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Coinciding with the conclusion of the screenings of the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' last October, Latitudes was asked to write a text on the films for Art&Co, which has just been published in their Winter 09 issue num. 5 – see pages above (click on the image to zoom in the text).

Following an excerpt of the original text (which totals over 2,000 words):

"(...) Latitudes developed the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' at the invitation of the Museo Tamayo Arte Contemporáneo in Mexico City. Premiering there in April 2008 as part of the Tamayo’s 'Panorámica' series, 'A Stake in the Mud...' has since toured to several venues throughout Europe within an auditorium-based screening format, presenting historical works alongside those produced in the last six years.

What were the possibilities for augmenting preordained definitions of so-called Land Art through relation with contemporary practices, and social and environmental ecologies? Though the cycle had its germination in our work on a publication – 'Land, Art: A Cultural Ecology Handbook' (2006) – the dimension of film clearly proposed additional sets of concerns. The title of the programme was drawn from words of Robert Smithson in which he speculates on the site and film of perhaps the most renowned – and certainly most photogenic – of the works associated with Land Art, 'Spiral Jetty' (1970). It attempts to surmise the programme’s dual concern with sheer materiality and physical processes together with the lacunae of filmic representation. Where artists’ use of film or video might appear as a solution to the problem of how to represent something that would otherwise be inaccessible (an intervention in a remote area, for example) or otherwise ephemeral, it apparently creates another – what, or where, does the artwork consist of? Accordingly, what is the status of each film: informal artifact, ‘making of’ movie, documentary, autonomous fiction or something else?
(...)
Accordingly, the programme enhanced several ‘Smithsonian’ dialogues across time, but rarely was the magnetism openly declared or intentional. Included in part two of the programme, 'Zênite invertido/Inverted Zenith' (2005) by Brazilian-artist Thiago Rocha Pitta portrayed a mesmerising vortex of water in a metal vessel which slowly diminishes in volume before a steady resurgence. The work supports a tacit mythical connection to Spiral Jetty and its own narratives of mirroring and reversal, but also to the cosmic whirlpools evoked in Edgar Allan Poe’s tale ‘A Descent into the Maelström’. A concern with remoteness, together with the powerful allure of specific sites, threaded throughout the cycle. The itinerary took in the sewers of New York City and Vienna (through works by Gordon Matta-Clark and Hans Schabus), the deserts of the US (Mario Garcia Torres or Walter De Maria), high mountain zones (Ibon Aranberri, Maria Thereza Alves), as well as the paradisiac beaches of Taveuni (Nikolaj Recke), for example. Territorial sculptural acts (Barry Flanagan or Walter de Maria, for example) were encountered, as well as displacements more legible as social or political actions (in the work by Francis Alÿs). Absurd gestures (Damián Ortega) met touristic views of natural phenomena (Nancy Holt & Smithson) while perspectival experiments (Jan Dibbets) greeted ecological remarks (Donna Conlon)."

'Mono Lake' (1968/2004) by Robert Smithson and Nancy Holt is one of the films included in the first part of the programme which we just learned was acquired in 2007 by the Museo Nacional Centro de Arte Reina Sofia in Madrid. Here an acquisition entry on the piece (in Spanish).

Full article available for download from Latitudes' writing archive here.

Further documentation such as hand programmes, press reviews, adverts, etc. here; Photodocumentation of the screenings here.

Art&Co is a bilingual Spanish/English quarterly magazine published by the Asociación Amigos de ARCO.
Editorial Director: Ángela Molina
Contact: artandco@artandco.es or (+34) 917 225 102
More info: http://www.arco.ifema.es (see under 'Publications')

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

19 October, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition 'Richard Long and Simon Starling', 4 October - 23 November, 2008)
25 October, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')

Both of these screenings will present a selection of the material that conformed the programme, as follows:

Part 1 (duration 32' in Bristol and 52' in Móstoles):
· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by: Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.

· Nancy Holt (1938 Worcester, US. Lives in New Mexico,US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" (NOTE: to be screened ONLY at the Centro Dos de Mayo)

Part 2 (duration 1h 15min):
· Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
· Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
· Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
· Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
· Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
· Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
· Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
· Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
· Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
· Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
· Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''

Read all press material that has appeared to date here and also view a slideshow of some screenings here.

[Above: Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen. Below: FRANCIS ALŸS (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich]

Después de las presentaciones en México, Vigo, Basilea y Sevilla continuamos con la itinerancia del ciclo de film y video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'. La próxima proyección será en el Nivell Zero de la Fundació Suñol, Barcelona, el 7 y 8 Julio a las 19.30h.

El ciclo se divide en dos partes: la primera proyección (7 Julio, 1h 38m duración) muestra obras clásicas del Land Art realizadas en los sesenta y setenta (algunas son post-producciones del 2004 y 2005) y la segunda parte (8 Julio, 1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años. Para más información sobre los films que se proyectan, véase programa (castellano) o la invitación (catalán).

