Latitudes' redesigned portfolio – projects since 2005


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.

We have also included short individual biographies available for download as pdf – see below highlighted in yellow.

PDF designed and edited by Latitudes.

RELATED CONTENT:




Lawrence Weiner tote bag and sugar sachets at the McManus Museum and Galleries in Dundee

Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.

The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.


Photo: Creative Learning Team McManus.

RELATED CONTENT:




Lawrence Weiner's THE CREST OF A WAVE tote bag in the Tate Archive and exhibited at The McManus Museum and Galleries, Dundee

Limited edition tote bag designed by Lawrence Weiner in 2015. Photo: Latitudes.

We're delighted to share that Latitudes' limited edition tote bag, exclusively designed by Lawrence Weiner to commemorate Latitudes' 10th anniversary in 2015, is now part of Tate Archive.


Latitudes' donation is presented as part of Tate's "ARTIST ROOMS: Lawrence Weiner" exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

ARTIST ROOMS is a touring collection of over 1,600 works of modern and contemporary art. The collection is displayed in museums and galleries across the UK and is jointly owned by the National Galleries of Scotland and Tate.


Photos: Latitudes.


Weiner's tote silkscreening process. Photo: Print Workers.

The Dundee presentation will include the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

A booklet of the exhibition, the invitation card, and an audio rendition of the statement (the track can be listed to here) based on a track by Ned Sublette and The Persuasions are also featured in Dundee.

(Above and below) Installation of Lawrence Weiner's "THE CREST OF A WAVE" at Fundació Suñol, Barcelona, October–November 2008. Photo: Latitudes.

Weiner with his work at the Fundació Suñol. Photo: Jean-Pierre Moulis.

One part of Lawrence Weiner's ‘THE CREST OF A WAVE’ project at the Fundació Suñol in 2008 consisted in an ephemeral sculpture distributed a few days prior to the exhibition opening. 300,000 7-gram sachets of sugar were printed and distributed throughout the most emblematic cafes around Barcelona. Photo: Latitudes.

100,000 sugar sachets ready for distribution. Photo: Latitudes.

Front and back of the 7-gram sugar sachet with Weiner's statement. 
(Above and below) The last element of the project manifested as an intimate event realised by the sea during the opening week: an iron horseshoe was wrapped in a cotton cloth and was tossed upon a wave’s crest. Photos: Jean-Pierre Moulis.


"Influential conceptual artist, Lawrence Weiner uses language as his medium. His text work takes many forms, but the core principle remains the same – his ideas should not be confined to the gallery but taken up by the viewer.

Adopting this principle, The McManus has worked with the artist to present his texts in different forms. One cycle of wall texts will be presented in Scots – translated by distinguished author James Robertson. Texts, a selection of posters, drawings, artist books, and ephemera will also be installed within museum displays around the building – the text resonating alongside Dundee’s rich collections of natural history, archaeology, world cultures, industrial machinery and the spectacular architecture of The McManus itself." (text from Tate's website)


Latitudes' full set of artists' totes were exhibited in 2015 at the Asia Art Archive in Hong Kong as part of Ingrid Chu's 15th-anniversary programme "15 Invitations | a short history of the art book bag". Photo: Asia Art Archive.

RELATED CONTENT:




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





    Latitudes contribution to Kadist Art Foundation's 'One Sentence Exhibition'


    To visit the exhibition,
    please check ose.kadist.org

    Recognizing that not everyone can visit Kadist Art Foundation venues in Paris or San Francisco, Kadist recently inaugurated a series of online projects with artists and curators around the world.

    First of these initiatives is the One Sentence Exhibition (OSE), for which the foundation invites curators to write or choose a single sentence, making each word in the sentence a hyperlink to an image, video, text or website. As a result, the One Sentence Exhibition becomes a compact architecture, accompanying the reader as they explore far-reaching corners of the internet. 

    Following on from the contributions by Rudolf Frieling (Media Arts Curator at SFMOMA) and Nato Thompson (Chief Curator at Creative Time) to OSE series, Latitudes has chosen the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" by Lawrence Weiner in English, Spanish and Catalan, commissioned for his 2008 solo exhibition THE CREST OF A WAVE at the Fundació Suñol in Barcelona.

    Sugar packets where freely distributed during the duration of the exhibition around Barcelona. Photo: Pierre-Jean Moulis.

    Originally distributed as a free ephemeral sculpture on 300,000 sugar sachets and presented on the wall of the exhibition space, Weiner’s striking typographic rendition of the statement triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language.
     
    Lawrence Weiner tote bag. Available from http://www.lttds.org/totes/weiner/

    The statement is also silkscreened on the commemorative limited edition tote bag that celebrated Latitudes' 10th anniversary in Spring 2015.

    As elaborated by Latitudes in the exhibition guide, "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE indicates an object record of early human technologies (woven textiles, reusable protection for the hooves of working animals) and a marine setting. Weiner’s phrase facilitates a richly ambiguous material and symbolic universe. Why is the horseshoe wrapped? What story, personal or historical, might account for the event that is described? The artist’s statement leaves such questions open for us to consider. It is known that muslin and calico was brought to Spain by the Arab traders in the 1st Century. After the Conquest of Hispania during the 7th Century, facilitated by the Muslim cavalry’s more agile horses, cotton was cultivated by the Moors in Spain. Barcelona’s industrialization in the late 1700s and early 1800s was driven by the printing of calico and later the spinning and weaving of cotton. [1]


    Poster of the exhibition at Fundació Suñol's Nivell Zero space, Barcelona.

