Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017

 
Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings by Christopher Knowles. The publication was made to accompany his recent solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. 

Max reviewed Knowles’ exhibition at Gavin Brown's enterprise for frieze magazine back in October 2004, and his work "Untitled (Alert Paintings)" (2004) depicting the Department of Homeland Security’s Threat Advisory System, was the linchpin of the Latitudes-curated 2007 exhibition "Extraordinary Rendition" at NoguerasBlanchard.  

The exquisite short-run publication (500 copies) was designed and printed by Barcelona-based independent publishers and Riso printers Do The Print.


All photos: Latitudes.

Christopher Knowles was born in New York City, USA, in 1959. Lives and works in New York. He has taken part in several exhibitions, among which: 'In a Word', Institute of Contemporary Art, Philadelphia, USA, curated by Anthony Elms and Hilton Als (2015); 'Secret Codes', Galeria Luisa Strina, São Paulo (2014); 'The Sundance Kid is Beautiful', The Louvre Museum, Paris, France, 2013; 'Merci Mercy', 980 Madison Avenue, New York (2013); 'Ecstatic Alphabets/Heaps of Language', MoMA, New York (2012); 'En el primer cercle', Fundació Antoni Tàpies, Barcelona (2011); 'Poor. Old. Tired. Horse', Institute of Contemporary Arts, London (2009); 'Visions of the Frontier', curated by Robert Wilson, Institut Valencia d’Art Modern (2009); 'Glossolalia: Languages of Drawing', Museum of Modern Art, New York (2008); 'Get Lost: Artists Map Downtown New York', New Museum Project, New York (2007); 'Learn to Read', Tate Modern, London (2007); 'Extraordinary Rendition', NoguerasBlanchard, Barcelona (2007).

Knowles' is represented by NoguerasBlanchard, Barcelona / Madrid; Gavin Brown's enterprise, New York / Rome; and Office Baroque in Brussels.


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In conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016)


Photos: Latitudes.

After much anticipation, we are elated to see (and touch!) Latitudes' five-part interview with Nicholas Mangan as part of his exhibition catalogue "Nicholas Mangan. Limits to Growth" (Sternberg Press, 2016). The publication is designed by Žiga Testen and includes newly commissioned texts by Ana Teixeira Pinto and Helen Hughes, alongside illustrations of Mangan's work and historical source material.

The five-part interview weaves together a discussion around five of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016) commissioned for this exhibition survey. Latitudes’ dialogue with Mangan, began around a research trip to Melbourne in 2014, and continued in the form of the public conversation event that took place at the Chisenhale Gallery, London, in 2015, as well as over Skype, email, snail mail and walks.






 

The publication release coincides with Mangan's eponimous exhibition survey which began in July in Melbourne's Monash University Museum of Art and just opened this past weekend in Brisbane's IMA. The show will further tour to Berlin's KW Institute for Contemporary Art in Summer 2017.

"Nicholas Mangan. Limits to Growth" 

Publisher: Sternberg Press with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne.
Editor: Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. 
Texts: Latitudes, Helen Hughes, Ana Teixeira Pinto 
Design: Žiga Testen;
October 2016, English;
17 x 24 cm, 246 pages + 2 inserts, edition of 1500; 

40 b/w and 102 color ill., with color poster and postcard Softcover;
ISBN 978-3-95679-252-6;
30 Euros.






















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Cover Story: July 2016 – Through the grapevine – Rasmus Nilausen’s Soups & Symptoms


New Monthly Cover Story "Through the grapevine – Rasmus Nilausen’s Soups & Symptoms" is now on www.lttds.org (after July 2016 it will be archived here)

"Rasmus Nilausen’s ‘The Cluster III’ (2014) sits tight in a cupboard in what was once the house of a priest. This painting formed just one part of the exhibition that, together with Pere Llobera, Nilausen made for the Latitudes-devised Composiciones last October (the programme of artists’ interventions returns later this year). "Vera Icon" took over the rooms of the abandoned house in the gardens of La Central bookstore, itself a former city-centre church, and tweeting Mayoress Ada Colau was one of the many curious visitors over the weekend." 

—> Continue reading...

Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 
"Highly recommended the #BarcelonaGalleryWeekend @ArtBarcelona_AS". Twitter by Ada Colau, Barcelona Mayor during her visit to Rasmus Nilausen (photographed on the left and upper right corner) and Pere Llobera exhibition at the house of a former priest, La Central Bookstore. Slideshow starts here.

