Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago

Latitudes' homepage www.lttds.org

The July 2019 monthly Cover Story ‘Francesc Ruiz’s Brexit Bristol sequel, ten years ago’ is now up on Latitudes' homepage: www.lttds.org

The British political system has collapsed… Once the high streets merely declined with their pound shops, gold traders, and bargain basements… Then they slumped as the "major downturn" began to bite… Yet as the economy finally plunged into the devastating recession, countless properties and businesses across the city of Bristol already lay in ruins… Widespread rioting and looting… Shortages of food and medicines… Spiralling inflation rates and a currency crash… The troops now struggle to enforce the state of emergency… The traitors flock to the southern ports, desperately seeking safe passage to Brussels…

→ Continue reading
→ After this month it will be archived here.


Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


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Mariana Cánepa Luna review on Francesc Ruiz's 'Correos' exhibition for art-agenda

View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016. All images courtesy of garcía galería, Madrid. Photos by Roberto Ruiz.

Francesc Ruiz’s “Correos”
garcía galería, Madrid   
January 16–March 5, 2016


by Mariana Cánepa Luna

Francesc Ruiz’s second solo show at Madrid’s garcía galería delves into the visual communication of one of Spain’s most iconic institutions, the Sociedad Estatal Correos y Telégrafos—the national postal service, commonly known as Correos—whose graphic identity was created in 1977 by Spanish designer and artist José María Cruz Novillo (b. 1936). Ruiz’s interest is not limited to Cruz Novillo’s pervasive design, but more broadly includes Correos as an agent of distribution as well as the various commercial guises that come into play in this public service. Ruiz’s choice to focus this exhibition on the postal system, the pre-eminent pre-internet network, is not casual: through his characteristic strategy of “expanded comics” he has long been concerned with the potential of distribution and official versus alternative forms of circulation.

—> Continue reading...

Originally published on art-agenda.com on 25 February 2016.


 View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016.
  View of Francesc Ruiz, “Correos,” garcía galería, Madrid, 2016.
 Francesc Ruiz, Correos IV (Carton), 2015.
 Francesc Ruiz, Correos IV (Carton), 2015.
 Francesc Ruiz, Correos I (Bufanda), 2015.
 Francesc Ruiz, THE MIDAS TOUCH, 2015.
 Francesc Ruiz, MARCAR (6549/6567/6574/6547), 2015.
  Francesc Ruiz, Correos III (Caja), 2015.

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Latitudes hosts the MA Curating Contemporary Art students of the Royal College of Art in Barcelona


Photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption).

This morning we had an informal discussion with second-year students of the Royal College of Art's MA Curating Contemporary Art programme to present and reflect on our collaborations with three Barcelona-based artists – Martí Anson, Ignasi Aballí and Francesc Ruiz. It was an opportune moment to reconsider the old chestnut of "the artist-curator relationship" and the important role of artist advocacy and friendship in curatorial work.

Our first case study was with Martí Anson and was in the context of our participation in the 2010 iteration of 'No Soul for Sale – A Festival of Independents' at Tate Modern, coinciding with Tate's 10th anniversary. In our presentation we discussed how Martí's project "Mataró Chauffeur Service" began by the simple need for us to get to London and present our projects in the festival context, how we worked together with Martí in thinking which was the best format for the project to develop considering all the budget would have to be raised and that the invitation was limited to offering 25m2 at Tate Modern's Turbine Hall.

A year later, we invited Martí to present Joaquimandson, a project centred on researching and recuperating the fabrication of 1960s low-budget furniture designs his father produced for friends, family and clients in Mataró. A selection of the furniture was exhibited at Meessen de Clercq, Brussels, alongside works by Sarah Ortmeyer, Kasper Akhoj, Maria Loboda and Charlotte Moth


In the summer of 2009, Carol Yinghua Lu invited us to curate a new commission by Ignasi Aballí at the SUITCASE Art Project, the then project space of the Today Art Museum in Beijing. The resulting interventions in the eight display cases of the Yintai Centre, focused on absence, nothingness and invisibility, recurring concerns in Aballí's practice. A year after, we interviewed Ignasi for 'The Last Star-Ledger', the yellow issue of 'The Last Newspaper' publication we edited in the context of the New Museum show in 2010. The interview 'Rank and File' focused on his series of newspaper-cut outs from El País newspaper that he has been doing since 1997.

After a short presentation on the context of the 2009 exhibition "Sequelism part 3: Possible, Probable or Preferable Futures" at Arnolfini in Bristol, and Francesc Ruiz's stair-barrier commission, Ruiz discussed his Yayoi, Sukia and "The Green Detour" commission for Contemporary Image Collective in Cairo, and of course Francesc's weekly cartoons for the ten 'The Last Newspaper'. Here an interview with Francesc published in the third issue, 'The Last Register" and a profile of his work included in frieze magazine.

Thank you Galeria Estrany · de la Mota for the temporary gallery take over!

Related content:

  • Ignasi Aballí's exhibition catalogue 'Nothing, or Something' available now, 26 October 2009
  • flickr gallery with installation shots of "Sequelism Part 3..." 
  • Publication release: 'Mataró Chauffeur Service', a project by Martí Anson & Latitudes for 'No Soul for Sale', Tate Modern, London, May 2010, 11 March 2011
  • Ignasi Aballí at ARTIUM and Latitudes' archive (Beijing & New York),20 May 2012


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)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




At Last...'The Last Newspaper' catalogue!

Latitudes' 10-week editorial residency at the New Museum has come to an end! Below photos of each of the 10 weekly newspapers we have published and that has been available every Wednesday from the museum galleries.

The Last Post (#1): See contents and learn about Dara Birnbaum's Media Habits here

The Last Gazette (#2): See contents and read a focus text by Julienne Lorz on Hans Haacke's News here

The Last Register (#3): See contents and read an exclusive interview with visual artist Francesc Ruiz here

The Last Star-Ledger (#4): See contents and read an exclusive interview with Portugal's newest newspaper's Creative Director, Nick Mrozowski here

The Last Monitor (#4): See contents and read an read about the history of newspapers' paperweights here

The Last Observer (#6): See contents and read an exclusive interview with Wolfgang Tillmans here

The Last Evening Sun (#7): Read contents and and a text on Luciano Fabro's work 'Pavimento–Tautologia' here
The Last Journal (#8): See contents and read an exclusive interview with Rirkrit Tiravanija here

The Last Times (#9): See contents and read Pablo Vargas Lugo's Picture Agent contribution here
 The Last Express (#10): See contents and read the report on the 27 November talk between filmmaker Adam Chadwick and web veteran Jason Fry here.

Each of 'The Last...' has been edited and freely distributed from a micro-newsroom on the New Museum's third floor gallery space.

Latitudes' newsroom on the third floor of the New Museum, New York. Photo: Greg Barton

The Last Post, The Last Gazette, The Last Register, The Last Star-Ledger, The Last Monitor, The Last Observer, The Last Evening Sun, The Last Journal, The Last Times
and The Last Express comprise the catalogue of The Last Newspaper exhibition, curated by Richard Flood and Benjamin Godsill.

The final catalogue compilation includes
over 100 contributorsarticles and exclusive interviews with participating artists as well as texts and special features concerning an expanded selection of individuals and organisations whose work addresses the news, the medium of the newspaper and their evolving form and function.

The catalogue will soon be available from the New Museum's Store for
$15. More details to follow on the European distribution – see update here. The exhibition continues at the New Museum until 9 January 2011.

