After weeks and long hours facing the screen and mining hard disks, we've uploaded Latitudes' redesigned portfolio, at last! Go to download page and choose format:
For desktop/laptop/tablet view (83pp, 30.9 MB)
For mobile (164pp, 15.8 MB)
For print (164pp, 155.3 MB)
The pdf gathers a selection of projects produced since 2005 and includes a refreshed version of our biographies – which have also been updated on our website.
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.
- 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
Lawrence Weiner has recently opened a solo show at Lisson Gallery, London (6 February – 15 March). The show includes works from 2007 (titles below) and expands on his recent touring retrospective 'AS FAR AS THE EYE CAN SEE', which opened at the Whitney Museum of American Art last November and will tour to MoCA Los Angeles (13 April – 14 July) and K21 in Düsseldorf, Germany (20 September 2008 – 11 January 2009).
In the autumn Latitudes will curate a project with Weiner which will be presented in Barcelona at the Nivell 0 space in Fundació Suñol.
Works in Lisson's show (all 2007, more images here):
A BIT BEYOND
WHAT IS DESIGNATED AS
A DETERMINATION OF WHERE WHAT FALLS OFFSIDE RESTS
THAT WHICH IS BROUGHT TO BEAR
REDUCING THE MASS AS IT WAS
& HINDERING PASSAGE
AS IT IS FIRST MOVE SECOND MOVE THIRD MOVE
FOUND BY CHANCE AFTER ANY GIVEN TIME
FOUND ALONE AFTER ANY GIVEN TIME
FOUND DUE TO PROXIMITY AFTER ANY GIVEN TIME
FOUND DUE TO ITS NATURE AFTER ANY GIVEN TIME
FOUND WHERESOEVER IT IS AFTER ANY GIVEN TIME
FOUND TO MAKE TO WITH AFTER ANY GIVEN TIME
FOUND MIXED + MATCHED AFTER ANY GIVEN TIME
All works courtesy of the artist and Lisson Gallery, London.
The session included lectures by:
Cuauhtémoc Medina – Associated curator of art from Latin America, Tate Modern, London and researcher at the UNAM, Mexico. Lecture: “A different typology of public art in Latin America”
Max Andrews & Mariana Cánepa Luna – Founders of Latitudes, an independent curatorial office, Barcelona. Lecture: “Notes towards an ecology of risk”
Claire Doherty – Editor of 'Contemporary Art: From Studio to Situation' (2004), senior research fellow at the University of the West of England, Bristol. Lecture “Public Art as Situation: from temporary intervention to long-term commitment”
Closing remarks by: Frank Lubbers – Independent curator and art advisor, Brussels.
Issue 3 of the sharp-suited Vancouver-based Art/Design/Literature Pyramid Power has just come out with an extended version of Max Andrews's interview with Revolver founder Christoph Keller, originally published in the Latitudes-edited UOVO issue 14. Here it is titled "Still Not a Hippie: Interview with Christoph Keller on the Future of the Book & Life on a Farm"
Unfortunately the mind-blowing products from Herr Keller's Stählemühle distillery can only be ordered within Germany.
Acabamos de leer en Flash Art la notícia del fallecimiento del artista povera, Luciano Fabro el pasado viernes 22 en Milan. No queremos dejar pasar la ocasión para recordar su última aparición en Barcelona en ocasión de la exposición de la Herbert Collection en el MACBA en Febrero 2006. En su inauguración me presentaron al artista y entusiasmado con que hubiese alguien que hablase italiano en la habitación me animó a hacerle de traductora en la charla del día siguiente en el museo. Al día siguiente, nos encontramos 1 hora antes de la conferencia. Tomamos un café en c/Elisabets e intercambiamos comentarios sobre sus notas y sobre la exposición. Al rato me lancé a traducirle lo que sus colegas hablaban en inglés. Luciano era de los que aprendió francés. A pesar de mis torpes referencias él siempre sonreía...
Photo: Latitudes | www.lttds.org
The magazine will be launched in the Art Basel's Art Lobby section on 17 June (4-5pm). More information about the issue here – it's almost 500 pages!
Full Art Lobby Programme here (pdf 87kb)
"Real coolness comes from within: on the outside, my car shows the formal elegance and effortlessness of a white cloud."