Related content:
  • Archive of Cover Stories.
  • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
  • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
  • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
  • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)




Interview with Nicholas Mangan for his forthcoming catalogue ‘Limits to Growth’

Nicholas Mangan, ‘Ancient Lights’ (2015). Installation views, Chisenhale Gallery, 2015. Co-commissioned by Chisenhale Gallery, London and Artspace, Sydney. Courtesy the artist; Labor Mexico; Sutton Gallery, Melbourne; and Hopkinson Mossman, Auckland. Photo: Andy Keate.

We have just wrapped-up an interview with Melbourne-based artist Nicholas Mangan to be published by Sternberg Press as the catalogue of his forthcoming solo exhibition ‘Limits to Growth’, co-produced by Monash University Museum of Art (MUMA), Melbourne (opening July 20) and Institute of Modern Art (IMA), Brisbane (where it will be on view from October 29), it will later travel to Kunst-Werke Institute of Contemporary Art in Berlin (summer 2017)

The five-part interview weaves together a discussion of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016), to be premiered at Monash University Museum of Art (MUMA). Part of an ongoing dialogue with Mangan, it developed from a public conversation event that took place at Chisenhale Gallery, London on 7 July 2015. 

‘Limits to Growth’ references a 1972 report commissioned by the Club of Rome that analysed a computer simulation of the Earth and human systems: the consequences of exponential economic and population growth given finite resource supplies. The overlapping themes and flows of energies in the five of Mangan’s projects discussed in the interview might be read as an echo of the modelling and systems dynamics used by the simulation in order to try and better understand the limits of the world’s ecosystems. 

Mangan is presenting Ancient Lights’ (2015) at his Mexico City gallery LABOR on April 22, a work co-commissioned by Chisenhale Gallery in London and Artspace in Sydney.

In conversation between Latitudes and Nicholas Mangan, Chisenhale Gallery, 7 July 2015. Photos: Manuela Barczewski.

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The story behind José Antonio Hernández-Díez's 'San Guinefort' (1991)

 Pages with the story behind Plaça dels Àngels.

When giving a presentation or tour of an exhibition or project we have worked on, we are often asked how the project emerged – if there was a particular trigger or point of origin. In the case of José Antonio Hernández-Díezs exhibition currently on view at MACBA (until June 26, 2016), our approach was a familiar one to us we started by both delving in-depth in researching the artists previous works while at the same time looking into the history of the venue where the exhibition was going to take place. 

We are very fond of a book that has been in our library for many years – 'Histories and legends of Barcelona' by Joan Amades (Edicions 62). This two-volume tome gathers some of the myths behind Barcelona place names and includes the tales behind both familiar and obscure buildings, streets and monuments in the city. The story that most captivated us concerned the chapel of the Convent dels Àngels, and it is recounted in the essay we wrote to accompany the exhibition (published as the Quaderns Portàtils #32 pdfs available in Spanish and English and epub in Spanish only). It goes as follows:

(...) "Outside the doorway of the deconsecrated sixteenth-century church that formed part of Barcelona’s Convent dels Àngels there once stood the stone figure of a dog, standing upright on its hind legs. Two separate legends account for its existence, as recorded by ethnologist and folklorist Joan Amades in the 1950s. A boorish man would routinely interrupt the services and torment the church congregation, it is said. He was punished by being turned into a dog. The other version states that the canine figure commemorates the thwarting of a robbery. The church once displayed an image of Saint Roch, the patron saint of dogs, accompanied by a hound. It is said that the prospective thieves were frightened away as the image miraculously began to bark. (The supernatural mythology of the chapel does not cease there – in 1627 an image of Christ began to sweat blood profusely.) 

Sculpture of a dog once stood in front of La Capella dels Àngels, church of the Convent dels Àngels.
 
Parallel to this, we started looking at Hernández-Díezs earliest works and investigating his pieces in MACBAs collection. We found that the museum had his 1991 work San Guinefort on long-term loan in their collection, but it had never been exhibited. As narrated in our essay: 

(...) "that José Antonio Hernández-Díez (Caracas, Venezuela, 1964) had already been dealing with Catholic belief and superstition in his art – and moreover, specifically addressing canine veneration – is much more than an uncanny coincidence for his exhibition at MACBA’s Convent dels Àngels in 2016."  

