20 February 2019 03:32
| 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, Barcelona, latitudes, Mariana Cánepa Luna, Max Andrews, Portfolio
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.
08 December 2010 12:19
FINAL ISSUE! Issue 10: 'The Last Express'(READ IT ON ISSUU) | 2010, Ester Partegàs, Francesc Ruiz, New Museum, New York, newspapers, Richard Flood, Simon Fujiwara, The Last Newspaper
Table of contents:
Cover: Hans Haacke News (1968–2008)
Exclusive interview: Inhotim curator Rodrigo Moura talks to artist Mauro RestiffeDirt Sheet column: Janine Armin on TLN Dexter Sinister's 'The First/Last Newspaper (November 4–21, 2009)'Report: 'Fit to Print?: The newsroom reinvented', conversation at the New Museum between ‘The Last...’ columnist Adam Chadwick and web veteran Jason Fry100 years ago...: 'Los Angeles Herald' (Los Angeles, California) 1900-1911, December 8, 1910
Focus: Blu Dot's self-assembly office furniture for the ‘The Last Newspaper’ partner organizations
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): The DailyFocus: 'Do you love milk and honey?', Greg Barton on Emily Jacir's TLN work 'SEXY SEMITE' (2000-02)Picture Agent-Our singular picture agency: Simon Fujiwara
Media Habits: Michalis Pichler'Embrace the Ambiguity', ‘The Last Newspaper’ curators Richard Flood and Benjamin Godsill reflect on the project’s journey.Focus: 'Reading the Reader', Greg Barton and Irina Chernyakova on TLN partner organisation the 'New City Reader' Exclusive interview: 'The Wires', Janine Armin talks to TLN artist Hans Haacke
Cartoon: 'The Woods: The End' by Francesc Ruiz
Advertising Department: Ester Partegàs
Video of issue 10 - videos of previous issues here
'Fit to Print?: The newsroom reinvented'
27 November 2010: Public gathered for the talk on the 4th floor's 'Peace Arena'.On November 27, Latitudes organized a conversation at the New Museum between ‘Fit to Print’ filmmaker (and ‘The Last...’ columnist) Adam Chadwick, and Jason Fry, an expert in the challenges faced by newspapers in the digital world. Jason Fry: I started at The Wall Street Journal in 1995, when they were a single free section and after thirteen years I had seen it become a full paper and go beyond its roots of being a financial paper to become a source of general news. It became a subscription site far ahead anyone else. One reason why so many jobs are disappearing in newspapers now, is that some top publishing executives do not understand the business they are in and are only slowly realizing that is suicide. They have become very confused between the mission of journalism and the business of journalism. The business is decaying, leaving the mission looking for new financial backing. Jason Fry during the talk
Adam Chadwick: How did journalism come to this breaking point? It began in the early 1960s, starting with how television affected the newspaper industry as it became the media where most people got their information from. Newspapers started changing their priorities back then...
Adam Chadwick during the talk
JF: Newspapers were mostly family-owned operations, others were true public servants. Soon after some became owned by corporations and that changed the calculus for the business and how they made money. They were depending on performance and shareholders. Even in the 1990s newspapers were making a profit margin of 30% year after year, without really understanding the business they were in. Television has certainly created a star mentality amongst reporters which is not entirely working to the benefit of journalism. Newspapers have been historically successful because publishers essentially had a localized monopoly on printing and distribution. Retail stores would communicate their products by placing ads in a newspaper – the publishers owned a distribution mechanisms. In the last ten to fifteen years that has changed, as advertising has moved to the internet – everything from furniture to job listings. Advertising was the business that funded journalism – the financial underpinnings have been knocked down.
AC: 80% of the content that is broadcast on National Public Radio comes from newspapers. It’s the same with CBS News – Russell Mitchell for instance has told me they are pulling content from The New York Times and The Washington Post. So the erosion of the newspaper is also hugely affecting TV.
Public watching the trailer of 'Fit to print' screened at the beginning for the talk.
JF: Newspapers used to compete with whoever started a new one locally; now they try to compete with the entire world. There is way too much content out there. How many thousands of movie reviews can you find online of the latest Harry Potter movie? And how many do we actually need?
AC: Is the web an echo-chamber of news, particularly with search engine optimization and ‘content farms’ dragging traffic? Or, if you boil it down, is it all only coming from The New York Times or The Washington Post? What is being lost now that the business model is broken? Investigative reporting?