Aforo limitado | 2 € por sesión | Reserva previa: 93 496 10 32

Nivell Zero de la Fundació Suñol
c/ Rosselló 240
08008 – Barcelona
T 93 496 10 32
www.fundaciosunol.org

Programas anteriores y prensa, aquí

El viernes 11 de Julio, a las 11.30am presentaremos el programa en una granja en la Wilheminapolder (véanse fotos), Holanda, como parte de una serie de comisiones artísticas que está llevando a cabo SKOR (la Fundación de arte y espacio público de Amsterdam) en la zona. Para más información (en inglés)

SKOR organiza un autobús desde Amsterdam hacia la Wilheminapolder. El bus saldrá a las 9am desde sus oficinas en Ruysdaelkade 2. Coste transporte: € 10.00 (más evento y comida = € 17.50). Para registrarse escribir a info@cbkzeeland.nl o llamar al: +31 0118-611443. Durante el trayecto se podrá escuchar la banda sonora realizada especialmente para la ocasión por Rutger Zuydervedt, conocido como Machinefabriek.




[Imágenes: Parte frontal invitación a las proyecciones en Fundació Suñol. Abajo, dos fotos de las granjas Hongersdijk en la Wilheminapolder, Holanda]

Los días 24 y 25 de Junio, a las 20h, se proyectará el ciclo 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' en el Centro Andaluz de Arte Contemporáneo (CAAC, Sevilla). El programa revisa una selección de imágenes en movimiento que forman parte de la memoria histórica de Land Art (Parte 1, 1h38m), acompañadas de producciones de artistas contemporáneos (Parte 2, 1h15m).

Próxima parada: 7–8 Julio, Fundació Suñol, Barcelona; y 11 Julio, antiguo granero Hongersdijk Farmstead, Wilheminapolder, Holanda - proyección auspiciada por SKOR (Foundation Art and Public Space, Amsterdam).

Más información http://www.lttds.org/projects/current/stake/stake.html
Descargar los programas de mano (inglés y español)

Centro Andaluz de Arte Contemporáneo
Monasterio de la Cartuja de Sta. Mª de las Cuevas
Acceso: Avda. Américo Vespucio nº 2, Isla de la Cartuja y
Avda de los Descubrimientos s/n (por pasarela de Torneo)
41092 SEVILLA
Tel. +34 955 037 070
actividades.caac@juntadeandalucia.es
www.caac.es

CICLO DE VÍDEO. Panorámica
Una estaca en el lodo, un hoyo en la cinta
El campo expandido del Land Art, 1968-2008
SALÓN DE ACTOS

FECHAS
jueves 8 y viernes 9 de mayo de 2008
jueves 15 y viernes 16 de mayo de 2008 [repetición]

COMISARIADO POR
Latitudes | www.LTTDS.org

ENTRADA LIBRE Y GRATUITA hasta completar aforo

MARCO, Museo de Arte Contemporánea de Vigo.
C/ Príncipe 54. 36202 Vigo.
Tel: 986 113900. Fax 986 11 39 01
info@marcovigo.com www.marcovigo.com

Durante cuatro días del mes de mayo, el salón de actos del MARCO acoge el ciclo de vídeo “Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008”, comisariado por Latitudes, después de su presentación en el Museo Tamayo de Arte Contemporáneo de México, y antes de continuar su itinerancia a Basilea, Sevilla, Barcelona y Holanda.

Tomando prestado su título de los escritos de Robert Smithson, este programa presenta una selección de imágenes en movimiento que forman parte de la memoria histórica del Land Art, acompañadas de producciones de artistas contemporáneos.

'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'
Auditorium Museo Tamayo, Mexico City

Programme 1. Tuesday 1 April 2008, 19:30 h
Programme 2. Wednesday 2 April 2008, 19:30 h
(Repetition: 5 & 6 April 2008, 13:00 h)

Free entrance

Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Nancy Holt & Robert Smithson, Gordon Matta-Clark, Damián Ortega, Nikolaj Recke, Thiago Rocha Pitta, Hans Schabus, Gerry Schum (with films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Robert Smithson, Jordan Wolfson.

Download the full screening programme here

Paseo Reforma y Gandhi
Bosque de Chapultepec
Ciudad de México
CP 11580 Mexico
tel. (+5255) 5286 6519/29
fax. (+5255) 5286 6539
info@museotamayo.org
www.museotamayo.org

Latitudes was invited to curate the Spring 2008 Panorámica cycle for the Museo Tamayo Arte Contemporáneo, Mexico City. The cycle is titled 'A Stake in the Mud, a Hole in the Reel. Land Art's Expanded Field 1968–2008' and will be screened in two parts on 1st and 2nd April at 19.30h (and repeated on 5–6 April at 13h.)

Borrowing its title from the writings of Robert Smithson, the programme revisits a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. Indeed a concern with remoteness, together with the powerful allure of specific sites, weaves throughout the films’ itinerary, which includes the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).

Dowload the screening programme here (Spanish, pdf, 624 KB)

Part 1:
Gerry Schum's LAND ART (1969) which includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Nancy Holt & Robert Smithson, Robert Smithson and Gordon Matta-Clark.

Part 2:
Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Damián Ortega, Hans Schabus, Nikolaj Recke, Thiago Rocha Pitta and Jordan Wolfson.

The programme will also be presented in Museo de Arte Contemporánea de Vigo, Vigo (8-9 and 15-16 May); Stadtkino/Kunsthalle Basel (27 May); Centro Andaluz Arte Contemporáneo, Sevilla (24-25 June) and Fundació Suñol, Barcelona (7–8 July).

The programme is available for screenings in auditoriums. If you are interested in hosting it, please write to info[at]lttds[dot]org to receive information on the available dates and terms and conditions.

[Image above: Gerry Schum, 'Land Art TV' (1969). Courtesy Groninger Museum, Groningen]