Table of contents of the 10 issues:

Issue 1: The Last Post
October 6, 2010
Cover: ‘Ink vs Link’. Press Room of The Richmond Planet, c. 1899
Editorial: ‘Welcome to The Last Post, The Last Gazette, The Last Register...’ by Latitudes
Picture Agent (Our singular picture agency): Kirstine Roepstorff
Media Habits: Dara Birnbaum
Exclusive Interview: ‘Double Trouble’, Lorena Muñoz-Alonso interviews TLN artist Pierre Bismuth
Feature: ‘Lights, Camera...Banality’, Kolja Reichert on Marie Voignier’s Hearing the Shape of a Drum (2010)
‘Working with Utopians’ by Richard Flood and Benjamin Godsill
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): ProPublica
Fit to Print: ‘The (L.A.) Times it is A-Changin’ by Adam Chadwick
100 Years Ago…: The Salt Lake Herald-Republican
Cartoon: ‘The Woods: Teen Balls’ by Francesc Ruiz
Advertising: Ester Partegàs with Rob McKenzie

Issue 2: The Last Gazette
October 13, 2010
Cover: ‘Sorry for the Metaphor’. Special cover by Amalia Pica (and page 3)
Editorial: ‘34 People Like This’ by Latitudes
Focus: ‘A system is not imagined, it is real’, Julienne Lorz on TLN artist Hans Haacke’s News (1969/2008)
Dirt Sheet: Janine Armin on the newspaper-as-catalogue
Picture Agent: Ilana Halperin
The Next Newspaper: Clay Shirky
Photo essay: ‘Picture Mining’ by Ines Schaber
Obituary: ‘Sorry we’re dead’, Andrew Losowsky on TLN artist Adam McEwen’s Untitled (Caster) (2010)
Fit to Print: Adam Chadwick on hyperlocal citizen journalism
100 Years Ago…: Daily Public Ledger
In Brief: ‘Sac Bee Cuts’
Media Habits: Luis Camnitzer
Infographic: ‘U.S. Gazettes: Average Circulation’ by Irina Chernyakova
Cartoon: ‘The Woods: Money’ by Francesc Ruiz
Advertising: Ester Partegàs

Issue 3: The Last Register
October 20, 2010
Cover: ‘Exhibit: Exposed!’. Installing TLN wall text
Report: ‘Reaction Distraction’: Gwen Schwartz on the TLN talk with participating artists Nate Lowman, Aleksandra Mir and Sarah Charlesworth
Focus: Doryun Chong on TLN artist Adrian Piper’s Vanilla Nightmares (1986)
Media Habits: Dora García
Dirt Sheet: Janine Armin on truth and fiction
Picture Agent: Sergio Vega
The Next Newspaper: Paul Schmelzer on the American Independent News Network
Feature: ‘Broadcasting’, Joe Salzman on the representation of the journalists on TV
Exclusive interview: Latitudes with TLN cartoonist Francesc Ruiz
‘Patricia Esquivias on...The French Revolution’
100 Years Ago…: New York Tribune
Feature: ‘Hyphen-ated’ by Stephen Spretnjak
Photo essay: ‘Behind the Scenes’, Installing ‘The Last Newspaper’
Cartoon: ‘The Woods: Scratch Lottery’ by Francesc Ruiz
Advertising: Ester Partegàs with Adam Shecter

Issue 4: The Last Star-Ledger
October 27, 2010
Cover & Picture Agent: Special cover by Haegue Yang (and page 12)
Exclusive interview: ‘Rank and File’, Latitudes interviews Ignasi Aballí
Focus: ‘A Newspaper is Never Complete, Because News is Never Complete’, Interview with Ed Pierce from the archive of TLN partner organization StoryCorps + ‘StoryCorps Key Facts’
Focus: ‘Execution, Ejaculation, Exhibition’, Collin Munn on TLN artist Dash Snow’s Untitled (2006)
The Next Newspaper: Latitudes interviews Nick Mrozowsky about i
Dirt Sheet: Janine Armin on TLN artist François Bucher
‘Patricia Esquivias on... Communism’
100 Years Ago…: The Tacoma Times
Media Habits: Nicoline van Harskamp
Cartoon: ‘The Woods: Specialization’ by Francesc Ruiz
Advertising : Ester Partegàs with Rob McKenzie

Issue 5: The Last Monitor
November 3, 2010
Cover: ‘Today & Yesterday’. Gustav Metzger, Eichmann and the Angel, 2005
Exclusive interview: ‘Eating the Wall Street Journal’, Janine Armin with TLN artist William Pope.L
Feature: ‘Today and Yesterday’, Sophie O’Brien on Gustav Metzger
Picture Agent: Jordan Wolfson
The Next Newspaper: The San Francisco Panorama by Irina Chernyakova
Fit to Print: Adam Chadwick on the digital divide
100 Years Ago…: The Bisbee Daily Review
Media Habits: Mark von Schlegell
Focus: ‘Who Framed Sarah Charleswoth?’, Marcel Janco on TLN artist Sarah Charlesworth
Readers’ Lives: ‘Paper-Weight Champion’ by Harley Spiller
Feature: ‘Heralding the Gizmo’, Max Andrews on Kirstine Roepstorff
Readers’ Lives: ‘My Name is Marc D’Andre and I’m a Newspaper Addict’
Infographic: Facebook poll: where do @NewMuseum followers get their news?
Cartoon: ‘The Woods: Tools’ by Francesc Ruiz
Advertising : Ester Partegàs with Holly Coulis and Ridley Howard

Issue 6: The Last Observer
November 10, 2010
Cover: ‘Truth Study?’. Installation view of Wolfgang Tillmans Truth Study Center (NY) (2010)
Exclusive interview: ‘Is this True or Not?’, Lorena Muñoz-Alonso with TLN artist Wolfgang Tillmans
Focus: ‘There’s not Enough Rage These Days’, Greg Barton & Collin Munn on TLN artist Judith Bernstein
Picture Agent: Renzo Martens
Media Habits: City-as-School Students
Feature: ‘Relationship Status’ by Manuel Segade
Focus: ‘‘Old News’ to me’ by Lars Bang Larsen + ‘Nothing New About Old News’
Feature: ‘Editorial Curatorial’ by Marcel Janco
The Next Newspaper: Patch. Andrew Losowsky interviews Warren Webster, company president
Report: Irina Chernyakova on the ‘Perpetual Peace Project’ of TLN partner the Slought Foundation
Fit to Print: Adam Chadwick on The Huffington Post
100 years Ago…: The News-Herald
Cartoon: ‘The Woods: Backcover’ by Francesc Ruiz
Advertising: Ester Partegàs

Issue 7: The Last Evening Sun
November 17, 2010
Cover: 'Without Rain Partial Nights Aerial Days'. Special cover by Julia Rometti & Victor Costales (and page 12)
Feature: ‘Translating Rubble’, Kathleen Ritter on Mark Manders
Focus: ‘Floor Tautology’, Simone Menegoi on TLN artist Luciano Fabro’s Pavimento–Tautologia (1967) + ‘Fabricating Fabro’ by Shannon Bowser
Special pull-out poster: Installation pictures, checklist of TLN + ‘Your week in Headlines’ by New Museum Facebook and Twitter followers
Feature: 'Thomas Hirschhorn ♥ Queens', Charity Scribner on TLN artist Thomas Hirschhorn
Feature: 'Red and black all over, again' Irina Chernyakova interviews The Last... newspapers’ designer Chad Kloepfer
Focus: TLN project Jeffrey Inaba/C-Lab’s Cloudy with a chance of Certainty (2010) + ‘C-What?’ by Greg Barton
Media Habits: Michael Rakowitz
The Next Newspaper: WikiLeaks
Dirt Sheet: Janine Armin at the Taipei and the Gwangju Biennials
Picture Agent: Maria Loboda
Cartoon: ‘The Woods: Flavor of the month’ by Francesc Ruiz
100 Years Ago…: Palestine Daily Herald
Advertising: Ester Partegàs

Issue 8: The Last Journal
November 24, 2010
Cover: ‘Le Petit Journal’. Fernando Bryce, from the series L'Humanité (2009–2010)
Feature: 'L'Humanité', Yasmil Raymond on Fernando Bryce
Report: 'Independent Gazette', Lorena Muñoz-Alonso on The Independent by Damián Ortega and Can Altay’s The Church Street Partners' Gazette + Damián Ortega talks with Alona Pardo
Media Habits: Ester Partegàs
Brazil Focus: 'The Imaginery Newspaper', Chris Dercon on Luciano Figueiredo + ‘Jornal da Cidade’, Ana Paula Cohen on 28b
Focus: 'Boetti e His Double', Christian Rattemeyer on TLN artist Alighiero e Boetti's Corriere Della Sera (1976)
The Next Newspaper: Crowd Sourcing – spot.us / emphas.is, by Irina Chernyakova
Exclusive interview: 'The Days of This Society...', Desiree B. Ramos interviews TLN artist Rirkrit Tiravanija
Focus: 'Paper view' Gwen Schwartz with New Museum visitors
Focus: 'What's CUP?', on TLN partner organization The Center for Urban Pedagogy, by Gwen Schwartz and Max Andrews
Picture Agent: Adrià Julià
Focus: '29 Days Later', Sarah Wang on Larry Johnson’s TLN work Untitled Green Screen Memory (2010) + ‘2009 California Fires’ by Collin Munn
Cartoon: 'The Woods: Creation' by Francesc Ruiz
100 Years Ago...: The Marion Daily Mirror
Advertising: Ester Partegàs