JF: I’m not worried about journalism, I am worried about newspapers. We cannot confuse the two. The web has been wonderful to open up voices and to demystify reporting while letting a lot more people use their own expertise. But yes, investigative journalism is missing and it takes a long time and it’s very expensive. If the The New York Times wants to cover a story on the dodgy doings of an organization, they will continue doing it, even if the organization goes into battle with lawyers, they won’t be intimidated. But that won’t happen if you are blogger or freelancer no matter how smart or committed you are. I wonder if that kind of reporting has to be done institutionally though.
Public gathered for the talk on the 4th floor's 'Peace Arena'.
AC: ProPublica is one of the only models, they are a non-profit for investigative reporting organisation with about thirty reporters and editors. [See The Last Post, page 9] They have deep pockets which enable them to pay competitive salaries. Other smaller examples are Investigative Voice from Baltimore led by Stephen Janis, who started it with Alan Forman, a former Baltimore Sun journalist. It focuses on crime and corruption in west Baltimore, which if you’ve seen The Wire you’ll know about. They don’t compete with the Baltimore Sun, as they cover stories they wouldn’t. They also operate thanks to donations, but don’t know for how much longer they can continue working like this. How sustainable this model is, nobody knows. Even with grant organisations like the Knight Foundation there is only so much money they can throw in. Carmen, what is your experience at The Trenton Times?
Carmen Cusido: I’m a full-time reporter now, we have five members in the staff – it used to be more than twenty. It does get tougher because we don’t have the resources to cover investigative stories. I have to pull out the resources on my own. I cover education, county news, and immigration news because I’m the only Spanish speaking reporter. When we were a larger organisation, we used to have lunch breaks and discuss things as a group, but now you really need to prioritise. It’s hugely difficult as you have to take work home with you and there are no boundaries with your private life; it’s a 24/7 job. Before you could go out and talk to people, get their trust and understand their perspective. Now I cannot even leave the desk, as I have to cover three stories and have to do everything over the telephone.
Carmen Cusido during the talk
Question: Do people really want hard news anymore? Do newspapers understand their readers?
JF: Take the recent health care discussion: a hugely complex issue to follow and one that matters to all of us. Newspapers would cover the most recent political victory, but never show the bones of the story. This isn’t easy stuff. To the shock of newspaper editors, a lot of people read Wikipedia to understand complex situations as you get a straight forward recitation of what’s going on. That’s a model newspapers haven’t done as they continue to follow a telegraph system for getting news out. It’s not satisfying readers’ needs.
AC: Most people I’ve spoken to want the hard news, the meat and potatoes of good journalism. Readers have stopped trusting newspapers for various reasons, some felt they were not catering a certain demographic of people or literally because news organizations have removed the newspaper dispenser boxes from poorer communities, to reach out to richer ones that would potentially advertise with them.
Question from the audience: What is your view on paywalls?
JF: News organisations should realize they are competing with the web. The success of the The Wall Street Journal’s paywall, has been in that it is targeted mostly at business readers, yet The New York Times covers everything. You pay for something therefore you think it’s valuable. Paywalls are getting in trouble in two ways: the hassle of entering a password, finding a reliable payment method. It’s not very immediate. Secondly, in the way they are implemented. If you are seeing nothing of the content you are about to buy you’re taking a blind leap of faith in paying for something you are likely going to read only once.
AC: It’s not cheap to produce content for the iPad either. If you put up a paywall you are no longer part of the linking culture such as The Huffington Post.
IF: You cannot create a walled garden that nobody can get into. You have to tease readers and let them share.
Question from the audience: Is hyper-local journalism the way to go? Or to be more brutal, what will ultimately save journalism?
AC: Paying reporters and establishing a sustainable business model. Does non-profit model work? It does right now – but for how long?