    In the manner of a biography of substances, such as Mark Kurlansky’s books Cod and Salt, A CLOTH OF COTTON... thus triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language. [2]" (...) 

    (...) The statement is distributed on a sugar packet throughout a selection of Barcelona bars and cafés during the city's Mercè Festival and for the duration of the exhibition – a sweet gift to accompany one’s café con leche,
    cortado, carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets – sugar production technology too was spread into Spain by Moorish occupation – Weiner’s striking typographic rendition of the phrase in red and yellow (the colours of both the Catalan and the Spanish flag) is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form.


    View of Lawrence Weiner's piece at the patio space of Fundació Suñol, Barcelona.

    (...) On the five metre-high wall of the exterior space [of  Fundació Suñol’s Nivell Zero] we read A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE painted in Catalan, Spanish and English. The use of the same stencil font as the sugar packet layout suggests a method of functional and clear application which reinforces the fact that Weiner is dealing with the language in terms of modification and use. [3] The word for a company which produces typefaces – a foundry – neatly preserves a link to a time when type was cast from metal, in much the same way as horseshoes are made from iron."

    Ceremony of the 2008 ACCA (Art Critics Association) awards which granted Fundació Suñol the best art programme of the year – a season that included two projects curated by Latitudes.

    [1] See J.K.J. Thomson, A Distinctive Industrialization: Cotton in Barcelona 1728-1832, Cambridge University
    Press, 2003.

    [2] Salt: A World History, Walker and Co., 2001; Cod: A Biography of the Fish That Changed the World, Walker
    and Co., 1997.

    [3] The font is FF Offline Regular, designed by Roelof Mulder in 1988.

    This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
    All photos:
    Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
    Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




    Archive Cover Story (May): Here’s to horseshoes: Lawrence Weiner and Sergi Aguilar


    May 2015 Cover Story dedicated to Lawrence Weiner and Sergi Aguilar.


    Related Content:

    Cover Story #2: Beneath the Connaught Road West flyover, Hong Kong, 19 January 2013 (4 May 2015)

    Cover Story #1: Wilfredo Prieto's work "Grease, Soap, Banana" (2 April 2015)

    Latitudes participates in the "Readers Circle: 100 Notes–100 Thoughts" programme organised by the Maybe Education and Public Programs of dOCUMENTA (13) (31 August 2012)

    dOCUMENTA (13) artists and Latitudes (24 August 2012)

    Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani de Castelló (25 October 2009)

    Latitudes' "out of office" photo album 2008-9 (30 July 2009)

    SAVE THE DATE: 8 October, Lawrence Weiner, Fundació Suñol, Barcelona (29 August 2008)

    'UN PAÑO DE ALGODÓN ...' de Lawrence Weiner (22 September 2008)




    This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
    All photos:
    Latitudes | www.lttds.org (except when noted otherwise in the photo caption).
    Work is licensed under a
    Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




    Gustav Metzger's RAF / Reduce Art Flights campaign initiative changes URL to www.reduceartflights.lttds.org


    The website established for RAF / Reduce Art Flights in conjunction with the Latitudes-curated group exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities' can now be found at a sub-domain of our site www.reduceartflights.lttds.org. The previous URL (reduceartflights.com) is no longer in operation.

    The content is the same however, the main feature being a 12 minute interview with Gustav Metzger, initiator of the campaign, conducted by Emma Ridgway (now curator at RSA Arts & Ecology) as well the catalogue entry text by Max Andrews of Latitudes.



    Page of the exhibition catalogue. Purchase the book via Motto.




    Jordi Mitjà at Bòlit, Centre d'Art Contemporani in Girona

    "From Excess. Recipes for an architecture of accumulative thought" is the title of Jordi Mitjà's contribution to the group show In construction. Recipes from Scarcity, Ubiquity and Excess, the inaugural show – in two temporary spaces – of BÒLIT, the soon-to-open Centre d'Art Contemporani in Girona, Spain, directed by Rosa Pera.


    Mitjà's project comprises the installation Espai Diògenes (see images above; last two from Santiago Cirugeda's Niu project); the documentary cycle Diogenes Cinema and Anatomia Diògenes, a beautiful publication published by Crani (www.crani.org) that compiles photographic material accumulated in the Empordà region between 1988 and 2008.

    Mitjà's Espai Diògenes continues the investigative spirit of previous projects such as the film Concèntric. Poble petit, infern gegant (presented in 2006–7 at Espai Zero1, Olot) drawing on found documents, films from amateur film-makers, articles, books, notes, photographs, etc., that he has been gathering from abandoned sites, rubbish, or simply given by friends or family throughout the past years. Mitjà is as persuaded by these materials as he is curious to dissect the history and stories behind each found object. Espai Diògenes presents an esquisite selection of works (collages, slide projections, objects including slide projectors, photographs, films...) in a nest-like space, "a defence structure, a protection from the outside world, an infinite skin" (1) - "nests" recalling the claustrophobic spaces created by those that suffer from Diogenes syndrome.
    Capella de Sant Nicolau
    Plaça de Santa Llúcia s/n
    17007 Girona
    Exhibition dates: 10 October 2008 - 11 January 2009

    (1) 'Runa', by Jordi Mitjà. In "Anatomia Diògenes. Obres inèdites acumulades entre 1988-2008. Ed. Crani, October 2008.