Issue 9: The Last Times
December 1, 2010
Cover: Peter Piller, Pfeile (Arrows), Archiv Peter Piller 2000-2006
Exclusive interview: ‘Bedeutungsflächen, In Löcher blicken, Ortsbesichtigungen...’, Julienne Lorz talks to Peter Piller
Focus: ‘Press Victim’, Collin Munn on TLN artist Mike Kelley's Timeless/Authorless Series (1995) + ‘Mike on Mike’, Mike Santistevan on Mike Kelley
Picture Agent: Pablo Vargas Lugo
100 Years Ago…: The Seattle Star
The Next Newspaper: Web aggregation, by Irina Chernyakova
Focus: ‘Sarah’s Sex Sport-Trait’, Lorena Muñoz-Alonso on Fat, Forty and Flab-ulous (1990) by TLN artist Sarah Lucas
Media Habits: Carey Young
Dirt Sheet: Janine Armin on Allen Ruppersberg’s TLN work Screamed from Life (1982)
Focus: 'Dutiful Scrivener', Angel Nevarez & Valerie Tevere on their work for TLN + Mark Twain’s ‘Amended Obituaries’ (1902)
Focus and exclusive interview: ‘Graphite Testimony’, Greg Barton on Andrea Bowers’ Eulogy to One and Another (2006) featured in TLN
Exclusive interview: ‘Having It All’, Latitudes talks with TLN co-curator Richard Flood about TLN artist Robert Gober
Cartoon: 'The Woods: Fahrenheit 451' by Francesc Ruiz
Advertising: Ester Partegàs

Issue 10: The Last Express
December 8, 2010
Cover: Hans Haacke, News (1969/2008)
Exclusive interview: ‘I’m still nostalgic vis-à-vis image making’, Rodrigo Moura interviews Mauro Restiffe
Dirt Sheet: Janine Armin on TLN participant Dexter Sinister’s The First/Last Newspaper (2009)
Report: 'Fit to Print?: The newsroom reinvented', Latitudes reports on the New Museum talk between Adam Chadwick and Jason Fry
100 Years Ago...: Los Angeles Herald
Focus: ‘Blu Dot: What?’, Gwen Schwartz and Mariana Cánepa Luna on TLN partner organization Blu Dot
The Next Newspaper: The Daily, by Irina Chernyakova
Focus: ‘Do you like milk and honey?’, Greg Barton on TLN artist Emily Jacir’s Sexy Semite (2000-2)
Picture Agent: Simon Fujiwara
Media Habits: Michalis Pichler
Feature: ‘Embrace the Ambiguity’, TLN co-curators Richard Flood and Benjamin Godsill reflect on the exhibition
Focus: ‘Reading the Reader’, Greg Barton and Irina Chernyakova on TLN partner organisation NetLab’s the New City Reader
Exclusive interview: ‘The Wires’, Janine Armin interviews TLN artist Hans Haacke
Cartoon: 'The Woods: The End' by Francesc Ruiz
Advertising: Ester Partegàs

New Museum
235 Bowery 
New York, NY 10002, USA
Wednesday 11-6 pm; Thursday 11-9
pm; Friday-Sunday 11-6 pm;
Monday and Tuesday closed
http://www.newmuseum.org


All images: Latitudes | www.lttds.org




'THE LAST EXPRESS' AVAILABLE NOW! #10 and final issue of the Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

FINAL ISSUE! Issue 10: 'The Last Express'
(READ IT ON ISSUU)

Table of contents:


Cover:
Hans Haacke News (1968–2008)
Exclusive interview: Inhotim curator Rodrigo Moura talks to artist Mauro Restiffe

Dirt 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 Fry
100 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 Daily

Focus: '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

EXCLUSIVE CONTENT!

REPORT
'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 Luna


All photos: Latitudes | www.lttds.org




'THE LAST TIMES' AVAILABLE NOW! #9 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 9: 'The Last Times'
(READ IT ON ISSUU)
  
1 December 2010

Cover:
Peter Piller, Pfeile (Arrows), Archiv Peter Piller 2000-2006.
Exclusive interview:
‘Bedeutungsflächen, In Löcher blicken, Ortsbesichtigungen...’, Julienne Lorz talks to Peter Piller
Focus: ‘Press Victim’, Collin Munn on TLN artist Mike Kelley's Timeless/Authorless Series (1995) + ‘Mike on Mike’, New Museum Guard & Tour Guide Mike Santistevan on Mike Kelleys's work
Picture Agent: Pablo Vargas Lugo
100 Years Ago…: The Seattle Star (Seattle, Washington) 1899-1947, December 1, 1910

Next newspaper: Web aggregation
Focus: Sarah Sex Sport-Trait’, Lorena Muñoz-Alonso on TLN work Fat, Forty and Flab-ulous (1990) by TLN artist Sarah Lucas
Media Habits
: Carey Young

Dirt Sheet: Janine Armin on Allen Ruppersberg‘s TLN work Screamed from Life (1982)
Focus: 'Dutiful Scrivener' by TLN artists Angel Nevarez & Valerie Tevere + Mark Twain’s ‘Amended Obituaries’ (1902)
Focus and exclusive interview: ‘Graphite Testimony’, Greg Barton on Andrea Bowers’ work Eulogy to One and Another (2006) featured in TLN
Exclusive interview:
‘Having It All’, Latitudes talks with TLN co-curator Richard Flood about TLN artist Robert Gober’s work Newspaper (1992)
Cartoon:
'The Woods: Fahrenheit 451' by Francesc Ruiz
Advertising:
Ester Partegàs

 



EXCLUSIVE CONTENT!

Picture Agent: Our Singular Picture Agency
Pablo Vargas Lugo, artist


In 1996, NASA released images of the probable remains of extraterrestrial life in a meteorite of Martian origin found in Antarctica. Back then I quickly latched on to the enthusiasm caused by this news, and rather opportunistically used this image as part of an ambitious newspaper project. However, shortly afterwards, scientists disputed the authenticity of these supposedly fossilized bacteria, citing the possibility of an inorganic origin. Obviously the said newspaper project lost its edge once the findings were disproved, and was shamefully filed at the end of my portfolio.

Last year the original scientific team found traces of organically produced materials on their treasured meteorite, using more potent microscopes; but the cheers didn’t last for long, as their evidence was contradicted by another group working in a lab across the hall, and headed by the brother of the leader of the first team. As questions on the urgent matter of extraterrestrial life are appropriately resolved between siblings in close quarters, and hoping for further validation of the original findings, I file this picture in this other newspaper project, as a personal reminder of the troubled relationship between art, trustworthiness and whatever we choose to call news.





'THE LAST JOURNAL' AVAILABLE NOW! #8 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 8: 'The Last Journal'
(READ IT ON ISSUU)
 

24 November 2010

Cover:
Fernando Bryce, from the series L'Humanité (2009–2010)
Feature: 'L'Humanité', Yasmil Raymond on Fernando Bryce
Feature: 'Independent Gazette', Lorena Muñoz-Alonso reports from London on two newspaper-inspired exhibitions: 'The Independent' (Damián Ortega at The Curve, Barbican) and ‘Can Altay: The Church Street Partners' Gazette’, The Showroom. Plus Damián Ortega exchanges impressions with curator Alona Pardo on his show.
Media Habits: Ester Partegàs, TLN advertising department artist
Brazil Focus: 'The Imaginery Newspaper', Chris Dercon on Luciano Figueiredo & Ana Paula Cohen on 'Jornal 28b', the newspaper produced during the 28th Bienal de São Paulo.

Focus: 'Boetti e His Double', Christian Rattemeyer on TLN artist Alighiero e Boetti's Corriere Della Sera (1976)
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news):
CROWD-SOURCING – SPOT.US / EMPHAS.IS

Exclusive interview: 'The Days of This Society...', Desiree B. Ramos interviews TLN artist Rirkrit Tiravanija
Focus: 'Paper view'
Gwen Schwartz asked New Museum visitors about their experiences of TLN

Focus: 'What's CUP?' by Gwen Schwartz and Max Andrews
Picture Agent-Our singular picture agency: Adrià Julià
Focus: '29 Days Later', Sarah Wang on TLN work Untitled Green Screen Memory (2010) by Larry Johnson + 2009 California Fires by Collin Munn
Cartoon:
'The Woods' by Francesc Ruiz
Advertising Department:
Ester Partegàs













'THE DAYS OF THIS SOCIETY...'
New Museum curatorial fellow Desiree B. Ramos meets ‘The Last Newspaper’ artist Rirkrit Tiravanija

 

Above and below: Rirkrit Tiravanija, Untitled (the days of this society is numbered/September 15–October 12, 2008), 2010.
Acrylic and newspaper on linen. 13 parts, all measuring 86 1/8 x 84 1/8 x 1 inches each. Courtesy the artist and Gavin Brownʼs enterprise.