– Transcribed by Mariana Cánepa LunaAll photos: Latitudes | www.lttds.org
17 November 2010 12:18
Issue 7: 'The Last Evening Sun'(READ IT ON ISSUU) | 2010, Ester Partegàs, Francesc Ruiz, Julia Rometti and Victor Costales, latitudes, Luciano Fabro, Maria Loboda, Michael Rakowitz, New Museum, New York, newspapers, The Last Newspaper, Thomas Hirschhorn
Table of contents:
Cover: 'Without Rain Partial Nights Aerial Days', a special cover by Julia Rometti & Victor Costales (continues page 12)
Feature: Artist and writer Kathleen Ritter misreads the incomprehensible newspapers of Mark Manders
Focus: Simone Menegoi on Pavimento, Tautologia (1967) by Luciano Fabro; plus notes on 'Fabricating Fabro' by the New Museum Chief Preparator, Shannon Bowser
Special pull-out poster: Installation pictures and a checklist of 'The Last Newspaper' and New Museum's Facebook fans and Twitter followers reporting a sentence of personal news
Feature: 'Thomas Hirschhorn ♥ Queens' Charity Scribner on Thomas Hirschhorn
Feature: 'Red and black all over, again' Irina Chernyakova follows the design and production of 'The Last Evening Sun'
Focus: Inaba/C-Lab's 'Cloudy with a chance of Certainty'
Media Habits: Michael Rakowitz
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): WikiLeaks
Dirt Sheet column: Janine Armin at the Taipei and the Gwangju Biennials
Picture Agent-Our singular picture agency: Maria Loboda 100 years Ago…: 'Palestine Daily Herald' (Palestine, Texas) 1902-1949, November 17, 1910
Cartoon: 'The Woods: Flavor of the month' by Francesc Ruiz
'Advertising Department': Ester Partegàs
FLOOR TAUTOLOGY Curator and writer Simone Menegoi on Luciano Fabro’s ‘Pavimento–Tautologia’, the earliest work in ‘The Last Newspaper’
Joshua Edwards, Exhibitions Manager at the New Museum, mops the floor and lays the previous day’s New York Times
to create Fabro’s Pavimento, Tautologia (1967). Photos: Latitudes
My grandfather had a sports car, a Lancia Fulvia coupé. He always kept it polished and would only use it on certain occasions. He was so afraid of getting it dirty that he never took off the plastic wrapping that covered the seats when he bought it, even after years of use. His zeal was not particularly unusual in Italy those years (the 1970s), as many people left on the protective plastic film that brand new sofas or chairs would have when purchased. This habit came from two decades earlier, when memories of war and poverty were still lurking. The first consumer goods purchases were the result of laborious saving, so things had to last for as long as possible.
Pavimento–Tautologia (Floor–Tautology) by Luciano Fabro is based on the same logic that drove people like my grandfather to keep the car seats wrapped: a logic that gave up the pleasure of being able to touch the leather or the fabric of the seat in exchange for the satisfaction of knowing that, beneath the protective plastic, the surface was kept intact. In Fabro’s work, a portion of the floor (sometimes an entire surface) is cleaned, polished with wax and then covered with newspapers. Beyond the ephemeral protection of paper – “a cheap and lightweight Carl Andre” as Jörg Heiser has written – the floor disappears, we cannot appreciate its lustre, but we know it’s being kept immaculate, and we know this will be preserved, even if we walk on the papers.
In 1978, a decade after presenting the work for the first time in Turin, Fabro wrote "in my town... the floor is cleaned and then covered, at least for the first day, with papers, newspapers or rags to avoid getting it dirty... on that first day, in those two or three days that it was covered with paper, no one saw the floor clean. This particular way of accounting for the labour and its preservation, not for ostentation but as a private affair, seeks to ensure that the effort made doesn’t end up in anything too quick.”
Newspaper placed on top of the mopped floor. Photo: Latitudes
The comparison between the newspapers on the floor and plastic on the new car seats, however, applies only within certain constraints. There is a fundamental difference between the work required for you to buy a car and the work involved in cleaning the floor. In Italy, in those years, the second had a clear gender dimension: it was a domestic job regarded as part of the housewife’s duties. Fabro was fully aware of this and it is no accident that he presented Pavimento for the first time in a gallery inside a private apartment, a space that preserved a domestic environment. Fabro was also aware of the position he was adopting as a male artist presenting it as a piece. The sculptor sided with the housewife, with her modest and under appreciated task that was repeated daily. "We experience seeing our work destroyed daily" Carla Lonzi, a friend and admirer of Fabro, wrote in 1970 in the Manifesto di rivolta femminile (Manifesto of feminist revolt), a key text of Italian feminism.