The legend behind Saint Guinefort is one of the more obscure intersections of Catholic history and folk tradition:

(...) "Writing around 1260, the Inquisitor and Dominican friar Étienne de Bourbon related his investigation into the veneration of Saint Guinefort in the Dombes region of France. He discovered that this supposed Saint was, in fact, a dog. The account he disclosed was that a knight and his wife had one day left their greyhound Guinefort to guard their baby. When they returned to the castle they found the cradle empty and Guinefort covered in blood. Assuming it had murdered the baby, the knight hastily killed the dog, only later realising his error. Guinefort had in fact fought off a snake in order to save the child, who was found unharmed. Guinefort was buried unceremoniously in the forest outside the castle walls. Hearing of the martyred dog, local people began to believe in its power to protect children and began to bring their sick infants to the grave. Étienne de Bourbon was horrified to discover the strength of the superstition that had taken root. Children were being left overnight by Guinefort’s grave in the belief that he would rid them of spirits, and several babies had died as a consequence. Defending the orthodoxy of the church, the friar had the heretical remains of the greyhound dug up and destroyed, razed the forest and outlawed the canine cult, yet there is evidence of its persistence into the nineteenth century. The episode is worth recounting in detail, as previous accounts of it in relation to Hernández-Díez’s work have been misleading."


Coinciding with our research period, in August 2014 we happened to be travelling near Lyon, France, and took the opportunity to visit to the Bois de Saint Guinefort in the Dombes region, where the story of Saint Guinefort emerged (and where the dog-saint may still be venerated every 22nd August, despite the regional tourism office assuring us the festival day was no longer celebrated). 

Somewhere on the road between Villars-les-Dombes and Châtillon-sur-Chalaronne one can, with the help of a tagged flickr photo and GPS, find a sign, as seen below, which briefly narrates these peculiar events from the 13th Century



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Curators: 'I Will Fear No Evil', José Antonio Hernández-Díez, Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), 18 March–26 June 2016

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

Latitudes is curating the solo exhibition 'I will fear no evil' of Venezuelan-born Barcelona-based artist José Antonio Hernández-Díez (Caracas, 1964), which will open at the Convent dels Àngels del Museu d'Art Contemporani de Barcelona (MACBA), on March 17.
 
'I will fear no evil' presents works from the beginning of Hernández-Díez’s career in the late 1980s and early nineties – several of which have not been seen since they were first exhibited – in dialogue with Filamentos (2016), a new series developed especially for the occasion.

José Antonio Hernández-Díez, "La Hermandad", 1994. Video installation. ”la Caixa” / MACBA Collection.

The present exhibition looks back to Hernández-Díez’s first experimental works with video alongside early iconic screen- and vitrine-based works, including three of those presented at the time of his landmark first monographic exhibition 'San Guinefort y otras devociones', held in 1991 at Sala RG in Caracas. This exhibition heralded what the artist termed as a ‘New Christian Iconography’, offering – as artist-colleague Meyer Vaisman described – ‘a techno-pop view of Catholicism’s most beloved symbols’. 

An newly text by Latitudes will be published in Spanish as No. 32 of the Quaderns portàtils (Portable Notebooks) series. This MACBA-produced collection is freely distributed and downloadable from the museum website in PDF and ePUB format. An English translation will also be available as a separate PDF.

Exhibition runs between 18 March–26 June 2016 and is organised and produced by the Museu d'Art Contemporani de Barcelona (MACBA).




Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out!

Cover and backcover of 'End Note(s)'.


'End Note(s)' is finally out! The publication marks the conclusion of two years of residencies, discussions, editorial and exhibition projects within the framework of 'Moderation(s)', a multiform collaboration between Hong Kong's Spring Workshop and Rotterdam's Witte de With, steered by Singaporean artist and curator Heman Chong

Latitudes participation took place in January 2013 with a month-long residency at Spring Workshop, Hong Kong, and with the production of "Incidents of Travel": an invitation extended to four Hong Kong-based artists – Nadim Abbas, Ho Sin Tung, Yuk King Tan and Samson Young – to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints. 

As announced a few months ago, Latitudes has contributed to the publication with a visual essay documenting each of the artists' itineraries accompanying them with a revised and reedited version of the May 2013 conversation with curator Christina Li (Moderation(s)' witness). 

 
 Section of the book (pp. 61–89) dedicated to Latitudes' "Incidents of Travel". Here the names of the artists and the locations visited during each of their tours.