There I am; it’s 5pm sharp, and I have just arrived at Gavin Brown’s newly-expanded Meatpacking District art gallery. I’m checking out the new space while I wait for Rirkrit, who suddenly pulls up around the back door with a few groceries; turns out he’s cooking a paella dinner for a few friends. We walk around the space for a few minutes and before heading towards the kitchen in the back of the gallery. There I see a few art handlers setting up pots, tables, and chairs for Rirkrit’s guests. “We don’t have much time, fire away,” he says, looking at the recorder and the paper I am holding in my hands. We sit on a wooden bench and start our conversation. I have met with Rirkrit several times, and besides being a great artist he is really down to earth and approachable. Every time I talk to him it is quite a busy scenario all around.

Desiree B. Ramos: How did you become an artist?

Rirkrit Tiravanija: By accident! I actually wanted to be a photojournalist and then mistakenly took some art history classes and became curious about art. I left the university from the history department, and I went to art school and I went to talk to the counselor about the idea of studying art. So I had an appointment, I went to the meeting and I had to wait in this kind of lobby library. I was just standing there, looking around the shelf, and there was a book that stood out from the shelf from the Ontario College of Art, so I just pulled it out, took down the address and left. So it was kind of accidental.

DB: What was your first art piece?

RT: Umm, that’s a debate. It was actually an image that my father took of me; I made this plasticine sculpture on my ear, it was like an ear extension, so that I looked like a Vulcan. So I would say that was my first sculpture.


DB: Do you still have it, or a record of it?

RT: I have a picture that my father took, but I don’t have the actual plasticine. I guess I could always remake it.

DB: That would be fun...

RT: Yeah, that would be fun. Wow, you just gave me a new idea!

DB: What was your first political work?

RT: Well, it depends on what is political, you know, if personal is political. The first work I made in art school, officially made in art school, was about identity, about me being in the West and trying to figure out what that was. It was the first letter of the Thai alphabet drawn on cardboard, and then it had a Thai dictionary explanation with this alphabet in English. So in a way, that had a kind of cultural politics in it. I would say my work is always asking those kinds of personal political questions, I mean, about the self and about identity.

DB: What got you into cooking?

RT: It was the simplest thing I could do. I was working in Chicago on questions of, about, cultural artifacts. I worked on this conceptual work with the idea that these artifacts were displays, again, about identity also, and that they were missing; they were fragmented in a kind of gap, or there was a gap that I thought needed to be questioned.


DB: So it was natural for you to mix cooking with art?

RT: Exactly, because I was looking at pots, bowls and plates, and Buddha statues, and these were all objects of everyday use in my culture, so first I basically decided to just cook so that these things would always be in play and from that it became, well, it was always about the people. Of course these are things that were used everyday, which have been taken out of context, put onto display because they were valued in a different situation, and looked at through the Western eye as if they were somehow valuable in relation to the idea of culture. But for me it was really about the life around the object.

DB: What’s your favorite thing to cook?

RT: I don’t have a favorite thing to cook.

DB: Nothing that gets you more into the act of cooking and engaging with people?

RT: It’s not so much about the cooking, not about the food or any particular dish; it’s about the act and then ... I think it’s always more communal to cook a big pot of curry than to make a piece of steak. But I actually just recently cooked a lot of steak for 2,000 people so I’m actually wrong, I could cook steak for a lot of people but, of course, it’s about the activity of cooking. When we made this kind of barbecue grill, Argentinean style, the asado, it’s a communal activity in itself. So, it was just a matter of scale. People normally do it with families but here we extended it so we could involve even more people at the same moment, so it became something else.

DB: Where do you get your ideas from? Are you inspired by something in specific or do they randomly come to you? Do you get them from looking at things, reading, or conversing with people?

RT: I think it’s all of that. It’s an ongoing process that I have and I think many artists have, which is like you’re always thinking, looking and everything that you experience becomes a question or a possibility. It’s a combination; I’m looking at certain things that I’m interested in but, on the other hand, I’m always very receptive to what is happening around me, and that becomes a trigger for other things.


DB: I’m wondering how you go on varying so much in terms of media when it comes to your work. Is it difficult to maneuver all these different types of expression, ranging from cooking to investigations about architecture... ?

RT: I’m not interested in style, I’m interested in content and if all the elements make sense, they all have certain roots or they all certainly have a relation to each other. It could be an eight hour video or a ten hour cooking session, yet they all bring people to the same place.

DB: Do you consider your piece now on view in The Last Newspaper at the New Museum, Untitled (the days of this society are numbered/September 21, 2009), part of a series along with other text works you have recently produced?

RT: I consider them like signage, like stop signs, road signs. They form a series but they can make you pay attention to a certain place and a certain moment when you are confronted by them. I think about that layering of the newspaper, which is an activity I’m very interested in, and in the activity of information being gathered. There are just a lot of layers there for me, from the ads to the typeface of the newspaper itself. There’s a lot of coincidence – or accidents, or maybe even intentions – in the way that certain things get laid out on these pages. The sign makes you stop and pay attention to the other things happening behind it.

DB: Would you be able to explain further how that text in particular explores the social role of the artist?

RT: ‘The days of this society is numbered’ is attributed to the situation in 1968; obviously, at that time it was a provocation within the context of a manifestation against the society, or rather of society against a particular group of people, the institution, people in control. And I would say that, of course, those moments reoccur, those conditions can still exist.

DB: I’m sure everybody asks about the grammar…

RT: Yes, well, it’s a bad translation of French. The mistake makes people react.

 
DB: And the dates on the newspaper…

RT: Well some in the series do make a reference to, for example, the market crash of 2008, just at the end of George Bush’s presidency. It has all been a commentary about the Bush years and certainly in conjunction with the market crash.

DB: What will we see from you in the near future? What are you working on now?

RT: I’m working on a film which will be about a retired Thai farmer in the countryside, and I hope that people will get to see it, or that it’s good enough for people to see it.





'THE LAST EVENING SUN' AVAILABLE NOW! #7 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 7: 'The Last Evening Sun'
(READ IT ON ISSUU)

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







EXCLUSIVE CONTENT!



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


FLOOR TAUTOLOGY 
Curator and writer Simone Menegoi on Luciano Fabro’s ‘Pavimento–Tautologia’, the earliest work in ‘The Last Newspaper’

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.




'THE LAST MONITOR' AVAILABLE NOW! #5 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum


Issue 5: The Last Monitor
(READ IT ON ISSUU)
 
November 3, 2010


Cover: ‘Today & Yesterday’. Gustav Metzger, Eichmann and the Angel, 2005.
Exclusive interview: Janine Armin on 'The Last Newspaper's work 'Eating the Wall Street Journal' by William Pope L.
Cover Story: Sophie O’Brien on Gustav Metzger
‘Picture Agent: Our singular picture agency’: Jordan Wolfson, artist
The Next Newspaper: Irina Chernyakova on ‘The San Francisco Panorama’
Fit to Print: Adam Chadwick on the digital divide
100 Years Ago…: ‘The Bisbee Daily Review’, 1901–1971, November 3, 1910
Media Habits: Mark von Schlegell, science fiction novelist and art essayist
Focus: Marcel Janco on Sarah Charlesworth
‘Readers’ Lives’: 'Paper-Weight Champion', Inveterate collector Harley Spiller – who recently completed a masters thesis, ‘On Newsstands Now! A History of Paperweights and Newsstand Advertising’ – weighs up the ‘pisapapeles’, ‘Papierbeschwere’, and 鎮紙 of the world.
Feature: ‘Heralding the Gizmo’ Max Andrews on Kirstine Roepstorff
‘Readers’ Lives’ by Marc D’Andre
Infographic: Facebook poll: where does the New Museum's audience get their information?
Cartoon: ‘The Woods: Tools’ by Francesc Ruiz
‘Advertising Department’: Ester Partegàs with Holly Coulis and Ridley Howard

Watch this and other 'The Last...' issues on Latitudes' Youtube Channel


EXCLUSIVE CONTENT!

All images courtesy Harley Spiller. Photos: Micki Spiller

PAPER -WEIGHT CHAMPION
Inveterate collector Harley Spiller – who recently completed a masters thesis, ‘On Newsstands Now! A History of Paperweights and Newsstand Advertising’ – weighs up the ‘pisapapeles’, ‘Papierbeschwere’, and 鎮紙 of the world.