Forty years onwards, what is the effect of Pavimento in the context of an American museum, one so different from when the work was presented for the first time? Is it still effective? The vernacular appearance of the work, its provincial and quotidian dimension is probably hard to grasp today, particularly outside Italy. The political aspect – gender politics – is certainly less visible now than it was in the late 1960s, although its historical importance cannot be questioned. Pavimento remains current with the idea of "care", caring as an essential dimension of the relationship with a work. Pavimento consists only of this: in taking care. "Every experience related to this handmade piece is linked to maintenance," Fabro wrote in 1967. A piece that is not to be contemplated, but to be done. Its only legitimate spectator is the one who realised it and looked after it. In short, perhaps it is its only spectator. (Since to the rest of us, the polished floor remains invisible.) Fabro referred to caring in a material sense, as a symbol of all the other ‘cures’ that a piece would require: of a critical or political kind, for instance. In this sense, Pavimento was for him a sort of manifesto, as he stated that a work can never be taken for granted, but must be constantly redefined, reiterated, and defended. In its ‘infrathin’ layer of paper and floor wax, Pavimento–Tautologia guards a surprising depth of meaning.
– Translated from Italian by Mariana Cánepa Luna
(sidebar) FABRICATING FABRO
Installation view of Luciano Fabro's Pavimento-Tautologia (1967) on the 4th floor of the New Museum.
Courtesy of the Luciano Fabro Estate. Photo courtesy: Katie Sokolor / Gothamist.
Shannon Bowser: "I've been installing the piece every weekday since the exhibition opened in October. The layout uses all the pages of an issue yet the arrangement can be a little haphazard. We can lay the pages facing different directions and it doesn't need to be too precise or follow a set dimension, even though the barriers that surround the piece help as a guide to square it up to the wall. I throw down extra sheets here and there but it usually works out to be the same size each day overall no matter how many pages there were in the previous day's issue.
We have a specific subscription for the New York Times for this piece. Every morning I pick up a copy to keep it for the following day and I have with me the one from yesterday ready to go. I find myself reading the news while installing the work and so sometimes I have to pause to read properly, and I end up finding out about stuff that I would normally wouldn't. I wish I had time to read the New York Times every day, because there are so many good articles. Sometimes I flip through pages when I'm laying them down, so if there's an annoying full page with glaring women facing upwards I can choose to turn it around. It's really interesting to see yesterday's newspaper all laid out on the floor and realize the actual physical size of it, because you cannot really read the New York Times on the subway for example, because it's so big – it's so impractical!
Doing it definitely adds time to my morning routine so I've been coming in early every morning to be able to install the Fabro and then get everything else sorted as all these shows require a lot of maintenance. But it has been really interesting, I definitely feel like I'm participating in an artwork."Watch a 'making of' video of the piece here.
Shannon Bowser (Chief Preparator) installs Pavimento–Tautologia on Wednesdays, Thursday and Fridays.
Victoria Manning (Registrar) takes charge on Saturdays and Joshua Edwards (Exhibition Manager) on Sundays.
06 September 2010 01:59
| 2010, editorial, Exhibition, latitudes, New Museum, New York, Publication, The Last Newspaper
Photo: New Museum/Dean Kaufman
| ENG |
(...) The first people we approached to participate were Max Andrews and Mariana Cánepa Luna, who are partners in Latitudes, a curatorial office based in Barcelona. They have a wonderful flexibility in their projects, which include overseeing public commissions, organizing conferences, as well as initiating multidisciplinary research and editorial programs. Our preliminary conversations led quickly to the notion of a weekly newspaper produced in the New Museum over the course of a residency. From this point, we moved pretty quickly into a landscape of organizational residencies that will animate the social aspects of the exhibition. – Richard Flood, interview with Benjamin Godsill about the exhibition, fall 2010.
The Last Newspaper will be a hybrid exhibition inspired by the ways artists approach the news and respond to the stories and images that command the headlines. Alongside the exhibition, a number of partner organisations (see list below) will use on-site offices to present their research, engage in rapid prototyping, and stage public dialogues, opening up the galleries as spaces of intellectual production as well as display.
'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... will be an evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited by Latitudes and produced and disseminated from the museum every week for 10 weeks.
The tabloids, design directed by Chad Kloepfer, will be conceived by a specially-assembled editorial team and contributors who are giving their time and skills pro bono. The published record of the enterprise will be bound at the conclusion to form a surrogate catalogue of The Last Newspaper.