Itinerary and photo-documentation of Nadim Abbas' tour on 19 January 2013.


(Above and below) Itinerary and photo-documentation of Yuk King Tan's tour on 24 January 2013.

 Itinerary and photo-documentation of Ho Sin Tung's tour on 29 January 2013.


(Above and below) Itinerary and photo-documentation of Samson Young's tour, 7 February 2013.

Reedited version of a conversation with curator Christina Li – Moderation(s)' witness – originally published on Witte de With's blog dedicated to the project. 

Here's an excerpt of our conversation with Christina:

Christina Li: The artists' tours were meant for you both to converse privately with each selected artist while getting to know their practices and the city. Did the public aspect of the Nadim Abbas' tour and your experience of the commercial tours suggest a different perspective of how the format could function from your initial perception? How has this attempt challenged your thinking in mediating and presenting the immediate experience and documentation of these tours to a larger audience?

Latitudes: Although the commercial tours were taking place regularly by prior arrangement, we happened to be the only participants on each of the days [Feng Shui tour and Tour of the Devil's Peak]. We tried to keep the artist tours casual and inconspicuous, and to respect the notion of hospitality and privacy in the same way that if we came to your house for dinner, you would not expect us to bring a group of strangers with us. In fact, the day with Yuk King Tan concluded with a household of Filipina domestic workers making food for us – women whose trust and friendship she had earned through her personal affiliations and the concerns of her art. In this case it would obviously have been completely inappropriate and something of a human safari to bring along an audience. 



Visiting Waterfall Bay with Nadim Abbas was part of the public tour on 19 January 2013. Photo: Trevor Yeung.

But we had no desire to make the days exclusive or private as if they were some kind of bespoke tourist service. Other people sometimes joined for parts of the days if the artist had suggested it, yet the main point of emphasis was our commitment to the tour in lieu of the typically brief studio visit and a situation in which the artist has had ownership of planning the whole day. If there would be definitely something like an audience present throughout (that might expect to be engaged or come and go) the dynamics and the logistics would have changed.

The artist tours were conceived from the point of view of research, and we have been reluctant to burden the artists or overload the format to the degree that they become durational artworks or somehow theatrical. We are not particularly focused on tidying up whatever their ontological status as art might be and likewise we have deliberately not just invited artists whose work has a clear sympathy with performative, urban research or an obvious relation with sociability or place.  We feel it is important that the format is quite malleable to the personality of each artist and that in the same way that you might browse a newspaper or share a car journey with somebody, the tours do not require a wider audience to legitimize them. In the same sense they have not necessarily required documentation to make them valid. However, we have been increasingly interested in the idea of reportage or live broadcast in terms of the ‘making of’ or ‘artist at work’ genre, while at the same time being really wary about our own positions as protagonists and photographs that might seem like they belong in a travel magazine.

The tours in Mexico City took place during five consecutive days right after our arrival, so the way we shared the photographic material was more direct via our Facebook page at the end of each day. The exhibition at Casa del Lago opened only two days after we concluded the last tour, so we had to come up with a straightforward display form. For each tour the photographer Eunice Adorno had accompanied us and in the end we projected a selection of 200 of her images as a slideshow, and displayed a few of them printed on the wall alongside a large map of the city with pins locating the sites we visited. We also had printed itineraries, written by the artists, so anyone could later follow the routes themselves if they so desired. 



Visiting the Espacio Escultórico at U.N.A.M. with Jerónimo Hagerman, one of the five tours around Mexico City in September 2012. Photo: Eunice Adorno.

In Hong Kong we were using Twitter, Instagram, and Vine during the tours, so it was an experiment in documentation-on-the-fly and live journaling which was open to real-time responses. We also made a series of one-minute field recordings. The tweets were archived soon after alongside these recordings, as well as related Facebook posts. We also published blog posts about each of the tours which included many photographs (by us and others) alongside paragraphs from the artists’ itineraries. This might seem to highlight merely mundane technical aspects of the project but it also heightened our interest in further exploring the idea of the curatorial bandwidth beyond exhibition making, something we continued to investigate in following projects such as #OpenCurating.