Newsstand paperweights – the usually cast-iron weights that saw their heyday in the 1950s on newsstands across the world – bear the insignia of newspapers and magazines like the New York Times, Toronto Star, Saturday Evening Post, Time, Life, and Newsweek. The Mortimer Spiller Company, Inc., my parents’ advertising and sales promotion business, manufactured and sold these weights from the late 1940s through the mid 1980s. A century of their concerted collecting and documentation efforts has resulted in an archive of 151 unique international newsstand weights, plus the original carved mahogany prototypes, news-dealer aprons and caps, business correspondence, photographs, almost 1,000 news clippings, and more.


Advertising and the media have always been linked. The nation’s first mass-market newspapers and magazines arrived in the 1890s and 1900s, their very existence made possible by advertising fees collected from large corporations and retailers. The first weights to hold down newspapers may have been well-worn horseshoes, which were readily available at the onset of the 20th century, about the time automobiles started replacing horses. Paperweights forged expressly for newsstand use started appearing shortly thereafter, and by mid-century they were a fixture on the urban scene.

In the 1950s and 1960s, some of the thousands of weights Spiller was making were shipped overseas by Life, Time, and the Herald Tribune. These weights were deployed on the handful of major newsstands that sold international publications in London, Paris, and other European capitals. Of the 45 total weights my father collected overseas, from the 1970s until 2005, there are 37 in languages other than English.

The weights Spiller collected on Barcelona’s Las Ramblas, where throngs of people go to shop, sit in public, people-watch, and while away the time, run the gamut from a rudimentary and well-used bent-steel ingot with its painted name La Visión, almost completely obliterated, to gorgeous heavily lacquered enamel and polished metal specimens from periodicals like ABC and El Mundo.

One of the heaviest weights in the collection is a 3 1/4 pound (1.5 kg) metal and plastic rectangle for the German weekly newsmagazine Der Spiegel, its colors reminiscent of Germany’s national flag. Less sophisticated weights made from blocks of wood in countries like Thailand and Venezuela reflect these nations’ less-industrialized position in the world, yet the New York Times has also used wooden weights, and other American publications, such as The National and BackStage have found it cost-effective to produce low-end particle board models.

In the late 20th century people in the United States bought, according to Thomas C. Leonard, “less than half as many newspapers per capita than the Japanese, the Finns, and the Swedes; the British and the Germans also were better customers”. According to the United Nations Development Programme’s 2009 Human Development Report, these six nationalities have the same 99% adult literacy rate, but New York City, perhaps because it is a great city for walking, seems to have the most newsstands and weights per capita in the world. Literacy is but one crucial factor in the sale of print media. Three other important factors in the prominence of newsstands and weights are a well-established culture of media advertising; locations within swarming transportation hubs where people have time to kill, or near heavily trafficked pedestrian areas (or in the case of Los Angeles, near slow-moving traffic jams); and a lively competition among an abundant array of publications. Despite the fact that Cubans are voracious consumers of news and boast an adult literacy tied for first in the world at 99.8 per cent, for example, politics on La Isla are such that news dealers are few and far between. One scantily stocked Havana news shanty opens on Sunday mornings only. Its lines are long, its newspapers are much in demand.

In Japan, newspapers and magazines are commonly sold at train stations and other relatively wind-free indoor or semi-sheltered locations. Publications are ordinarily kept in pristine condition until they are handed over to the customer. Outdoor newsstands are uncommon but some Japanese dealers put their publications in outdoor wire racks especially designed to obviate the need for weights.
The paperweight for The China Press (which goes by the name ‘Overseas Chinese Newspaper’ in Chinese) claims its “rich content” can “heal the homesickness of overseas Chinese” by allowing readers to “contact the feeling” of the mainland. No matter where they are published or distributed, newspapers and magazines provide a link to their land of origin.
Back in Manhattan, for many years, the place to find print journalism from near and far was Hotalings, also known as the Out of Town Newspaper Agency. Hotalings was often the only link between people in New York and their lands of birth. For many others it was the best place to look for jobs and news from outside Gotham. Its huge selection meant customers could find everything from Pravda to Paris Match to Polish Engineering. Founded in 1905, Hotalings newsstands were located over the years in various parts of Times Square, from teeming street corners to the former New York Times Building to a tourist information kiosk on Broadway and 46th Street. New York City’s ever-shifting demographics have long been paralleled by Hotalings’ clientele. “We don't get the crowds from the theater district anymore. People don't roam in Times Square like they used to. It used to be mostly Western Europeans or people interested in Europe,” said Arthur Hotaling, the founder’s grandson, in 1988. “Now we get a lot more people from Latin America and the third world.” Despite efforts in the 1990s to spruce up the store and expand its offerings, the 105-year-old business is today a wholesale-only operation.

The pageantry of print media is in flux. Single-copy sales are down and impulse purchases are more sporadic. Will newspapers and magazines go the way of buggy whips and coin-operated telephones? No one knows, but one thing’s certain – the cast-iron cameos known as newsstand paperweights will last a long time.

Submit your story by emailing ‘The Last Monitor’: [email protected]




'THE LAST STAR-LEDGER' AVAILABLE NOW! #4 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

'The Last Star-Leger' – Issue #4
(READ IT ON ISSUU)

Table of contents:

Picture Agent - Our singular picture agency:
Haegue Yang (cover)
Media Habits:
Nicoline van Harskamp
Focus:
Collin Munn on 'The Last Newspaper's work 'Untitled' (2006) by Dash Snow
Feature: Latitudes on the
'The Last Newspaper's partner organisation StoryCorps & archive interview between journalist Ed Pierce and his grandson Scott Cole
Interview:
'Rank & File' Ignasi Aballí on his 'Lists' series

The Next Newspaper: Latitudes interview with Nick Mrozowski Creative Director of Portugal's newest newspaper 'i'
1989 Patricia Esquivias on…:
Communism
'Dirt Sheet':
Janine Armin's column
100 Years Ago...:
'The Tacoma Times' (Tacoma, Washington) 1903–1949, October 27, 1910.
Weekly cartoon strip: Francesc Ruiz
Advertising department:
Ester Partegàs with Rob McKenzie



EXCLUSIVE CONTENT!

Nick Mrozowski during his visit to 'The Last Newspaper' exhibition holding a copy of that days' New York Times. Photo: Latitudes.


THE NEXT NEWSPAPER: i


Fresh from putting together a 40-page on-site weekend newspaper for the Society of News Designers conference in Denver – Michigan native Nick Mrozowski, the Creative Director of Portugal's newest newspaper, simply called 'i', stopped by 'The Last Star-Ledger' newsroom.

 
The Last Star-Ledger:
Tell us about the origins of i [pronounced ‘ee’] – was there a lot of research done into what people wanted from a newspaper in 2009? Was it independently started?


Nick Mrozowski:
The guys who launched the paper are seasoned pros in the Portuguese market. They've been directors of other newspapers so they're well-versed in the economy and business. i was started by a public-works construction company in Portugal. They happen to have a publishing branch – they publish regional newspapers – and wanted a national newspaper. Innovation Media Consulting, started in Spain, consulted on the editorial ideas and design before it launched. Even more than their knowledge or research of the market, they tried to create a newspaper based on their instincts and ideas that was totally different to anything else. The staff we hired is very young and capable of serious journalism, but with a lot of spirit, energy, and humor. That naturally found its way into the newspaper and because of that our audience is even younger than we initially thought.
The newspaper has about 55 or 60 people in the newsroom now. I'm the sole art director, though I didn't design the initial project. The graphic model was done by Javier Errea, who is the most famous Spanish newspaper designer now. He just won the Society for News Design's Lifetime Achievement Award at forty-three years old! In the last fifteen years that his studio has been going, they've probably been involved with most of the newspapers in Spain and Portugal.

Cover i, 7 October 2010

TLS-L: The design is obviously a critical part of the newspaper. To what degree did the staff have either design or press backgrounds which came together in its visual journalism?

NM: We have reporters and designers of different functions. My degree is in journalism, but I focused on design. In all the newspapers I have worked on, I've been asked as much to be an editor as a designer. Our newsroom at i is a total open-plan. We work in the same room without cubicles or dividers with zones designed for communication. In the center are the top editors and then spiraling out are the various news desks, designers, and photographers.


TLS-L: Is there a typical way an article is put together?


