    • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
    • Cover Story – July 2017: 4.543 billion 3 July 2017
    • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
    • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
    • Cover Story – April 2017: Banff Geologic Time 3 April 2017
    • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017




    Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ in the process of being acquired by ARTIUM, Vitoria-Gasteiz


    Above and below: Installation views of "Work in progress" in the exhibition "The Margins of the Factory", ADN Platform, 25 January–30 April 2014. Video (14’ 22”), 739 polyurethane sculptures, and 47 moulds. Produced with support from the Eremuak program of the Basque Government and from Centrum Beeldende Kunst Rotterdam. Courtesy of the artists. Photos: Roberto Ruiz.






    We are very happy to know that Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ (2013) is in the process of being acquired by ARTIUM, Centro Museo Vasco de Arte Contemporáneo in Vitoria-Gasteiz, Basque Country. The piece is on display as part of the exhibition ‘ARTres. El museo como deba ser’ (March 2–August 26, 2018).

    Work in Progress’ was one of the two works included in their solo exhibition "The Margins of the Factory" presented at ADN Platform in January 2014, and curated by Latitudes.






    Work in Progress’ immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand.

    Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the “Chalk Laboratory” of Basque sculptor Jorge Oteiza (1908–2003), a fierce critic of the commodification of art. 

     Exhibition leaflet. Pdf downloadable here.

    Latitudes previously collaborated with Jaio and van Gorkum in the exhibition cycle ‘Amikejo’ presented throughout 2011 in MUSAC, León, when they exhibited ‘Producing time between other things’ (2011), a work specially produced for the occasion, and also included in the above-mentioned show "The Margins of the Factory" in 2014.

    —> Photographs of the exhibition.
    —> Exhibition leaflet (pdf).
    —> Exhibition reviews.
    —> Video on ‘Producing time between other things’ (2011)



    RELATED CONTENT:




    Sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia

    http://incidents.kadist.org/yerevan

    The sixth 'Incidents (of Travel)' episode narrates a walking itinerary in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city center

    The itinerary was conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan — three art students from the National Center of Aesthetics, one of the oldest alternative art educational hubs in the city. 

    The inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work.

    Each of the 15 photographs is augmented by one or more extra assets – a brief commentary or a caption –, accessed by clicking the words which overlay the images.



    Marianna Hovhannisyan (Yerevan/San Diego) is a research-based curator, a Ph.D student in Art History, Theory, and Criticism at Visual Arts Department, Univerisity of California San Diego. 

    Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).


    The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
    In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


    http://incidents.kadist.org/chicago

    A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


    http://incidents.kadist.org/jinja

    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.


    http://incidents.kadist.org/suzhou

    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
    http://incidents.kadist.org/lisbon

    The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
    http://incidents.kadist.org/terengganu

    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 a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."  


    RELATED CONTENT:






      "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe

      Exhibition poster of "Altid Mange Problemer" at Kunsthal Charlottenborg, Copenhagen, Summer 2017. Photo: Latitudes.

      Last Summer, Max Andrews of Latitudes was invited to contribute an essay for the forthcoming monograph of John Kørner's work published by the Danish editorial Roulette Russe and designed by Spine Studio. The publication is out now and includes essays by Max, London-based writer Oliver Basciano, and a conversation between the artist and Marie Nipper, curator of John's recent mid-career exhibition in Kunsthal Charlottenborg, Copenhagen. 

      The 280-page bilingual Danish/English monograph will be launched on March 2, 2018, at 4:30pm, in Kunsthal Charlottenborg's Apollo Kantine, though it will become available for online orders from February 26.

      (Above and following): Photos: Finn Wergel Dahlgren. Courtesy Roulotte Russe. 













      In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:

      (...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."


      In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.

      (Above and following): Photos by Latitudes.


      Max has previously written on John's work for the catalogue of his 2006 exhibition "Problems" at Victoria Miro Gallery in London.

      Latitudes' first visit to Copenhagen also involved Kørner's work, as we visited his solo show 'ARoS Bank' at the ARoS Århus Kunstmuseum, Denmark (13 June–10 September 2006), which became the subject of our first blog post over a decade ago, in September 2006 (!).