'End Note(s)' Colophon:

Concept: Heman Chong
Editors: Defne Ayas, Mimi Brown, Heman Chong, Amira Gad, Samuel Saelemakers
Contributors: A Constructed World, Nadim Abbas, Defne Ayas, Oscar van den Boogaard, Mimi Brown, Heman Chong, Chris Fitzpatrick, Amira Gad, Travis Jeppesen, Latitudes, Christina Li, Guy Mannes-Abbott, Samuel Saelemakers, Aaron Schuster
Copy Editors: Janine Armin, Marnie Slater
Production: Amira Gad, Samuel Saelemakers, Heman Chong
Design: Kristin Metho
Printer: Koninglijke Van Gorcum
Publisher: Witte de With Center for Contemporary Art Rotterdam, the Netherlands

ISBN: 978-94-9143-529-4

 
RELATED CONTENT:
  
First week of the "Moderation(s)" residency at Spring Workshop, Hong Kong (17January 2013) 

Nadim Abbas' "Incidents of Travel: Hong Kong" public tour (19 January 2013) 

"Temple and Feng Shui Tour", a guided walk around Hong Kong Island & Kowloon (22 January 2013)

Ho Sin Tung "Incidents of Travel: Hong Kong" tour (30 January 2013)

Yuk King Tan's "Incidents of Travel: Hong Kong" tour (3 February 2013)


Tour of Devil's Peak and the Museum of Coastal Defence (6 February 2013)

Samson Young's "Incidents of Travel: Hong Kong" tour (7 February 2013)


Latitudes' Open Day at Spring Workshop on 2 February 2013 (9 February 2013)

"Archive as Method: An Interview with Chantal Wong, Hammad Nasar and Lydia Ngai" of the Asia Art Archive, Hong Kong. Concluding #OpenCurating interview (1 May 2013)


"Digression(s), Entry Point(s): An interview with Heman Chong", Singapore-based artist, curator and writer. Eighth in the #OpenCurating research series. (4 April 2013)

Archive of social media posts related to "Incidents of Travel" tours and photo-documentation.


13 field recordings from 'Incidents of Travel: Hong Kong' 

Witte de With opens the group show "The Part In The Story Where A Part Becomes A Part Of Something Else" on May 22, 2014 (21 April 2014)

Interview between Christina Li and Latitudes on 'Incidents of Travel' for Witte de With's 'Witness to Moderation(s)' blog (7 May 2013)
 
 
This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and @LTTDS.
All photos:
Latitudes | www.lttds.org (except when noted otherwise in the photo caption).
Licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




Witte de With opens the group show "The Part In The Story Where A Part Becomes A Part Of Something Else" on May 22, 2014

Anthony Marcellini, "The Object In And Of Itself", 2011. Courtesy the artist and Witte de With, Rotterdam.

The group exhibition "The Part In The Story Where A Part Becomes A Part Of Something Else", opening on 22 May at Rotterdam's Witte de With brings a conclusion to "Moderation(s)", the long-term multifarious programme that began in August 2012 with a teaser event at Spring Workshop, Hong Kong, co-partner of the initiative. 

The exhibition, curated by 'moderator' Heman Chong (artist and writer, Singapore) and Samuel Saelemakers (Associate Curator, Witte de With), will include works by +40 artists "gathered around key concepts such as time, duration and space (Douglas Gordon, Felix Gonzalez-Torres, On Kawara), memory and inscription (Ang Song Ming, John Cage, Sharon Hayes), transformation (Bik Van der Pol, Nicolás Lamas), pleasure (Ivan Argote, Chu Yun, Willem de Rooij, Haegue Yang), and encounters (Lee Kit, Narcisse Tordoir)." [from the website].
 
"Moderation(s)" began in January 2013 with Latitudes' month-long residency at Spring Workshop, Hong Kong, with its project "Incidents of Travel": an invitation to four Hong Kong-based artists – Nadim Abbas, Ho Sin Tung, Yuk King Tan and Samson Young – to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints. 

Around Kwun Tong market and shops with Samson Young. Photo: Spring Workshop. More photo-documentation here.

On 31 January a group of "Moderation(s)" participants [Heman Chong, Latitudes (Mariana Cánepa Luna and Max Andrews), Nadim Abbas, Mimi Brown, Chantal Wong, and Yuk King Tan] spent eight hours consulting the Asia Art Archive and engaging in multiple discussions around collectivity, time and knowledge triggered by archival resources [see "Asia Art Archive Intervention"]

Latitudes will also contribute to the forthcoming publication to be released on the occasion of the "The Part In The Story...", with documentation from each of the "Incidents of Travel" tours and an interview with curator Christina Li, Moderation(s)' witness.  