NM: An editor or reporter decides there is going to be a story about something. They would then come and speak to one of the designers about what they're going to have for the page. We have our own jargon for types of stories or design elements to make it faster. That's pretty standard. The thing we do that's a little bit different is how we start a page. Throughout the course of a day we change it a million times, not only because an article comes in longer or shorter, we change it because somebody has a new idea. There are five designers, one design editor, and myself for the design portion.

Cover i, 26 July 2010

TLS-L: And you have 4 sections which are not at all based on traditional newspapers...

NM: i is 25 x 35 cm (9 8/10” x 13 8/10”) x with 48, 56 or 64 pages. It starts with ‘Opinion’ on the first four pages to get you thinking. The following short section ‘Radar’ is all the news you need to know from the last 24 hours in different formats: a few briefs, a portion of quotations, a photo that tells a story by itself, an info-graphic that has no text accompanying it. The big ‘Zoom’ section is more in depth, more analytical, with longer format, bigger stories, mostly two-page spreads. At the end we have a section called ‘Mais’ (meaning 'more') which has culture, sports, and lifestyle. We don't have this feeling that we need a 'national' or 'international' section with a set number of pages or stories with a certain length, the editing is much more fluid. Although we have developed some habits over time, nothing is set in stone. It changes from one hour to the next, making it harder to work but producing a better result. For some newspapers, it’s a way forward: to be more aggressive, not just in reporting, but in the way we think about how we report.

TLS-L: You must hear people talking about the decline of the traditional newspaper all the time?

NM: I see what's happening but I don't believe it. I think there are a lot more to come. They're going to change, they have to change, but it's good change. Obviously the internet is not going anywhere. We talk about it a lot in the industry. Everybody has different points of view and every couple of months there is a prevailing strategy, idea, or criticism. News used to be a printed newspaper – it's not anymore – but a newspaper isn't necessarily an online thing. I read the online version of the New York Times all the time in Lisbon because you can't buy it (you can only get the International Herald Tribune), so I read it in the morning before I go into work, I read it during the day.

Cover i, 19 June 2010

TLS-L: Yet in a traditional newspaper you find things you wouldn't otherwise read.

NM: When I go online I read a lot of stories because there's little investment in clicking a link, if a headline caught my eye, or an illustration. Funnily enough, now that I’ve been reading the New York Times on printed format here these last days, I find it really strange to navigate as an object.


TLS-L: Can you give our news team any advice?


NM: A good newspaper should have texture and a feeling of some immediacy. Try to highlight the liveness of it. Save yourself one part each time and only do it in the last thirty minutes so you have no idea what it's going to be. Desperation is a reality of newspapers!

 
– Interview by Latitudes. Edited by Greg Barton.

 
+ images of i covers here.




'THE LAST REGISTER' AVAILABLE NOW! #3 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 3: The Last Register
(READ IT ON ISSUU)

October 20, 2010


Cover: ‘Exhibit: Exposed!’. Installing 'The Last Newspaper' wall text
Report: ‘Reaction Distraction’: Gwen Schwartz on the TLN talk with participating artists Nate Lowman, Aleksandra Mir and Sarah Charlesworth
Focus: Doryun Chong on TLN artist Adrian Piper’s Vanilla Nightmares (1986)
Media Habits: Dora García
Dirt Sheet: Janine Armin on truth and fiction
Picture Agent: Sergio Vega
The Next Newspaper: Paul Schmelzer on the American Independent News Network
Feature: ‘Broadcasting’, Joe Salzman on the representation of the journalists on TV
Exclusive interview: Latitudes with TLN cartoonist Francesc Ruiz
‘Patricia Esquivias on...The French Revolution’
100 Years Ago…: New York Tribune
Feature: ‘Hyphen-ated’ by Stephen Spretnjak
Photo essay: ‘Behind the Scenes’, Installing ‘The Last Newspaper’
Cartoon: ‘The Woods: Scratch Lottery’ by Francesc Ruiz
Advertising: Ester Partegàs with Adam Shecter



This Week's Headlines
 

Philadelphia Newsstand (2010), installation at Temple Gallery, Philadelphia.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

“Before the internet, newsstands were the closest thing we had to web browsing”

Barcelona-based artist Francesc Ruiz is creating ‘The Woods’, a specially-commissioned cartoon strip for the back cover of each of ‘The Last...’ newspapers. The Editors-in-Chief of ‘The Last Register’ caught up with him as he prepared for an exhibition in Cairo.


Latitudes
: Is 'The Woods' a family, or is it a place?

Francesc Ruiz:
They're kind of a family or a community, as well as a place. The name was inspired by the last part of François Truffaut’s 1966 film based on Ray Bradbury’s 1953 novel Fahrenheit 451. It’s set in a totalitarian society in which books have been made illegal and are being burned. A group of people go into hiding in the woods and decide to memorize great works of literature. They create a community that transmits books orally from generation to generation. Each of them incorporates a different book: there are five ‘Moby Dick’s, four ‘Don Quixote’s, and so on. It talks about the power of human knowledge to adapt to difficult and new situations, which is something that – although under a completely different perspective – is happening right now with the threat to printed matter and the adaptation of content to new formats. In ‘The Woods’ I'm using the city newsstand, magazines and newspapers, as a way of talking about different lifestyles, about specialization and ideology. I want to create a kind of masquerade ball in which everybody is represented or at least plays a role in the social architecture, something also very related to web 2.0 and platforms such as Facebook.

L: Where if anywhere do you draw the lines between art and design, or artists and designers?

FR: It’s all about self-consciousness and a critical perspective. As long as cultural object producers (which is what I consider both artists and designers to be) look at their work as something critically produced, to me it makes no sense to establish differences. Looking at it from a slightly different angle, someone asked me recently if I’d ever produced a ‘mainstream’ comic. I think comic books and design can be understood in different ways, just as both experimental cinema and popular cinema coexist. I try to work on the experimental side, but whether this work is read as art or not depends entirely on the context in which it’s received.

 
L: Can our readers follow the cartoon strip as an ongoing narrative?  

FR: No it doesn't follow a linear narrative – each issue shows a situation. The whole cartoon strip creates a series of scenes which build on my recent experiences working with a newsstand scenario before in Philadelphia, and now in Cairo. I did consider creating something more narrative led using characters that keep reappearing, but decided against it.
 
Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

L: Specialist magazines target a public that has already been identified, yet they can also create new and perhaps unexpected followings. How does the newsstand feature in this relationship?

FR: Before the internet, newsstands were the closest thing we had to a web browsing experience. You could go there, buy specialist papers and magazines, check out the contacts sections, the classified ads, and see all the niches you could initiate yourself into. Through the printed press you were able to discover new things, it was the main knowledge distribution channel. With most of this now moving online the fetishistic element is not the same. Although there are some web-based attempts to create a similar interface to the newsstand, its visual power of the newsstand is unique.
For me a newsstand is a form of information architecture, a superstructure or a special building with inhabitants that change periodically. It’s an amazing tool with which to analyse the world and contemporary society. The matter of what will happen to newsstands as printed material begins disappears is something that is already visible: they're converting into lottery card retail points, as well as beverage and snack stands. But maybe they will have a different use in the future? I'm thinking of creating ‘The Newsstand Museum’, a museum with different newsstands from different countries and periods. Every stand will show the content exactly as it was in a specific time and place. For example September 10, 2001.

L: Can you tell us more about the Philadelphia project you mentioned, made for the Philagrafika 2010?

FR: I presented a newsstand for which I created all the printed content: a magazine formed by 120 covers and a newspaper which reproduced 12 different front pages. With these two publications I was able to build the ‘skin’ of the newsstand. I added speech bubbles to the covers, and recreated some important characters of the city mixed in with references to different neighborhoods, institutions, shops and bars. My idea was to create an analogy of the city and my experiences, initial reactions and perhaps prejudices about Philly after having been there for just a short residency period. I added a narrative layer around three main subjects: the city as the place where graffiti culture started, the city through which the AIDS crisis was imagined in the 1993 film Philadelphia, and finally the city’s Mural Arts Program, a (successful to some) anti-graffiti initiative. Through the different layers of newsstand I attempted to approximate the complexities of the city, as well as race, gender and class issues. I'm now creating a new newsstand for the Contemporary Image Collective in Cairo and it will take the form of a typical Egyptian street newsstand, only it will be made with newspapers covers that I've modified with a dialogue between the stones that are used as paperweights.

Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

L: What difficulties and luxuries has this very particular format of the serial cartoon strip present to you as an artist?