    Inauguración proyectos derivados del Premi Miquel Casablancas 2008, Centre Cívic Sant Andreu, Barcelona

    Todas las fotos: Latitudes. Ver más en esta galería.

    Mañana se presentarán los tres proyectos derivados de la edición 2008 del Premi Miquel Casablancas: la presentación de la edición de 'Vade Retro' de Jordi Mitjà y Joan Morey y 'De tú a tú. Tres puntos colega' de BErreaCUandoPUedas y Alex Brahim y la exposición La, la, la, la: sobre ganar y perder comisariada por Aimar Arriola y Latitudes.

    La, la, la, la: sobre ganar y perder
    reúne una selección de trabajos de Verónica Aguilera, Fermín Jiménez Landa, Daniel Rodríguez Castro y Oriol Vilanova que reflexionan entorno a la representación social del binomio éxito o fracaso, tanto en la vida privada como en la pública.




    El título de la exposición toma inspiración de un concreto episodio de la historia popular y política reciente: la victoria de España en el Festival de Eurovisión de 1968 con la canción 'La, la, la' interpretada por Massiel. La canción iba a ser interpretada por Joan Manel Serrat, quien se negó a participar pues no se le permitió cantarla en catalán. Finalmente, con la mediación del régimen franquista, su comprometida letra fue sustituida por una versión más edulcorada en castellano, cantada por Massiel y que finalmente ganó el concurso. Recientemente se ha sugerido que los votos pudieron ser amañados por Franco y el escándalo ha saltado a la palestra internacional, e incluso Cliff Richard – que quedó segundo lugar por un voto con su popular y oportuno 'Congratulations!' (Felicitaciones!) – ha pedido ser reconocido como justo ganador. Más allá de la anécdota, esta irónica historia de victorias y derrotas resulta un buen ejemplo de la relatividad de los logros y fracasos en sentido amplio.

     
    La exposición se presenta en el contexto de un certamen para artistas menores de 36 años y en un contexto internacional donde ha aumentado considerablemente la orientación hacia los premios de reconocimiento en la esfera de la cultura, desarrollando una economía de la producción cultural y del prestigio. ¿Es posible que premios como este refuercen la suposición de que el prodigioso éxito sólo se logra a una temprana edad?, ¿necesita el sistema artístico que los artistas reciban reconocimientos públicos para ser considerados de interés?, ¿provoca esto que los artistas sean más estratégicos respecto a sus opciones? y finalmente ¿cómo se mide y representa dicha glorificación en la práctica artística?





     
    Los participantes no examinan el fenómeno del valor ni del juicio en el mundo artístico directamente sino que mediante distintos discursos narrativos y soportes técnicos extrapolan su análisis a esferas como la representación de estos valores en monumentos históricos, los concursos de mascotas y de belleza, el ambiente de jerarquía corporativo y universitario e incluso lo llevan a un terreno aún más abstracto y poético: la caída como el inevitable vencimiento de la fuerza de gravedad.

     
    La presentación de las obras en una estructura horizontal, a modo de tarima, alude a la disposición de los juegos de mesa o incluso a altares, podios o hitos construidos para conmemorar un suceso, ya sea una victoria o una derrota histórica, arquitecturas efímeras o permanentes que formalmente se acomodan de modos similares aunque conmemoren ocasiones tan distintas.


    Exposición: 29 Noviembre – 17 Enero 2009
    Artistas
    : Verónica Aguilera (ES/DE, 1976), Fermín Jiménez Landa (ES, 1979), Daniel Rodríguez Castro (ES, 1984), Oriol Vilanova (ES,1980)

    Comisariado
    : Aimar Arriola & Latitudes

    Dirección
    : c/Gran de Sant Andreu, 111 | 08030 Barcelona | Mapa


    Descargar
    el folleto de la exposición (textos Catalán/Castellano).

    Blog de Sant Andreu Contemporani aquí.




    Update: PORTSCAPES, a programme of art interventions in the port of Rotterdam, The Netherlands


    As announced on a previous post from 27 May, at the invitation of the Amsterdam-based agency SKOR and the Port Authority of Rotterdam, Latitudes is curating a series of artists projects throughout the next year, coinciding with the beginning of the construction of 'Maasvlakte 2' (MV2), an entirely new area of land being reclaimed as a 2,000 hectare expansion to the already existing port of Rotterdam [51° 55' N 4° 29' E], the largest seaport in Europe.

    Following site visits and meetings in May, July, September and last week, 13 Rotterdam-based and international artists have been invited to visit the area and to develop project proposals to take place throughout 2009.