      RELATED CONTENT:
      • Latitudes' writing archive
      • Latitudes' "out of office" 2016–2017 season 1 August 2017
      • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017 21 July 2017
      • Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016
      • '2006 Problems' exhibition and publication by John Kørner, Victoria Miro Gallery, London 29 November 2006
      • Copenhagen trip. 'Woman with 24 problems' by John Kørner 30 September 2006




      Cover Story—February 2018: Paradise, Promises and Perplexities


      Latitudes' home page www.lttds.org 

      The February 2018 Monthly Cover Story "Paradise, Promises and Perplexities" is now up on www.lttds.org – after this month it will be archived here.

      "This month marks ten years since the opening of Greenwashing, curated by Latitudes and Ilaria Bonacossa. Subtitled Environment: Perils, Promises and Perplexities, this exhibition at the Fondazione Sandretto Re Rebaudengo, Turin, addressed the melding of corporate agendas and individual ethics in the wake of the exhaustion of traditional environmentalism." 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.

      RELATED CONTENT:


      Archive of Monthly Cover Stories
      Cover Story – January 2018: I'll be there for you, 2 January 2018
      Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
      Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
      Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
      Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
      Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
      Cover Story – July 2017: 4.543 billion 3 July 2017
      Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
      Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
      Cover Story – April 2017: Banff Geologic Time 3 April 2017
      Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
      Cover Story — February 2017: The Dutch Assembly, five years on 1 February 2017
      Cover Story – January 2017: How open are open calls? 4 January 2017





        Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales


        El Ayuntamiento de Barcelona convoca anualmente los Premios Ciudad de Barcelona con el objetivo de premiar la creación, la investigación y la producción de calidad realizada en Barcelona por creadores o colectivos, instituciones y organizaciones barcelonesas. 

        El Instituto de cultura de Barcelona (ICUB), encargado de la organización de los Premios, profundiza en la dimensión ciudadana de estos galardones al reconocer el talento de otros ciudadanos -los ganadores.
        Los miembros del jurado son propuestos por el Consejo de la Cultura de Barcelona y nombrados por la Alcaldesa Ada Colau.

        Este año el jurado en la categoría de artes visuales compuesto por el director del Museu d'art contemporani de Barcelona, Ferran Barenblit Scheinin (Presidente) y formado por las vocales Violant Porcel Roqué (hasta hace poco directora de la Galería Marlborough), Martina Millà Bernard (Jefa de Exposiciones y proyectos, Fundació Joan Miró), Teresa Sesé Monclús (crítica de arte, La Vanguardia) y Mariana Cánepa Luna (co-directora de la oficina curatorial Latitudes) ha decidido por unanimidad otorgar el premio al artista Joan Morey: 

        ‘Por un año de excepcional calidad que ha resultado en el proyecto de vídeo «Cos Social [Lliçó d’anatomia]» presentado por LOOP Barcelona en el Arts Santa Mònica, en una coproducción con la Xarxa de Centres d’Arts Visuals de Catalunya, y en la performance «Tour de Force», una coproducción del CCCB y la Fundació Han Nefkens, en el marco de la exposición «1000 m2 de desig. Arquitectura i sexualitat»’. 


        Joan Morey fotografiado por Marc Medina.

        CONTENIDOS RELACIONADOS
        :

        • Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 1 February 2017
        • Jurado y tutores de 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
        • Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove 7 Diciembre 2011
        • Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h 16 junio 2008
        • Otros jurados – véase sección "About"




        Progress of Amy Balkin's ‘Today’s CO2 Spot Price’ (2009)

        Throughout the course of the ‘4.543 billion. The Matter of Matter’ exhibition at the CAPC musée in Bordeaux, the work by Amy Balkin (Baltimore, Maryland, 1967. Lives in San Francisco) ‘Today’s CO2 Spot Price’ (2009) charted the daily price of carbon dioxide emissions allowances in the world’s largest carbon market, the EU Emissions Trading Scheme. The numbering system was manually updated every morning to show the price in Euros of an entitlement to legally emit one metric tonne of CO2. Polluters—power plants or factories—receive or buy emissions allowances at auctions and trade them as needed to minimize costs.

        A product of the increasing dominance of the finance sector and the expansion of financial derivatives that emerged in the 1970s, the carbon market ‘fix’ has abstracted the qualitative problem of climate change mitigation into a commodity market based on a molecule treated as the singular cause. There is a trend towards emissions that can be lucratively ‘avoided’, while there has been little effect on structural fossil fuel dependence. In this perspective, global warming is a market failure that can be corrected by governing the atmosphere via an economic instrument with no real material or historical reference.