And here is the suspected artist list, now also on the German documenta 12 wikipedia page, uncovered a few weeks ago by artnet's Ludwig Seyfarth's detective work.
Ferran Adrià, Saâdane Afif, Ai Wei Wei, Eleanor Antin, Ibon Aranberri, Monika Baer, Maija Bajevic, Yael Bartana, Ricardo Basbaum, Johanna Billing, Cosima von Bonin, Trisha Brown, James Coleman, Alice Creischer, Ines Doujak, Lukas Duwenhögger, Harun Farocki, Peter Friedl, Andrea Geyer, Sheela Gowda, Simryn Gill, Dimitrij Gutow, Sanja Ivekovic, Emily Jacir, Amar Kanwar, Abdoulaye Konaté, Jirí Kovanda, Zofia Kulik, Louise Lawler, Zoe Leonard, Churchill Madikida, Olga Neuwirth, J.D. Okhai Ojeikere, Charlotte Posenenske, Florian Pumhösl, Yvonne Rainer, Gerhard Richter, Gerwald Rockenschaub, Martha Rosler, Sakarin Krue-On, Dierk Schmidt, Allan Sekula, Ahlam Shibli, Andreas Siekmann / Christian von Borries, Nedko Solakov, Jo Spence, Hito Steyerl, Jürgen Stollhans, Alina Szapocznikow, Imogen Stidworthy, Lidwien van de Ven, Simon Wachsmuth, Xie Nanxing and Artur Zmijewski.
'La Guerre du Chocolat'
Claude Lévêque en Kültur Büro Barcelona
9 Febrero – 5 Mayo 2007[email protected] | www.kbb.org.es
La nueva producción de Claude Lévêque (1953, Nevers) presenta un ambiente nocturno invernal con densa neblina donde se vislumbran dos grandes carros que emiten un intenso olor a chocolate –los carros estan barnizados con 30 quilos de chocolate fundido. Limitados una docena de postes eléctricos con bombillas que emanan una luz temblorosa, la mise en scène apela a la memoria de los campos de concentración.
Con 'La Guerre du Chocolat' KBB cumplirá su fin como espacio expositivo después de tres años de actividad y se dedicará a la gestión de proyectos curatoriales sin sede permanente en Barcelona.
Photos: Latitudes | www.lttds.org
'Tricky ' – Hasta el 13 de marzo 2007.Galeria Estrany de la Mota
Comisariado: Maribel López
Con obras de Ignasi Aballí, Christian Andersson, Douglas Gordon, Jonathan Monk, Antonio Ortega, Kirsten Pieroth, Nedko Solakov.
Tue Greenfort 'Rococo Eco' 17 November 2006 – 13 January 2007
99 New Bond Street, London
For his first solo exhibition in the UK, Tue Greenfort’s new works in this exhibition respond to the businesses that run the length of New Bond Street. They query the function of luxury accessories, looking at how the notion of luxury has historically changed from the roots of capitalism to neo-liberalism. They also question the meaning of wealth and who benefits from its consumption.
The installation 'Fur No Fur' (2006) makes reference to the former function of the gallery as a fur shop. Placing on a clothes rail a silver fox and mink fur stitched together for visitors to try them on in front of a fragmented mirror, Greenfort has graphically visualised the economic transaction taking place between those who give up a coat to the international charitable organisation P.E.T.A. (People for the Ethical Treatment of Animals) to receive in exchange tax-exemption. He has also included a mink trap to address how the institutionalization of anti-fur movements in the UK and the ban on mink farming has led to the industry moving to places like China where animal rights activism doesn’t exist. As a consequence, this shift has produced a disequilibrium in the bio-diverse ecosystem of the English countryside as, for the last two decades, minks have been endangering smaller rodents like water voles.
IMAGES ABOVE: 'Fur No Fur', 2006. Installation of 4 elements: Mirrors (175 x 145 x 36 cm); Galvanised steel mink trap (23.7 x 83 x 7.5 cm); Two furs (each, approx. 120 x 53 x 21 cm); Aluminium clothes rail (145 x 120 x 50 cm). Courtesy the artist and Max Wigram Gallery, London.