    PORTSCAPES
    will approach Europe’s largest port as a vast exhibition venue to be experienced through itineraries and destinations and will involve projects and
    events, lectures and workshops, screenings and temporary sculptures, etc. It will be introduced during Art Rotterdam (5–8 February 2009) by a ‘prologue’ publication designed by Ben Laloua / Didier Pascal, and a website. A cluster of projects will take place in April coinciding with the official presentation of MV2 and in September, coinciding with Wereldhavendagen (World Port Day on the 4, 5 and 6 September) and the Rotterdam Architecture Biennial (24 September 2009–10 January 2010).

    PORTSCAPES is commissioned by the Port of Rotterdam Authority advised by SKOR (Foundation Art and Public Space) and is curated by Latitudes.

    More on Maasvlakte 2: www.maasvlakte2.com
    More on the Port of Rotterdam: www.portofrotterdam.com
    More on SKOR: www.skor.nl




    Press coverage: Lawrence Weiner's 'THE CREST OF A WAVE', Fundació Suñol, Barcelona


    Following is a selection of the press reviews, radio and TV programmes that have covered the four part project 'THE CREST OF A WAVE' by Lawrence Weiner on view at Fundació Suñol until Saturday 15 November:
    Full list of press clippings, press releases, etc. related to the exhibition and a slideshow of the project. Download the small publication of the exhibition (Catalan, Spanish and English, pdf, 600 KB).

    [Images: Jean-Pierre Moulis, the artist and Latitudes]




    Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid


    Latitudes contributed a short text on Lara Almarcegui's work for the recently released publication 'Intervenciones artísticas en las riberas del Ebro' ('Artistic interventions around the riberas del Ebro'), printed on the occasion of the commissions series produced by Expo Zaragoza 2008.

    Almarcegui's 'Un descampado en la Ribera del Ebro' (Open Ground on the Banks of the Ebro) was commissioned by ExpoAgua Zaragoza 2008 and produced in collaboration with The Centro de Arte y Naturaleza–Fundació Beulas in Huesca.
    Here is an extract of the text:
     

    (...) Almarcegui’s project for Expo Zaragoza 2008 started from an agreement to preserve a section of land in an untouched state for as long as possible. The artist has set up a legal stipulation whereby an otherwise unremarkable 700 sq.m. ‘wasteland’ is put beyond the control of developers for 75 years. This project takes its place among several sites that she has sought to preserve, including Rotterdam Harbour, 2003-2018; Genk, 2004-2014 and Arganzuela Public Slaughterhouse, Madrid, 2005-2006, for example. Each place seems banal yet beautiful while confounding what we understand as ‘wild’. They are what they they are: what they have left to be.  
    (...) The terrain is located within the boundaries of the Parque del Agua, in the Sotos del Río area where the Expo fair itself takes place. Almarcegui chose this area as she was attracted by its proximity to the Ebro river and to the idea that the flux of the currents during the seasons would slowly modify its appearance―blurring the margins where land becomes water. This interstitial, entropic site was picked without the intention of “trying to experiment with new ideas”. As she has described, “The project is something I thought necessary ... given the speed of construction ongoing in Spain and also the construction involved in the Expo, I somehow felt compelled to stop and preserve something in its raw state.”
    Other artists included in the publication: Javier Peñafiel, Federico Guzmán, Christopher Janney, Klaus Bury, Nicolás Camoisson y Marion Coudert, Isidro Ferrer & Batlle i Roig, Atelier Van Lieshout, Miguel Ángel Arrudi, Fernando Sinaga, Dan Graham, Miquel Navarro, Jeppe Hein, Jaume Plensa, Tony Cragg and Richard Deacon.

    Distributes: Actar D, Turner, FNAC, Casa del Libro, Librería Central, Barrabes, amongst others.
    Editor
    : Expoagua Zaragoza 2008, S.A.
    Languages: Spanish, English, French
    Pages: 240 pp.
    Format: 22 x 27 cm
    ISBN: 978-84-93657-23-9
    Price: 35 Euros

    On 23 October Lara opened the solo exhibition 'Ruins in the Netherlands' at Galeria Pepe Cobo, Madrid, where she presented a selection of 26 photographs of sites in ruin (an abandoned open theatre, a barn, a bunker, a windmill, a ferry station, an IBM tower, a swimming pool...) which are featured in her publication 'Ruins in the Netherlands XIX–XXI' (Episode, 2008, ISBN 978-90-5973-092-2) – also present in the exhibition. Alongside this, a photograph of her recent project 'Removing the outside wall of a ruined house' is included, as well as a slideshow of 80 images, 'An empty terrain in the Danshui River', accompanied by a small guide analising this particular area – three elements related to her presentation at the 2008 Taipei biennial.




    Read Mariano Navarro's review 'Lara Almarcegui. Memoria de los lugares vacíos' here ('El Cultural' suplement, week 30 october, in Spanish).
    [First 2 images: 'Open Ground on the Banks of the Ebro' (2008) by Lara Almarcegui. Courtesy the artist. 

    Below: Installation views of the exhibition 'Ruins in the Netherlands' in Galeria Pepe Cobo, Madrid. Photos: Latitudes].




    Lawrence Weiner at the Nivell Zero, Fundació Suñol, Barcelona (until 15 November 2008)


    The second and third parts of the project 'THE CREST OF A WAVE' by Lawrence Weiner will be presented this evening at Nivell Zero (image above): an adaptation of the sentence painted on the exterior wall of the courtyard in Catalan, Spanish and English. In the interior space the same statement was recorded within a catchy musical composition based on a track by Ned Sublette and The Persuasions.