FR: I made a comic strip series with artist Pauline Fondevila in which we explored the bars of a city nearby Barcelona. Basically it was an autobiographical comic strip in wich we drew ourselves getting drunk and having adventures. We published forty different comic strips and they were published daily, the problem was that after a while the energy and the inspiration weren't there any more – and we had very bad hangovers! On the one hand it was very nice and a special format to play with in order to recreate worlds, but on the other you end up feeling a little like a slave to the daily production process.
This ten week trial for ‘The Last Newspaper’ is a great period to develop another small universe – that's essentially what I'm trying to do. The weekly frequency is fine compared to a daily routine. I recently showed a daily comic strip for Creative Time Comics, but all of these projects need a lot of commitment.  

L: Is there a particular newspaper cartoon you admire or took inspiration from?

FR: I don’t think Tales of the Beanworld by Larry Marder was ever published in a newspaper. I'm a big fan of George Herriman’s Krazy & Ignatz originally published daily in the New York Evening Journal, and that has always has been a source of inspiration to me. The genre ambiguity, the bricks, the accent of the characters and those amazing landscapes, I love it all! Of course there are now a lot of people working on digital comic books and digital comic strips. It's interesting to see how scrolling works very well when reading linear narratives, actually better than the page-by-page structure. Scott McCloud is for me first author who successfully started to explore the potential of the comic book medium. But my favourite author is Kang Full, the Korean Manhwa webcomic artist. The funny thing is that he later prints his comics in paper format which entails a very interesting re-adaptation. And this seems a very apposite process for this period in between two regimes, the page-based former one and the web-based new one.

– Interview by Latitudes, October 2010





LAST CHANCE: 'Provenances', Umberto di Marino, Naples & 'Sequelism Part 3: Possible, Probable or Preferable Futures', Arnolfini, Bristol, UK

Jordi Mitjà 'Floating Lines' (2009). Photo: Danilo Donzelli.

Installation view of Erick Beltrán's works: 'Euridice' (ink on gold leaf on oak leaves, text on paper); 'Creusa' (ash from Vesuvius, text on paper); 'Sybil of Cumea' (inscribed tufo stone, text on paper); 'Ildeth' (carved salt from Spiral Jetty, text on paper). All works from 2009. Photo: Danilo Donzelli.

Simon Fujiwara, 'The Museum of Incest', 2008-ongoing, hexagonal table, chairs, projection screen, wood veneer panelling, vinyl mural, map, framed portraits, six framed book pages (“The Incest Museum Cast of Actors”), slide projection loop, Museum orientation video (25 min.), Museum guidebooks, various objects and artefacts. Photo: Danilo Donzelli.

'Provenances'
Erick Beltrán, Jordi Mitjà and Simon Fujiwara
Umberto di Marino Arte Contemporanea, Naples, Italy

until 14 September 2009

EXHIBITION PHOTO TOUR HERE.

'Provenances' reflects on the heritage industry and the museumification of history, as well as the creation, transmission and fidelity of cultural worth. The artists share an aesthetic and pragmatic concern with the principle of the personal archive or the pre-museal wunderkammer – the categorization and veracity of objects, images and words is always provisional. + info...

Erick Beltrán presents four works each focussed around a relic-like artifact made of a particular natural substance. Each object is accompanied by a text-diagram, and together they elicit a dense proliferation of references, narratives, contexts and interconnections. In 'Floating Lines' (2009) Jordi Mitjà reflects on practices of information retrieval, falsification and accumulation. In his seemingly-sparse installation, clusters of photocollages are hidden from immediate view by a string curtain which protects them from light while necessitating the visitor’s gesture in order to reveal them. Simon Fujiwara's 'The Museum of Incest' (2009) is a multipart project which unearths an implicit myth of human origins and an explicit sexual archeology. Fujiwara realised the performance-lecture 'The Museum of Incest. A Guided Tour' during the opening night. 

A guide of the museum has been published by Archive Books (Softcover / 21 x 15cm / 52pp / ISBN 978-88-95702-09-4).

Press links here.

UMBERTO DI MARINO
Via Alabardieri 1, Piazza dei Martiri 
80121 Napoli, ITALIA
Opening hours: Mon-Sat 15–20h

'Provenances' has been kindly supported by the Institut Ramon Llull.


Haegue Yang, 'Holiday for Tomorrow', 2007. Painted wooden screens with metal feet (Yes-I-Know-Screen); PVC, shells (Shell Sculpture); 10 coloured Venetian blinds, steel cable (Blind Department); wooden platform with monitor showing 13 min DVD (Holiday Story). Courtesy of the artist and Barbara Wien, Berlin. Photo: Carl Newland.

Francesc Ruiz, 'Untitled' (Bristol) (2009). Self-adhesive digital prints. Courtesy of the artist, Maribel López Gallery, Berlin and Galeria Estrany-De la Mota, Barcelona. Photo: Carl Newland.

Victor Man, Untitled (we die,) (2008) Neon, vinyl. Courtesy of the artist and Johnen Galerie, Berlin; Untitled (Towards an Absent Friend) (2008) Funerary ceramic with rubber mat. Courtesy the artist and Zero..., Milan; Untitled (2009) Steel and taxidermy fox head. Courtesy of the artist and Zero..., Milan. Photo: Latitudes 
 
'Sequelism Part 3: Possible, Probable or Preferable Futures'
Arnolfini, Bristol, United Kingdom
until 20 September 2009
Free admission

 

EXHIBITION PHOTO TOUR HERE.

Artists: Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj), Francesc Ruiz (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1977, Malaysia. Lives in Berlin/Singapore), (1971 Seoul. Lives in Berlin/Seoul)

Curated by: Nav Haq (Curator, Arnolfini) and Latitudes

'Sequelism...' is an exhibition reflecting on the future and that which is yet to happen. It looks at the political, social and ecological implications of the inexact arena of futurology: the science and interdisciplinary practice of postulating possible, probable, and preferable futures from the present. This is the first in a trilogy of Sequelism exhibitions, with Part 2 in 2010. + info...

More on the public programme related to the exhibition on http://futurologyprogramme.org

Arnolfini 16 Narrow Quay
Bristol BS1 4QA
UNITED KINGDOM

Opens: 10am-6pm Tues-Sun & Bank Holiday Mondays. Closed Mondays. Free entrance
'Sequelism' is generously supported by the Institut Ramon Llull and the Sociedad Estatal para la Acción Cultural en el Exterior (SEACEX), IFA, the National Arts Council Singapore and The Ratiu Family.




Installation shots of 'Sequelism...', Arnolfini, Bristol on Latitudes' website


We have uploaded a slideshow with installation shots (CLICK HERE) of the recently inaugurated exhibition 'Sequelism Part 3: Possible, Probable, or Preferable Futures' on view at Arnolfini, Bristol until 20 September 2009.

'Sequelism, Part 3: Possible, Probable or Preferable Futures'
is an exhibition project that looks into the future and at that which is yet to happen. It considers how the inexact arena of futurology is used as a means to better comprehend the present and the past.




'Sequelism Part 3' includes works by Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj–Napoca), Francesc Ruiz (in residency) (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1971 Seoul. Lives in Berlin/Seoul).





Taking the style of a magical realist tale or children's story, Mariana Castillo Deball's 'Nobody Was Tomorrow' (2007) consists of three interconnected stories based on the fictional connections between three real ‘characters’ – ‘Nobody’ a defunct accelerating aging machine, a sprawling fig tree and the remains of a Roman bath in Čačak, Serbia. Castillo Deball makes us mindful of culture’s fortunes through a swirling fable about the sedimentation of time, encapsulated by an image of a damaged book.

'Index (Down)' (2009) is part of Heman Chong's ongoing series ‘Surfacing’, which require the action of putting up 3000 stickers on a wall within a given set of instructions. The red triangular stickers are intended to resemble the downward pointing arrows used to denote a fall in value of stock exchanges. Considering the paranoia around the scenario of economic freefall, Index (Down) uses this motif to create an abstract pattern evoking a waterfall.

Graham Gussin's 'Hypnotic/Dystopic/Optic' (2009) presents a ‘horizon line’ of rotating record covers for soundtracks to renowned dystopian science fiction films. The covers are set to rotate at the speed at which their images ‘vaporise’ at the limit of visual comprehension. 'In The Not Too Distant Future (Self Portrait with Sleeping Masks)' (2009) is a self-portrait of the artist inspired by a scene from the film La Jetée (1962) concerning an experiment in time travel following a nuclear war.