        Balkin's piece was presented alongside works by Pep Vidal, Lucas Ihlein, and Lara Almarcegui, all focusing on humans' calculations and quantification of nature and its progressive abstraction.

        —Latitudes 

        (Text from the exhibition guide)

        4.543 billion. The matter of matter’ took place between the June 29, 2017 and January 7, 2018 at the CAPC musée d'art contemporain, Bordeaux, France.



        General view of room 8. Photo: Latitudes/RK.


        Work by Lara Almarcegui (wall) and Pep Vidal (floor). Photo: Latitudes/RK.


        Prints by Lucas Ihlein (wall) and part of a tree by Pep Vidal (floor). Photo: Latitudes/RK.


        Below a sequence of all the social media posts (mostly from Instagrammers, more on this and other works on this Wakelet feed) showing the ongoing flux of its price—which has ranged from 4,84 Eur per tonne of CO2 during the installation of the piece, to 4,93 Eur on the opening day (29 June 2017), to the last picture on record showing a whopping 7,76 Eur per tonne of CO2.

        We would like to thank the Kadist in San Francisco for having given us the opportunity to, after years of corresponding over email, finally meet Amy during a residency in September 2015. Her "Incidents of Travel" day on several locations in and outside San Francisco (download the specially-commissioned itinerary here) was invaluable towards the conceptualization of this exhibition.




        During installation of the work. Photo: Latitudes for @capc 



        Taken on the opening day, 29 June 2017. Photo: Latitudes/RK. 



        Taken on 2 July 2017. Photo: Latitudes. 




        Image published in the Sudouest newspaper on 12 July 2017 showing 04,98 EUR/tC02.



        Taken on 13 July 2017 by Hélène Lucien. 


        Taken on 16 July 2017 by Adriano Pedrosa. 


        Taken on 2 August 2017 by Lena Joreis. 


        Taken on 19 August 2017 by Semi-Sans.


        Taken on 22 August 2017 by Mads Freund Brunse.


        Taken on 12 October 2017 by Tomas Mendizabal.


        Taken on 17 October 2017 by Margareth.


        Taken on 20 November 2017 by @matlegall. 


        Taken on 2 November 2017 by @Elénie. 


        Taken on 30 November 2017 by @mllelahaye 


        Taken on 1 December 2017 by @mommou.elle 


        Taken on January 7, 2018 by Alice Cavender. 


        RELATED CONTENT: 

        • 4.543 billion. The Matter of Matter” exhibition 
        • Archive of social networks posts related to "4.543 billion" 
        • Photo gallery of the exhibition 
        • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
        • Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
        • Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
        • Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017
        • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
        • Cover Story – July 2017: 4.543 billion 3 July 2017
        • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
        • SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017 
        • Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016
        • Second research trip to Bordeaux 16 July 2016





          Cover Story—January 2018: I'll be there for you

          Latitudes' home page www.lttds.org

          The January 2018 Monthly Cover Story "I'll be there for you" is now up on www.lttds.org – after this month it will be archived here.
           

          "Camille Orny and Magda Vaz’s exhibition for the Sala Petita of Barcelona’s La Capella will open on 23 January—it is the last of three projects that Latitudes is mentoring during the current season of the Barcelona Producció grants." 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. 


          (Above and below) View from "Artengo2000", exhibition by Camille Orny and Magda Vaz at the Sala Petita in La Capella. Photo: Pep Herrero / La Capella.

          Below the text written by Latitudes, mentors of the project:

          "Bringing the format of the miniseries into the Sala Petita, Camille Orny & Magda Vaz have created a drama-documentary for six screens premised on the story of a group of five flatmates—including semi-fictionalized versions of themselves—who have struck a sponsorship deal with a corporation known as Artengo. In one reality Artengo is a sub-brand of the sporting goods retailer Decathlon dedicated to racket sports, yet in another reality, it is an arcane Russian-American multinational corporation. The series begins with a dream in which a flatmate is haunted by the Artengo-branded socks that the flatmates have agreed to wear at all times as part of the sponsorship deal that in return sees them receive occasional deliveries of unbranded food and a discount on their gas bill. Artengo2000 is a cumulative narrative: each installment is comprehensive and distinct, while each is grafted onto the body of the series, with certain elements and plot lines that link across.