Artists in the exhibition: Alighiero e Boetti; Judith Bernstein; Pierre Bismuth; Andrea Bowers; Francois Bucher; Sarah Charlesworth; Luciano Fabro; Robert Gober; Hans Haacke; Karl Haendel; Rachel Harrison; Thomas Hirschhorn; Emily Jacir; Larry Johnson; Mike Kelley; Nate Lowman; Sarah Lucas; Adam McEwen; Aleksandra Mir; Adrian Piper; William Pope.L; Allen Ruppersberg; Dexter Sinister; Dash Snow; Rikrit Tiravanija; Wolfgang Tillmans; and Kelley Walker.Partner organisations: Center for Urban Pedagogy; StoryCorps; Latitudes; The Slought Foundation; INABA, Columbia University’s C-Lab; Joseph Grima and Kazys Varnelis/Netlab; and Angel Nevarez and Valerie Tevere.
Exhibition co-curated by Richard Flood, Chief Curator of the New Museum and Benjamin Godsill, Curatorial Associate.
| ESP |
Hans Haacke, News, 1969/2008, RSS newsfeed, paper, and printer, dimensions variable.
"La primera persona que invitamos a participar fue Max Andrews y Mariana Cánepa Luna, socios de Latitudes, una oficina curatorial con base en Barcelona. Tienen una maravillosa flexibilidad en sus proyectos, que incluyen la supervisión de comisiones públicas, la organización de conferencias, así como iniciar programas de investigación multidisciplinaria y de índole editorial. Nuestras conversaciones preliminares nos llevaron rápidamente hacia la idea de realizar un periodico semanal producido en el New Museum en el transcurso de una residencia. – Richard Flood, entrevista con Benjamin Godsill entorno a la exposición, otoño 2010
'The Last Newspaper' será una exposición híbrida que explorará el modo en que los artistas responden a las noticias, imágenes y titulares y al tiempo analizará cómo se genera, gestiona, registra, ordena y distribuye la información. Un número de organizaciones asociadas han sido invitadas a 'desplazar' sus oficinas al terreno museístico para presentar su trabajo, participar en la creación de propotipos y diálogos públicos, convirtiendo las galerías del museo en espacios de exhibición y discurso.
'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... será un tabloide semanal de 12 páginas editado por Latitudes durante 10 semanas ‘en directo’ desde una sala de redacción instalada en el espacio expositivo. El periódico será una publicación episódica gratuita que cambiará su título semanalmente e investigará el frágil momento del periódico como medio de comunicación así como los comportamientos comunes entre la labor editorial y la curatorial.
Los tabloides, cuyo diseño será dirigido por Chad Kloepfer, serán un documento en continua formación que registrará la exposición. Al concluir ésta, se encuadernarán como un único volumen formando el catálogo sustituto de 'The Last Newspaper'.
Artistas en la exposición: Alighiero e Boetti; Judith Bernstein; Pierre Bismuth; Andrea Bowers; Francois Bucher; Sarah Charlesworth; Luciano Fabro; Robert Gober; Hans Haacke; Karl Haendel; Rachel Harrison; Thomas Hirschhorn; Emily Jacir; Larry Johnson; Mike Kelley; Nate Lowman; Sarah Lucas; Adam McEwen; Aleksandra Mir; Adrian Piper; William Pope.L; Allen Ruppersberg; Dexter Sinister; Dash Snow; Rikrit Tiravanija; Wolfgang Tillmans; and Kelley Walker.
Organizaciones asociadas: Center for Urban Pedagogy; StoryCorps; Latitudes; The Slought Foundation; INABA, Columbia University’s C-Lab; Joseph Grima y Kazys Varnelis/Netlab; y Angel Nevarez y Valerie Tevere.
Exposición comisariada por Richard Flood, Comisario jefe del New Museum y Benjamin Godsill, Comisario asociado.
New York, NY 10002
22 February 2010 01:22
| 2009, 2010, Ben Laloua/Didier Pascal, DVD, film, making of, Port of Rotterdam Authority, Portscapes, public art, Publication, Rotterdam, SKOR
Designed by Rotterdam-based design studio Ben Laloua/Didier Pascal, the multi-part publication box includes a miscellany of contributions by the artists, a cahier with texts on the projects (it can be downloaded from here), the prologue publication presented with the launch of the project in February 2009 and a DVD with 'behind the scenes' footage with interviews with 'Portscapes' artists Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Jorge Satorre and Hans Schabus. The publications can be purchased at the Museum Boijmans’s shop, or can be ordered from SKOR by emailing [email protected] or calling +31(0)20 672 25 25. The standard edition costs €12.50 and the limited edition €50.