    The last element of the project took place as a small event realised by the Mediterranean on October 6, 2008: an iron horseshoe was wrapped in cotton cloth and was tossed upon a wave's crest.

    The
    first part of the project coincided with the 24th September festivities of the patron saint of Barcelona: La Mercè (see post 23.09.08). 300,000 white sugar sachets were distributed throughout emblematic cafés, restaurants and bars of the city [locations: http://www.mapme.com/map/thecrestofawave] to sweeten our conversations.

    Exhibition runs until Saturday 15 November. A 16 page booklet has been printed for the ocasion.

    Press coverage:

    Avui, 8 October 2008 in Catalan 
    El Punt, 8 October 2008 in Catalan
    Time Out17–23 Octubre 2008, in Catalan
    FlashArtOnline, 09.10.08
    Exit Express by Frederic Montornés 
    Avui by Pilar Parcerissas, 1 November 2008
    La Vanguardia by Violant Porcel, 5 November 2008


    Nivell Zero at Fundació Suñol
    c/ Rosselló, 240
    08008 Barcelona
    T. (+34) 934 961 032
    www.fundaciosunol.org
     Monday to Saturday, 16–20h

    – –

    Above: Installation at Nivell Zero–Fundació Suñol of 'A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE', Cat. #929, 2006–2008. Courtesy the artist. Below: Lawrence Weiner with a horseshoe wrapped around a cloth of cotton.
    Courtesy the artist/Latitudes. All photos: Latitudes




    'UN PAÑO DE ALGODÓN ...' de Lawrence Weiner






    (English below / Català a continuació)

    _CASTELLANO_

    Coincidiendo con las fiestas de la Mercè, la patrona de Barcelona, se ha distribuido una escultura efímera de Lawrence Weiner en más de 70 emblemáticos bares, restaurantes y cafés de Barcelona [MAPA localización], un dulce regalo para acompañar nuestros cafés con leche,
    cortados o carajillos y la tertulia. Impreso sobre miles de sobres estándar de 7 gramos de azúcar en tres idiomas, la llamativa y reconocible tipografía de la declaración (statement) UN PAÑO DE ALGODÓN ENVUELTO ALREDEDOR DE UNA HERRADURA DE HIERRO LANZADO CONTRA LA CRESTA DE UNA OLA, va acompañada de un emblema en forma de diagrama que evoca la trayectoria de una determinada herradura sobre una ola. Más información...

    Esta es la primera manifestación de un proyecto en cuatro partes comisariado por Latitudes que inaugurará el 8 de Octubre, 19.30h, en el Nivell Zero de la Fundació Suñol.

    _ENGLISH_

    Coinciding with the festivities of Mercè, the patron saint of Barcelona, an ephemeral sculpture by Lawrence Weiner has been distributed throughout 70 emblematic bars, cafes and restaurants in the city [MAP of locations] to accompany one’s café con leche, cortado,
    carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets in three languages, Weiner’s striking typographic rendition of the statement A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE, is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form. Further reading...

    This is the first manifestation of a four-part project curated by Latitudes that will open on the 8th of October, 19.30h, at the Nivell Zero space of Fundació Suñol.

    _CATALÀ_

    Coincidint amb les festes de la Mercè, la patrona de Barcelona, s'ha distribuit una escultura efímera de Lawrence Weiner a més de 70 emblemàtic bars, restaurants i cafès de la ciutat comtal [MAPA localitzacions], un dolç regal per acompanyar els nostres cafès amb llet, tallats o cigalons, per exemple, i la tertúlia. Imprès sobre milers de sobres estàndard de 7 grams de sucre i en tres idiomes, la reconeixible tipografia de la declaració (statement) UN DRAP DE COTÓ EMBOLICAT AL VOLTANT D’UNA FERRADURA DE FERRO LLANÇAT CONTRA LA CRESTA
    D’UNA ONA, va acompanyada d’un emblema en forma de diagrama que evoca la trajectòria d’una ferradura sobre una ona. Més informació...

    Aquesta és la primera manifestació d'un projecte en quatre parts comissariat per Latitudes que inaugurarà el 8 d'Octubre a les 19.30h, al Nivell Zero de la Fundació Suñol.

    Nota de Lluís Permanyer, La Vanguardia, 23.09.08, p. 33.


    Lawrence Weiner, ’LA CRESTA DE UNA OLA’
    9 Octubre–15 Noviembre 2008
    Nivell Zero, Fundació Suñol
    c/ Rosselló 24
    08008 Barcelona




    SAVE THE DATE: 8 October, Lawrence Weiner, Fundació Suñol, Barcelona


    SAVE THE DATE
    Private view: Wednesday
    8 October, 19.30h

    Exhibition: 'THE CREST OF A WAVE' by Lawrence Weiner
    Dates: 9 October–15 November 2008

    Venue: Nivell Zero, Fundació Suñol
    Address:
    c/Rosselló, 24, 08008 Barcelona, SPAIN, www.fundaciosunol.org

    After over two years of collaboration between Latitudes and New York artist Lawrence Weiner (1942, New York), the project ‘THE CREST OF A WAVE’ will be presented on 8 October at the Nivell Zero space at Fundació Suñol in October, coinciding with the beginning of the 2008–9 season.