          Artengo2000 hinges on possible spiritual advancements and psychic disorders caused by shared living and by being obedient brand ambassadors. We witness the transformation of a communal flat into a laboratory-like space governed by the unwritten transactions entailed in lifestyle sponsorship and company patronage. Although the drama takes us to Montjuïc, the W Barcelona hotel, and to the Arenas shopping centre, and other branded flats, the Artengo apartment itself is the core psychological location. Yet in contrast to the breezy comedic and romantic adventures of the flat-sharing television series Friends (1994–2004), the Artengo apartment fills with irrational drama, distrust, deranged dreams, and doppelgängers. The flatmates become more like guinea pigs in a pioneering space station, afloat in a void at the limits of corporate ethics, loyalties and interpersonal relations. Characters include Camille and Magda’s flatmates Manu and Laura, a washed-up professional tennis player, and a supposed Danish-Catalan man named Borja with an academic interest in the introduction to Barcelona of novel and more covert forms of whole-life sponsorship.


          Artengo2000 takes place in a familiar but twisted world in which gig economies, collaborative work and service sharing appear to have developed in even more perverse ways. A brand called Little Bits makes an appearance—a sort of mutant Deliveroo based on micro-tapas. As Orny and Vaz have suggested, their shared flat drama imagines the bizarre incompatibility of a kommunalka (kommunalki were multi-family communal apartments encouraged by Lenin as a response to the housing crisis after the Russian revolution of 1917) set in a near-future where neoliberal and Silicon-Valley logic wields even greater power. Here the so-called ‘sharing economy’ of coworking, or online platforms such as BlaBlaCar and Airbnb, is evidently not representative of an altruistic fantasy of entrepreneurship or dynamic community cohesion, but is a symptom of evermore precarious socioeconomic circumstances. Giving up some personal space is part of the experience of sharing a flat, yet it allows a lower cost of living. However, the sponsorship deal that the flatmates are signed up to exacerbates their sacrifices to extremes. The work-life balance has not been blurred, but completely collapsed, as the flatmates renounce their intimacy and subjectivity in commodifying themselves for the Artengo brand.

          Where the vast majority of television narrators strive for neutrality and self-effacement, as if viewers are supposed to ignore the fact that the story is coming through a mediator, Orny and Vaz’s storytelling, and the Artengo2000 world of homemade myth-making, is far from straightforward. It incorporates numerous doubtful narratives, both onscreen and offscreen. Film genres such as the Western, or the film noir, routinely passed through a kind of four-stage metamorphosis, media scholars have suggested.1 In the first stage, conventions were established and isolated. In the second ‘classic’ stage these conventions reached equilibrium and were mutually understood by makers and audiences; the third stage saw formal and stylistic embellishments. Finally in a ‘baroque’ stage, the embellishments were accented to the point where they themselves became the substance of the work. Yet whether television series have followed the same logic is moot, particularly in an age where gathering in the living room to watch the latest hit show at the scheduled time has long been a thing of the past, usurped by viewers binge-streaming multiple episodes. Moreover, is it not the case that Artengo2000, much like David Lynch’s surreal crime drama Twin Peaks (1990–91), was already born congenitally baroque?

          While Artengo2000 is steeped in cinematic theory and the study of genre, more plausible still is that it comes at us not only through a filter of American television, and series that have experimented with the medium of the episodic drama in often darkly-comic and self-referential ways, such as Seinfeld (1989–1998), Curb Your Enthusiasm (2000–present), and Louie (2010–15). Artengo2000 has also filtered through many diverse influences related to what critic Jordi Costa has identified as ‘post-humor’ in Spain, including YouTube channels and self-made web series from the likes of Canódromo Abandonado, Pioneros Siglo XXI, and Venga Monjas.2 Yet why does a series ‘happen’ when it does? Was the fanatical following that built around the supernatural detective series The X-Files (1993–2002), for example, in some way a Bill-Clinton-era phenomenon, a result of psychohistorical factors at work in 1990s America? And why do we now see a return of Twin Peaks (2017–) just at the same time as we see Artengo2000 emerge in Barcelona? Appropriately, asking more questions that providing answers, we offer no more closure than a typical episode of either." 

          Latitudes 

          Mentors of the project. Text written for the exhibition and available in English, Catalan and Spanish.