Publisher: Port of Rotterdam Authority and SKOR (Foundation Art and Public Space, Amsterdam)
Publication date: 5 February 2010
Design various artists contributions: Edauw Design, Koudekerk aan den Rijn
Format: 33x27cm, box (green for the standard edition, white for the limited-edition)
Print run: 800 copies of which 100 are limited editions
'Portscapes' was an accumulative series of newly commissioned projects taking place throughout 2009 alongside the construction of Rotterdam's [51°55' N 4°29' E] Maasvlakte 2 – the extension to Europe's largest seaport and industrial area by 20%. + info
29 January 2010 01:02
| 2009, 2010, latitudes, Museum Boijmans, Port of Rotterdam Authority, Portscapes, Rotterdam, SKOR
Lara Almarcegui 'A Guide to the Wastelands of the Port of Rotterdam' (2009). Photo: Latitudes Bik van der Pol, still of the film 'Facts on the Ground' (2009–10). Photo: Bik van der Pol
Jan Dibbets, Production stills while filming '6 Hours Tide Object With Correction of Perspective' (2009). Photos: Latitudes, Paloma Polo/SKOR and Freek van Aarkel.Marjolijn Dijkman, 'Here be dragons' (2009), image presented on a billboard. The second part of her project, the film 'Surviving New Island' (2009–10) will be premiered during the exhibition.
Fucking Good Art / Rob Hamelijnck & Nienke Terpsma 'Portscapes_ON AIR / Station Maasvlakte' (2009).
Ilana Halperin, 'A Brief History of Mobile Landmass' (2009–10), audioguide. Photo: Chantal Karnaat.Paulien Oltheten, Great if two pairs of legs are synchronized for a moment, (2009). Photo: Ben Wind.
Christina Hemauer & Roman Keller, 'The Postpetrolistic Internationale' (2009–10). Photo: Paloma Polo / SKOR.
Jorge Satorre in collaboration with Jorge Aviña, 'The Erratic. Measuring Compensation' (2010). Courtesy of the artist.
Hans Schabus, 'Europahaven, Rotterdam, 17 juni 2009' (2009) (c) the artist
Museum Boijmans Van Beuningen, Rotterdam, The Netherlands
30 January–25 April 2010. Reception: Friday 5 February, 8pm.
Free entranceProject website: www.portscapes.nl
Projects chronology: http://www.dipity.com/latitudes/PORTSCAPES Works by Lara Almarcegui (Spain/Netherlands), Bik van der Pol (Netherlands), Jan Dibbets (Netherlands), Marjolijn Dijkman (Netherlands), Fucking Good Art (Netherlands), Ilana Halperin (US/Scotland), Christina Hemauer & Roman Keller (Switzerland), Paulien Oltheten (Netherlands), Jorge Satorre (Mexico), Hans Schabus (Austria), as well as work by the website collaborators Maria Barnas (poetry) and Markus Miessen (interviews).'Portscapes' will present the results of works commissioned by the Port of Rotterdam realised throughout 2009 by 10 (inter)national artists on the occasion of the beginning of the construction of Maasvlakte 2 – the 2,000-hectare land supplementation project to extend Rotterdam's port, Europe's largest seaport and industrial area. 'Portscapes' has encompassed new projects of various scales under the leitmotif itineraries and destinations – artist-led tours, film screenings, billboards and the production of film and photographic works, audio-guides, radio broadcast and field guides. + info...The films by Rotterdam-based artists Bik van der Pol and Marjolijn Dijkman, 'Facts on the Ground' (2009–10) and 'Surviving New Land' (2009–10) respectively, will be presented for the first time coinciding with the exhibition.Overtreders W, the designers of the exhibition, have created semi-transparent display structures for the museum’s Richard Serra Hall, using industrial materials based on the format of cargo containers.A catalogue (€12,50) and a special-edition catalogue (€50) designed by Ben Laloua/Didier Pascal is co-published by SKOR and the Port of Rotterdam Authority on the occasion of the exhibition. The special-edition includes filmed interviews with the artists as well as the DVD of '6 Hours Tide Object with Correction of Perspective' (2009), the film produced by Jan Dibbets for 'Portscapes'. Publication available at the Museum Boijmans's shop or can be ordered via SKOR by writing to [email protected] or calling +31(0)20 672 25 25
Press enquiries: Nienke van Beers, Tel: +31(0)20- 672 25 25, [email protected]