Francesc Ruiz's stair barriers installation 'Untitled (Bristol)' (2009) takes the shop windows of the high streets in the south of Bristol – East Street and North Street – as sequential units akin to comic-book vignettes. Ruiz has created a narrative around a dystopian future in which destruction, revolt and anger have invaded the city after an economic downturn.

Jordan Wolfson 'Untitled' (2007) centres on a 1984 Macintosh 128k, the first affordable home computer to use a mouse-driven graphical user interface. The computer is seen stranded by the side of a road in Connecticut, built in the late 1930s following the Great Depression. The soundtrack comprises a triumphalist monologue concerning the emergence of American abstract painting in the 1950s. Wolfson is interested in obsolescence, and in these elements as generational touchstones.

Victor Man's three pieces could read in terms of premonition and symbolic rites which relate to the uncertainty of the future in a similar way that memory relates to the past. A taxidermy fox head is wedged within a metal structure as if a votive or magical offering. Vinyl text on a wall is negated by a neon ‘X’. A ceramic funerary plate bears the image of stars, whose arrangement has often been interpreted by man in terms of fate and fortune.

Haegue Yang's 'Holiday for Tomorrow' (2007) considers our perception of time, and the emotional anticipation of holidays, those socially-agreed days in which labour is suspended and we attempt to rest our bodies and minds. At its centre is a video essay showing Seoul during the Korean harvest holiday Chuseok over which a female voice reflects on the postponement of desire and the dysfunctional hopes triggered by enforced leisure.
Accompanying events and film programme here.

Exhibition curated by Nav Haq (Curator, Arnolfini) and Latitudes.


Supported by the State Corporation for Spanish Cultural Action Abroad (SEACEX), the Direction of Cultural and Scientific Relations of the Spanish Ministry of Foreign Affairs, Institut Ramon Llull, IFA, National Arts Council, Singapore and The Ratiu Family Foundation.

[IMAGES (Top-bottom): Gallery 2 with three works by Victor Man; Francesc Ruiz 'Untitled' (Bristol) 2009 and Haegue Yang, 'Holiday for Tomorrow', 2007. All photos: Latitudes | www.lttds.org]





Sequelism Part 3... images of the installation in progress


[Images from top to bottom: Francesc Ruiz x 2, Haegue Yang x 2, Graham Gussin and Victor Man (taken by Nav Haq). All other images Latitudes | www.lttds.org]




SAVE THE DATE: Friday 17 July opening of 'Sequelism Part 3. Possible, Probable or Preferable Futures', Arnolfini, Bristol

Invitation design to the exhibition with work by Heman Chong.

'Sequelism Part 3: Possible, Probable or Preferable Futures' (18 July–20 September 2009)Preview: Friday 17 July, 6–8pm
Venue: Arnolfini, Bristol, UK
Artists: Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj–Napoca), Francesc Ruiz (in residency) (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1971 Seoul. Lives in Berlin/Seoul)
Co-curated by Arnolfini and Latitudes


'Sequelism Part 3: Possible, Probable or Preferable Futures' is a project that looks into the future and at that which is yet to happen. It considers how art and the inexact arena of futurology might be utilised as a means to better comprehend, rethink, obscure, or even colonise the present. Knowledge of current and historical events often plays a role in collective foresight or prognoses of change that is yet to take place. In a similar fashion, futurology could be said to deal with memory in reverse. The project seeks to investigate how prospective visions might be generated for vastly differing reasons, offering great idealism on the one hand, or harnessing political and societal anxiety on the other.

The future is commonly manifested in popular cultural forms, including science fiction, yet how might we look beyond the present without recourse to established genres? To what extent does strategic foresight affect our understanding of the ‘now’ or the ‘when’? Is the future a culturally specific phenomenon that is inherently ‘Western’ in its own gaze and orientation? And just how accurate can we be when imagining the future? The Sequelism project addresses issues and questions such as these. Disputing illustrative organisation around a predetermined thesis, the project itself invites doubt, speculation and to-be-determined outcomes.

This is the first in a trilogy of Sequelism exhibitions, with Part 2 in 2010.
More information: http://futurologyprogramme.org

Events and screnings
Neil Cummings and Marysia Lewandowska
Museum Futures: Distributed
Screening/Discussion, Saturday 18 July, 2pm, Free

Neil Cummings and Marysia Lewandowska’s film 'Museum Futures: Distributed' (2008) is a machinima record of the centenary interview with Moderna Museet’s executive Ayan
Lindquist in June 2058. It explores a possible genealogy for contemporary art practice and its institutions, by reimagining the role of artists, museums, galleries, markets, ‘manufactories’ and academies. The screening will also incorporate a discussion led by Neil Cummings and the curators of the Sequelism exhibition, discussing the future of art institutions.

The Futurological Congress
Sequelism Artists’ Screning Programe
Screening, Friday 21 August, 7.30pm, £3/£2 concs

A programme of artists’ videos selected by the curators of Sequelism to accompany the exhibition, including works by Marjolijn Dijkman, Jordan Wolfson and Julia Meltzer & David
Thorne. Introduced by Nav Haq, Exhibitions Curator, Arnolfini.

David Maljkovic
'Scene for a New Heritage Trilogy Screening'
Thursday 17 September, 6.30pm, Free

The films in David Maljkovic’s renowned 'Scene for a New Heritage Trilogy' (2004–6) are set between 2045 and 2071, visualising different encounters with a communist monument at the memorial park at Petrova Gora, Croatia, and speculating on how the meanings of history and monuments change over time.

Roy Ascott
Art and Technoetic Evolution: when the Mind outgrows the Body
Artist’s talk, Saturday 19 September, 2pm, Free

Artist and theorist Roy Ascott gives a presentation on the recent ideas informing his Technoetics art practice, that has grown out of his long-term research into cybernetic and ‘telematic’ art.

Will Holder
Neologisms Workshop
Workshop, September, date tbc, Free
Booking required, call 0117 917 2300 / 01

A language workshop for young people led by the designer, writer and editor Will Holder for constructing brand new words or ‘neologisms’, inspired by R. Buckminster Fuller’s technique for synthesizing existing words to generate names for new concepts and designs.



Arnolfini 

16 Narrow Quay 
Bristol BS1 4QA, UK
www.arnolfini.org.uk

Opens: 10am-6pm Tues-Sun & Bank Holiday Mondays | Closed Mondays | Free entrance

Sequelism is possible thanks to the generous support of the State Corporations for Spanish Cultural Action Abroad (SEACEX), the Direction of Cultural and Scientific Relations of the Spanish Ministry of Foreing Affairs, Institute Ramon Llull, The National Arts Council Singapore and IFA.




New Berlin Galleries: Feinkost & Maribel López Gallery


Two friends of Latitudes are opening their own galleries in Berlin: Feinkost and Maribel López Gallery.

Feinkost opened at the end of September with a show with work by the bulgarian artists Luchezar Boyadjiev. Tomorrow they will inaugurate their second show titled 'The Art World' with works by Ad Reinhardt, Alan Phelan, Balthasar Burkhard, Ben Gavin, Charles Gute, Christian Jankowski, IRWIN, Luchezar Boyadjiev, Matthieu Laurette, Pablo Helguera, Rainer Ganahl, REP Group, SOSka Group, et al.


On December 15th, Maribel López Gallery will open her space with the show 'Game Over Expanded' by Barcelona-based artist Francesc Ruiz.

"Francesc Ruiz (Barcelona, 1971) deploys an array of ‘possible’ fictions, laden with irony and bordering on delirium, which encompass multiple horizons of escaping from and re-inventing reality. His ink drawings alternate with other media, such as installations of black-and-white photocopies glued to the wall, videos and sculptures.On this occasion, in a new series of drawings and an installation, Francesc Ruiz tackles one of his recurring themes—his interest in places of consumption. These spaces enable him to develop narrative exercises charged with unexpected potential for action."

Francesc Ruiz was present at such recent exhibitions as Existencias, MUSAC, León (2007); Où? Scènes du Sud: Espagne, Italie, Portugal, Carrée d’Art – Musée d’art contemporain, Nîmes (2007), Registros y hábitos. Máquina de tiempo/imágenes de espacio, Fundació Antoni Tàpies, Barcelona and CGAC, Santiago de Compostela (2006).

Feinkost (Aaron Moulton & Mette Ravnkilde)
Bernauer Straße 71 - 72
13355 Berlin
T. +49 (0)172 1849732
info[at]galeriefeinkost.com

Maribel López Gallery
Holzmarktstrasse 15-18
S-Bahnbogen 54
10179 Berlin
T: +49 (0) 30 200 54 530
info[at]maribellopezgallery.com




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