          1 See Thomas Schatz, ‘Hollywood Genres: Formulas, Filmmaking, and The Studio System’, McGraw-Hill, 1981.

          2 See Miguel Iríbar, ‘El posthumor, la tortilla deconstruida de la risa’, http://www.jotdown.es/2014/12/el-posthumor-la-tortilla-deconstruida-de-la-risa/



          RELATED CONTENT:
          • Archive of Monthly Cover Stories
          • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
          • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
          • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
          • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
          • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
          • Cover Story – July 2017: 4.543 billion 3 July 2017
          • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
          • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
          • Cover Story – April 2017: Banff Geologic Time 3 April 2017
          • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
          • Cover Story February 2017: The Dutch Assembly, five years on 1 February 2017
          • Cover Story January 2017: How open are open calls? 4 January 2017

          -->




          Public programme of the exhibition "4.543 billion. The Matter of Matter" at the CAPC musée d'art contemporain de Bordeaux

          First public event on 30 June to the Salle des Collections de l'Unité de Formation de Biologie, Université de Bordeaux. This and following photos: Latitudes.


          On December 14 at 2pm, the mediation department of the CAPC will lead a guided visit to Ilana Halperin’s "The Rock Cycle" (2017) intervention at the Salle des Collections de l'Unité de Formation de Biologie, Université de Bordeaux. 

          The event is the third visit (earlier ones took place on October 19 and November 16) programmed in the context of her participation in the exhibition ‘4.543 billion. The matter of matter’ on view at the CAPC musée d'art contemporain de BordeauxThe next (and final one) will be taking place on January 4, three days before the exhibition closes on January 7, 2018. 

          These events are free. Booking is recommended via Léo Correa l.correa@mairie-bordeaux.fr T. (+33) 05 56 00 81 60.


          Ilana Halperin’s new project for the exhibition '4.543 billion' deals with geological intimacy and vivacity, and the uncanny fact that something as apparently inert and certain as the stone walls of the CAPC building were once marine life from a tropical ocean of the Oligocene epoch, around 32 million-years-ago. This Calcaire à Astéries (asteriated limestone) characteristic of Bordeaux takes its name from the countless tiny fossil organisms of the genus asterias (a type of sea star) that can be found in the stone alongside fossil mollusks and coral.

          Halperin addresses stone, not as dead matter or a mere resource, but as a story-laden substance that both surpasses and partners in humans’ view of the world. 'The Rock Cycle' incorporates the reading of a letter and the hosting of a number of the artist’s geological sculptures within the displays of the zoology collection of the University of Bordeaux. These ‘curios’ originated as fragments of sea-weathered brick from the Isle of Bute in western Scotland, as well as waterjet-cut sandstone, that the artist left for three months in Fontaines Pétrifiantes in Saint-Nectaire. For generations, the mineral-rich waters that percolate through the rock at this site in central France have been used to create sculptures using the same process by which stalactites form, only one hundred times faster. Objects become rapidly encrusted with new layers of stone. 


          —Latitudes 
          [Excerpt from the exhibition guide]


          Three other events have been programmed in the context of the exhibition.

          Visit with Terence Gower (participating artist) and Prof. Bruno Cahuzac. Photo: CAPC musée/Département des publics.

          8 November 2017, 5:30–7pm
          Jam Session #1—Guided tour by Terence Gower (participating artist) and Prof. Bruno Cahuzac (UFR Sciences de la Terre et de la Mer, Université de Bordeaux Montaigne).

          Guests during “The Return of the Earth: Ecologising art history in the Anthropocene” event. Photo: Latitudes.

          15 November 2017, 4:30–8pm
          The Return of the Earth: Ecologising art history in the Anthropocene”—Lecture by Jean-Baptiste Fressoz, a conversation between Xavier Ribas and Ângela Ferreira, debate convened by Latitudes. Free access. Simultaneous translation English-French.



          During Jam Session #2 event. Photo: CAPC musée/Département des publics.

          6 December 2017, 5:30–7pm
          Jam Session #2—Guided tour by Isabelle Kanor (Head association "Le Labo de Lettres” dealing with cultural issues in the Antilles and colonization), and Charlotte Bouvier and Rémi Cazamajour (Inélia, company that supplied the solar panels feeding the video installation "Ancient Lights" (2015) by Nicholas Mangan). Sign up: Stéphane Mallet, s.mallet@mairie-bordeaux.fr


          Photo: Latitudes/RK.