    ‘THE CREST OF A WAVE’ is a four part project manifested as a distributed ephemeral sculpture, an installation, a sound work and an action – together each asks what might constitute a public sculpture. Weiner's new work triggers a chronicle of Spanish mercantile, maritime and equestrian power, textiles, trade and occupation.

    In Barcelona his work has been seen in: 'Between the Pyrenees and the Mediterranean Sea', Fundació Espai Poblenou (1995); 'Behind the facts. Interfunktionen 1968-1975', Fundació Miró (2004) and the 'Public Space / Two Audiences. Works and Documents from the Herbert Collection
    ', MACBA (2006). In Spain, his work can be seen until the 26 October in the solo show 'Forever And A Day' at the Centro Arte Contemporáneo de Málaga.

    Recent reviews: Roberta Smith, 'The Well-Shaped Phrase as Art ' (New York Times, 16 November 2007) and Steven Stern's Frieze review (March 2008) on Weiner's travelling retrospective ‘AS FAR AS THE EYE CAN SEE’ (Whitney Museum of American Art, NY; Museum of Contemporary Art, Los Angeles and soon in K21 Kunsthsammlung Nordrhein-Westfalen, Düsseldorf).



    Fundacío Suñol Map
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    Latitudes in residency at the Frankfurter Kunstverein


    Latitudes is in residence this month of August at the Frankfurter Kunstverein, Frankfurt. During this time we are researching the local artistic context, developing some writing for magazines and catalogues as well as planning projects for this and next year such as Lawrence Weiner exhibition (opening 8 October), a series of artists' projects and commissions around the future extension of the Port of Rotterdam (from February 2009 onwards) and an exhibition around the notion of the future at the Arnolfini in Bristol (Summer 2009), amongst other things! – see future projects.



    We are sharing the residency facilities with Oviedo-born artist Cova Macías and Athens-based curators and critics Xenia Kalpaktsoglou (co-director Athens Biennial and co-curator 1st Athens Biennial 2007) and Christopher Marinos (Athens-based art critic and curator).

    The Frankfurter Kunstverein residencies are supported by the
    Deutsche Börse Residecy Program.

    More on www.fkv.de




    Henrik Håkansson, 'The Jungle Novels', Museo Rufino Tamayo, Mexico City

     

    Opening today, Håkansson's exhibition at the Museo Tamayo (until 20 September) is the outcome of recordings carried out at the Montes Azules, El Triunfo, and Monarch Butterfly Biosphere Reserves, and photographs and videos obtained over four weeks by twelve remote cameras placed by the artist in different spots throughout the southern Lacandon Rainforest, Mexico.

    Curated by Tatiana Cuevas for the Tamayo, the catalogue features an extended essay by Latitudes' Max Andrews. See photos of the catalogue here.

    Read about the show on ARTFORUM critics' picks.




    Proyección 'Una Estaca en el lodo...' CAAC, Sevilla, 24–25 Junio, 20h


    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' que Latitudes ha comisariado 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).

    Próximas proyecciones: 7–8 Julio, Fundació Suñol, Barcelona; y 11 Julio, antiguo granero Hongersdijk Farmstead, Wilheminapolder, Holanda (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
    www.caac.es






    Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h


    El viernes 20 de junio a partir de las 18h, en el antiguo recinto fabril de la Fabra i Coats, tendrá lugar el inicio oficial de la edición del Sant Andreu Contemporani Premi Miquel Casablancas 2008. Se fallarán los 2 ganadores/as y los finalistas de la modalidad de compra-obra y beca-proyecto de este año.

    Los premios se complementarán con un programa que, a lo largo de 2008, contará con tres proyectos coordinados por los tres equipos que conforman el jurado de este año (Aimar Arriola, comisario e investigador; Mariana Cánepa Luna, comisaria y escritora (en representación de Latitudes); Alicia Yáñez, comisaria (en representación del colectivo BECUPU); Alex Brahim, comisario y productor cultural; Joan Morey, artista y Jordi Mitjà, artista).


    Programa 20 Junio:

    18:00 h. Algunas consideraciones sobre arte emergente
    Mesa redonda con la participación de los miembros del jurado del Concurs d’Arts Visuals Premi Miquel Casablancas 2008

    20:00 h. Entrega de Premios
    21:00 h. Espacio de consulta sobre el Premi Miquel Casablancas y presentación del proyecto 'Caballo' de Jorge Satorre, propuesta ganadora de la convocatoria de proyecto 2006.
    22:00 h. Concierto de Los gru, www.myspace.com/lordmanythings
    23:00 h. Concierto de Internet 2, http://www.myspace.com/internet2
    24:00 h. Fito vs. klsbeatsdj, http://www.myspace.com/fitoconesa
    http://www.myspace.com/klsbeatsdj

    Más info: http://santandreucontemporani.wordpress.com

     

    :: Update 25 Junio ::

    Los ganadores del
    Concurs d’Arts Visuals Premi Miquel Casablancas 2008 son:

