31 July 2012 10:00
| 2011, 2012, Amikejo, Book Launch, Dubai, Fermin Jiménez Landa and Lee Welch, installation, Kassel, Lawrence Weiner, March Meeting, Maria Loboda, out of office, photo, report, Santiago de Compostela, Sharjah
This is the fourth consecutive year (see 2009-10, 2010-11 and 2011-12 posts) we say goodbye to the 2011–12 season with an 'out of office' post with some unseen and 'behind the scenes' moments lived in the past 11 months. 22 September 2011: Back to the future. transfering the mp3 file of the new anthem commissioned by Fermín Jiménez Landa onto a cassette. Images of their show here. 21 September 2011: Lee Welch and Fermín Jiménez Landa talk about their show to MUSAC's staff.
21 September 2011: Newly framed works by Lee Welch (top left) and photos by Fermín Jiménez Landa (right).
22 September 2011: Watching concrete dry (Lee Welch and Fermín Jiménez Landa's exhibition plinths/bordermarks).
12 October 2011: Finding 'The Last Newspaper' displayed at Walter König's bookstore while browsing for nice books during Frieze Art Fair, London. 13 November 2011: Jorge Satorre fixing one of the posters of the show, before we take off to discuss his and Erick Beltráns' project 'Modelling Standard', an interview that was published in the February issue of Atlántica magazine. 18 January: "Café con...Latitudes". Informal talk with Hangar artists-in-residence. Photo: Hangar. Latitudes has been part of Hangar's Programming Comitee between 2010–13. 31 January 2012: Premis GAC 2012 award ceremony at MACBA's atrium. Mariana Cánepa of Latitudes' was part of this year's jury. 2 February 2012: "...y desde el 'backstage'" (leer aquí) de Vanessa Graell en el suplemento 'Tendències', El Mundo. 6 February 2012: Demonstration to pressure politicians to change their minds about stopping the plan for the Canòdrom to be the future Centre of Contemporary Art in Barcelona. The windows were whitewashed as it is done with unused facilities. Artists whitewashing the Canòdrom windows. 12 February 2012: "Mataró Chauffeur Service" mangled at Matadero, Madrid.13 February 2012, ARCOmadrid: Installing vinyls and posters for each of the The Dutch Assembly hourly talks, readings, artists presentations, performances, book launches, in conversations and screenings throughout the five days of the fair. See list here (and some audiorecordings). Download full programme details here.'The Dutch Assembly' was well connected.
13 February 2012: The Dutch Assembly 'Superstructure' space by Jasper Niens and Thijs Ewalts. On the picture, the choir performance 'Care' by Rory Pilgrim, presented by De Hallen, Haarlem.
16 February 2012: Latitudes introducing Ann Demeester, Director, and Nathalie Hartjes, coordinator of the Gallerist Programme at De Appel, presented a round table discussion with (left to right): Jeanine Hofland (Jeanine Hofland Contemporary Art, Amsterdam), Rebeca Blanchard (NoguerasBlanchard, Barcelona) and Helga de Alvear (Helga de Alvear, Madrid) around the profession of the gallerist. Photo: Haco de Ridder.
Álvaro Calleja profiles The Dutch Assembly: "Un Puente entre dos naciones'/'a bridge between two nations" en el ABCDArco, 16 February 2012. 16 March: Good morning Sharjah! Part one of the March Meeting report here.
Sharjah lunch with curator and 'El Cultural' critic, Javier Hontoria.
29 March (29M): General Strike in Spain. Many more demonstrations to come...
22 April: One of this year's exhibitions highlights: Xavier Le Roy's "Retrospective" at Fundació Antoni Tàpies, Barcelona. On the finissage, children almost stole the show joining performers.
Here, father (performer) and son, performing together in the finissage.
10 April 2012: The happy moment of receiving copies of a Amikejo, a book we have been working on most of the winter. See images of the book here. 31 May: With Lara Almarcegui while she explains her work included in Manifesta 9, Genk. (see more pictures of Manifesta 9, here). 2 June: Visit to the drielandenpunt for a remote book launch. This is the apex of the triangle-shaped borders of what was Amikejo. 2 June: Friends that come to a booklaunch in a remote place, the drielandenpunt ("Three-Country Point") in Dutch, or Dreiländereck ("Three-Country Corner") in German, or Trois Frontières ("Three Borders") in French." More images here. Photo: Klaas van Gorkum 6 June 2012: Welcome to Germany! Brussels–Kassel train journey. A little German snack at Köln's Hauptbahnhof. 6 June: A German, a Dane and and English man meet and greet in a square. (gallerist Johann König, artist Tue Greenfort and Max Andrews' of Latitudes in Friedrichtplatz, Kassel). See Latitudes' documenta (13) photo report here. 7 June: Launch of Maria Loboda's book at Karlsaue Park with music, smoke and a pyramid of ice with 750 litres of champagne. See Latitudes' documenta (13) photo report here.
9 June: "Spain is dead" sign posted opposite Kassel's Fridericianum the day Spanish Ministry of Economy De Guindos, announced the financial "bail out".
16 June: Almejas, berberechos and cold beer in Santiago de Compostela. Galicia calidade!
Tangle of 2012 press and work passes.
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.