          The exhibition ‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017. Between September 11–October 6, 2017, and within the exhibition framework, Latitudes led the month-long residency programme ‘Geologic Time’ at Banff Centre for Arts and Creativity, Alberta, Canada.

          Share:
          #4543billion
          #4543milliards
          #CAPCmusee


          RELATED CONTENT:
          • 4.543 billion. The Matter of Matter” exhibition
          • Archive of social networks posts related to "4.543 billion"
          • Photo gallery of the exhibition 
          • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
          • Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
          • Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
          • Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 2017 
          • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 201
          • Cover Story – July 2017: 4.543 billion 3 July 2017
          • Cover Story – May 2017: S is for Shale or Stuart; W is for Waterfall, or Whipps 1 May 2017
          • SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
          • Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
          • Second research trip to Bordeaux 16 July 2016




          Cover Story—September 2017: Dark disruption: David Mutiloa’s "Synthesis"

          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. 

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          SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux


          Xavier Ribas, Chilean Nitrate publicity postcard, c. 1920 from "A History of Detonations", 2013. Courtesy the artist and ProjecteSD, Barcelona; and Lucas Ihlein, "Under Ground", 2010. Courtesy of the artist.


          SAVE THE DATE

          Exhibition ‘4.543 billion. The matter of matter’, CAPC musée d'art contemporain de Bordeaux, June 29, 2017–January 7, 2018.  

          Opening: June 29, 2017 (6 pm)

          With: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.

          Curated by Latitudes

          With contributions from more than 30 artists, “4.543 billion. The matter of matter” is a major exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.


          A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. 4.543 billion attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”? 

          Collections are accumulations of real physical matter in time as well as of ideas, decisions, fashions, knowledge, and use. Likewise minerals and organic matter might be regarded as both cultural evidence and archival storage media. This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility.


          Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Marianne Heier’s contribution, for example, documents a project addressing the decisive roll North Sea oil has played in shaping art and culture in Norway. Rayyane Tabet’s works deal sculpturally with the legacy of the Trans-Arabian Pipe Line, a joint venture by three American oil companies that came together in 1946 to construct an pipeline from Saudi Arabia to the Mediterranean. Incorporating a fragment of Breccia Pernice marble from the lobby of Trump Tower, Dynasty (2017) by Amie Siegel weaves Italian geology into the political turmoil of the present. 

          Several of the more documentary projects on display (including those by Alessandro Balteo Yazbeck and Terence Gower) trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels (a subject addressed by Alexandra Navratil), or the services and substances entailed in buildings that display art (as seen through the work of Lucas Ihlein and Lara Almarcegui).
          In addition to two new projects in development for the occasion (by Christina Hemauer & Roman Keller and Ilana Halperin), the exhibition will include many works kindly lent by the artists and international galleries, as well as those from the CAPC collection and its archives. Loans from Bordeaux institutions include those from the Archives Bordeaux Métropole, the Archives départementales de la Gironde, the Musée des Beaux-Arts, the Musée d’Aquitaine and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.


          Located at opposite ends of the galleries will be two imposing works that bookend the exhibition conceptually as well as physically. Originally made for CAPC in 1985, Jannis Kounellis’s nine-metre-long Sans titre is a slab of steel draped with coffee sacks that spits flames. On the other side, Ancient Lights (2015) is a two-screen video installation by Nicholas Mangan that is powered by an off-grid solar system with panels on the roof of the CAPC building. With sections filmed at the Laboratory of Tree-Ring Research, University of Arizona, and a salt-storage solar plant near Seville, Mangan’s looped videos speculates on the ideology and politics of energy. 


          Several works by Ângela Ferreira also link diverse histories: those of the Cullinan Diamond Mine in South Africa, the source of one of the largest gems ever found, and the Chislehurst Caves in South East London, a crucible of counter-culture in the 1960s. In terms of an exploration of the underground – in this case with a sociological dimension – one could also mention All surface expectations disappear with depth (2010) a three-screen video work by Fiona Marron that juxtaposes text from a 1954 field report on working conditions in an American gypsum mine with footage from present-day excavation in Ireland.


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          ‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017. Within the exhibition framework, Latitudes will lead the month-long residency programme ‘Geologic Time’ at Banff Centre for Arts and Creativity, Alberta, Canada, in September–October 2017.


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