    Modalidad obra: 'Unir los puntos' de Mariona Moncunill (finalistas: Fito Conesa, Fermín Jiménez Landa, Mireia C. Saladrigues, Oriol Vilanova)
    Modalidad proyecto: 'Taller Poble Sec' de Marc Navarro & Pol Esteve (finalistas: Verónica Aguilera, Sergi Botella, Daniel Jacoby, Enrique Lista)




    'Greenwashing' reviewed in summer issue of Artforum


    Eva Scharrer reviews 'Greenwashing' in the current issue of Artforum, Summer 2008, on p. 456. There is a printable pdf version on our Greenwashing archive along with other critical responses to the exhibition including from El Mundo, La Stampa and Artforum.com




    Site visit to Maasvlakte 2, the Port of Rotterdam expansion


    Last week Latitudes visited the port and industrial zone of Rotterdam (seen in the images). On the west of the existing port, construction is undergoing to build Maasvlakte 2, a new port area arising from the sea in front of the Maas estuary, which will be constructed between 2008 and 2013. The reclaimed land will add 20% of port area and triple the container capacity. Following such land reclamation or polder mega-projects such as the Flevopolder, Ijburg and Neeltje Jans, the second Maasvlakte will be the latest chapter of the Netherlands’ ongoing relationship between the sea and the land.

    As stated in the Maasvlakte website: "The land reclamation will measure around 2,000 hectares in total. Half of this will consist of infrastructure, such as sea defences, fairways, railways, roads and port basins. The other 1,000 hectares will provide the space for industrial sites."

    The Maasvlakte 2 project organisation of the Rotterdam Port Authority wants to involve artists in this 5 year development stage, and for that they have involved SKOR. The Port Authority and SKOR invited Latitudes to visit the area and to generate ideas for the forthcoming 5 year period, from planning to realisation of what will be one of the biggest trade zones in the world.

    All images: Latitudes | www.lttds.org




    'Greenwashing' en El Cultural (13 Marzo 2008)

    Ibon Aranberri 'Light over Lemoniz (without shockwave)', 2000–4. 
    Cortesía del artista e Isabella Bortolozzi, Berlin.

    A continuación una selección del artículo 'Verde es el color del dinero' de Mariano Navarro que se publicó en el suplemento 'El Cultural' de 'El Mundo' el 13 Marzo 2008:

    "Greenwashing se ocupa de un tema pujante, la situación del medioambiente en el mundo, y cómo su título indica lo hace desde una óptica tan amplia como determinada. Greenwashing es un neologismo que define la injustificable apropiación de las virtudes medioambientales por parte de la industria, los estamentos políticos o las organizaciones, con la finalidad de crear una imagen positiva de sus actividades o productos y una imagen mistificadora que distraiga la atención respecto a sus propias responsabilidades e impactos medioambientales negativos. Green significa verde, washing, lavar, y podría traducirse por “lavar con verde” o, más irónicamente, por “el verde lava más blanco.”

    El comisariado ha sido un trabajo colectivo entre Ilaria Bonacossa, jefa de exposiciones de la Fondazione, y el estudio Latitudes, formado por Max Andrews y Mariana Cánepa Luna, colaboradores del programa Arts & Ecology, autores del libro Land, Art: A Cultural Ecology Handbook, organizadores en la Bienal de Sharjah de un simposio sobre el tema y editores de un número de la revista UOVO, de Turín, con el tema Ecología, Lujo & Degradación. Cito esta parte de su curriculum porque sin el conocimiento previo del temario tratado, difícilmente podrían haber llevado a cabo una lectura que, sin ilustrar tesis preconcebida alguna, resulte tan rica, tan alertadora e instructiva, en el mejor sentido del término. Tampoco para la Fondazione, que ha dedicado esfuerzos en esos aspectos desde 2001." 






    Film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008'

    Gerry Schum, 'Land Art TV' (1969). Courtesy Groninger Museum, Groningen.

    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.




    Greenwashing update: RAF / Reduce Art Flights. Gustav Metzger interview


    The new RAF / Reduce Art Flights website www.reduceartflights.lttds.org, is now up featuring an exclusive audio interview with Gustav Metzger by Emma Ridgway about the RAF project and its implementation in the Greenwashing show.




    Greenwashing update and Jorge Peris's 'Fairy' (2008)

    Curated by Latitudes with Ilaria Bonacossa, Greenwashing. Environment: Perils, Promises and Perplexities finally opened to the public on Thursday and continues at the Fondazione Sandretto Re Rebaudengo, Turin, until 18 May (e-flux mailing). La Stampa previewed the show here. We are currently working on redesigning the project website (www.greenwashing.LTTDS.org) which will include installation photographs, audio interviews with participating artists and details about the 192-page catalogue (English and Italian editions). Details to be announced here on the Latitudes blog.

    Meanwhile to whet your appetite here are some photos of Jorge Peris's Fairy (2008), one of several new productions specially commissioned for the exhibition: a cave-like environment consisting of 400kg of clay kept from drying out through the use of a humidity system. Peris has likened the experience of the work – which took three weeks to complete – to being inside the belly of a whale.




    All images: Courtesy the artist and Zero..., Milan.




    Invitation to the group show exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities', 28 February–18 May 2008, Fondazione Sandretto





    Asier Mendizabal solo exhibition at MACBA, Barcelona

    The first artist under the age of 40 to have exhibited at MACBA (link in English and Catalan) if we are not wrong...? And Happy Birthday for today Asier! Curated by Peio Aguirre, likewise the youngest curator to have produced a project at MACBA? The Times They Are a-Changin'.


    Photos: Latitudes | www.lttds.org




    Interview with Lara Favaretto published in UOVO/16 (2008)

    Lara Favaretto, Plotone, 2005. 20 air compressed tanks, 20 pressure regulators, 20 distributings, 20 timers, 20 electrovalves, 20 whistles, plastic cables, 165 x 10 each tank. Courtesy of the artist and Galleria Franco Noero, Torino.

    In the first 2008 issue of UOVO, issue 16, Mariana Cánepa Luna from Latitudes interviewed Turin-based artist Lara Favaretto. The issue focuses on the relationship between art and architecture, man and environment and includes interviews with: Raimundas Malasauskas with Adam Carr, Tobias Putrih with Silvia Sgualdini, Michael Sailstorfer with Francesca Pagliuca, Dahn Vo with Adam Carr, Vincent Lamouroux with Céline Kopp, Daniel Arsham with Merce Cunningham, Tatiana Trouvé by Lillian Davies; texts by Michael Rakowitz, Liam Gillick, Marjetica Potrc and Hans Op De Beeck and many more...

    Here is a peek at that interview (you can download the full text from Latitudes' website, here or buy the issue!):


    MCL: In your recent Frieze Commission you sent out a letter inviting the Queen of England to visit the Frieze Art Fair (Project for Some Hallucinations, 2007). The letter in which she declines the invitation was pinned to a tree inside the fair. What kind of arrangements would you have made if the Queen had accepted?


    LF: Very Few! After an official inspection by the Royal Staff, everything would have followed the Royal Protocol. My work stopped before that, with the very possibility to project an apparition, a ‘platonic’ intervention, a Goliardic visualisation, or a confrontation with the appearance of a movie star from early cinema. It was an objectless hallucination, a kind of sentimental investigation that was projected to appear yet be autonomous in denying itself. The failure was long-awaited and foreseeable and was highlighted at the fair by the sound of applause, that put an end to the great daily spectacle as everyone was heading for the exit.




    Lara Favaretto, Project for Some Hallucinations, 2007, Frieze Art Fair Project, October 2007. Courtesy of the artist and Galleria Franco Noero, Torino. Photo: Latitudes.



    MCL: In the context of that commission you said that ‘when one listens to the narration of an idea that is so powerful it ultimately does not matter if it's ever realised’. Can you tell me another such idea or story?

    LF:
    Don't you think it's like that? I think that if very few words can describe a work, just enough to capture the work's physiognomy, it could end up being even stronger than the work itself. The border is really subtle. Telling a story also means suspecting deception and trying to improve it, waiting for it to suddenly unravel, and having fun as much as I have. A story I haven't understood is: ‘I've been studying disguises for a long time now. I am hired to shadow one of the most important people on the American political scene. I am currently based high in the Tora Bora caves.’

    Lara Favaretto lives and works in Turin, Italy. In 2008 she will be artist-in-residence at the Isabella Stewart Gardner Museum, Boston; the Hayward Gallery, London, and at the Proa Foundation, Buenos Aires, where she will subsequently have solo shows. She will also present work at The British School at Rome and participate in the 16th Sydney Biennial.
    She is represented by Franco Noero in Turin and Klosterfelde in Berlin.




    MACBA Study and Documentation Centre

    MACBA yesterday officially opened its excellent Centre d'Estudis i Documentació / Centro de Estudios y Documentación in an adjacent building to the main museum site on Plaça dels Àngels, Barcelona. 

    The ground floor hosts an exhibition space, and the third floor hosts the luminous MACBA library and archive, with books, magazines and journals, as well as videos available for consultation. The tolomeo-lamped study tables have plugs for laptops, and according to staff, wi-fi will soon be available throughout. 

    As the Director himself has commented, while other museums add cafés and shops, MACBA invests in hardcore study. For those who have been craving a no-appointment-needed contemporary art resource and study environment in the centre of Barcelona (us!), this initiative is a godsend.

    MACBA Study Center
    Plaça dels Àngels 8, 08001 Barcelona, Tel. 93 481 33 66

    biblioteca@macba.cat




    GREENWASHING exhibition announcement


     
    We are delighted to announce that Latitudes will curate, with Ilaria Bonacossa, the exhibition Greenwashing. Environment: Perils, Promises and Perplexities / Ambiente: Pericoli, Promesse e Perplessità / Medioambiente: Peligros, Promesas y perplejidades at the Fondazione Sandretto Re Rebaudengo, Turin, Italy, 28 February – 4 May 2008.

    More information here. And eventually on this site.




    Best "Present Futures" in ARTissima, Turin

    Natascha Sadr Haghighian at ARTissima, Turin, "Present Futures"




    Sharjah Biennial (y Latitudes) en El País

    Reportaje de la Sharjah Biennial 8 por Ángela Molina publicado en el Babelia de El País: ‘Una mentira cómoda’, 21 Abril 2007, pp.16-17.





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