Participants during the Asia Art Archive intervention on 31 January 2013. Photo: Spring Workshop.

Follow:  
#ThePartInTheStory

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This is the blog of the independent curatorial office Latitudes. You can also 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.




Tuesday 18 March, 17:30h: Book launch of "European contextualising in analytical sociology and ethnographical representation on history and present" and conversation between Remco Torenbosch and Max Andrews (Latitudes) at the Library Fundació Tàpies

This and following images, courtesy of Remco Torenbosch.
Book launch
"European contextualising in analytical sociology and ethnographical representation on history and present"
Tuesday 18 March, 17:30h
Library of the Fundació Tàpies
c/ Aragó 255, 08007 Barcelona
Limited seating available. Please RSVP [email protected]

Book launch and conversation between Dutch artist and publication editor Remco Torenbosch and Barcelona-based curator Max Andrews of Latitudes.

In the context of the solo exhibition "European Contextualisation" by Dutch artist Remco Torenbosch (1982, Assen) opening next Thurday 20 March, 19h at NoguerasBlanchard, the gallery has organised the book launch of his most recent publication "European contextualising in analytical sociology and ethnographical representation on history and present" (Black Dog Publishing, 2014) at the library of Fundació Tàpies. The exhibition is part of the exhibition cycle "The Story Behind", curated by Direlia Lazo.



From the artist website:  

"Originally conceived for the Council of Europe, the successful design of the flag was later adopted by the European Union in 1985 whilst under the moniker of the European Economic Community. Designed by Arsene Heitz, a French draughtsman at the CoE, and Paul Levy, a Jewish-Belgian Holocaust survivor who worked for many years as the council's Director of Information, the finalised design was presented to the CoE in 1955 at its headquarters in Strasbourg, Heitz's hometown.

This publication profiles the documents, design proposals and written correspondence between Heitz, Levy and further collaborators that would form the painstakingly diplomatic development of an iconic vexillological moment. As part of the book's research, a collection of fabric monochromes woven by weavers from all 28 member states of the EU in the base colour of the flag was compiled. These collated monochromes as such become a map themselves of the socio-economic shift within EU member communities, an embodiment of the disappearing textile industries of Europe."




Author/Editor: Remco Torenbosch
Contributors: Charles Esche, Mihnea Mircan, Council of Europe Archive

Paperback: 244 pages
Publisher: Black Dog Publishing London

ISBN-13: 978-1908966698



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




Publication "A Chronology of Energy- and Art-Related Developments (2013, ongoing)" edited by Christina Hemauer and Roman Keller

Photo: Edizioni Periferia.

Last week we received a copy of the wonderful publication by Zürich-based artists Christina Hemauer and Roman Keller, with whom we have collaborated twice in the past, on the Portscapes commission series in 2009 (see photos of project here and a 'making of' video here) and on their solo exhibition 'United Alternative Energies' in 2011 in Kunsthal Århus, Denmark.  

Christina Hemauer and Roman Keller maintain the thesis that throughout history, culture and energy have been reciprocal entities: technological change determines cultural achievements and vice versa.

 Title page with contributors names. This and the following photos: Latitudes.

Their publication "A Chronology of Energy-Related Developments (2013, ongoing)" is based on the appendix of the six-volume "Encyclopedia of Energy" (2004). Its 64-page appendix sums up historical events of relevance to energy since the existence of Earth. In collaboration with 32 art historians (including Steven Jacobs, Andreas Vogel, Dorothee Messmer), curators (including Fiona Parry, Pedro de Llano and ourselves) and cultural theorists (including Yvonne Volkart, Anke Hoffmann, Rolf-Peter Sieferle) and concluding with an epilogue by Bice Curiger, former Kunsthaus Zürich's curator, the artists have supplemented the appendix (white pages) with «art-related» entries (yellow pages) in words and pictures.

Endpapers of the publication based on the appendix of the six-volume "Encyclopedia of Energy" (2004).

Latitudes contributed six entries, those of 1901 (Giacomo Balla's "Street Light"), 1956 (Atsuko Tanaka's "Electric Dress"), two entries for 1972 (Victor Grippo's "Energy of a Potato" and Gustav Metzger's "Project for Stockholm (phase 1)", ca. 1987 (Fischli & Weiss's "The Way Things Go") and 2003 (Simon Starling's "Tabernas Desert Run").


The book was made possible by a Dr. Georg und Josi Guggenheim-Stiftung 2012 grant.

Christina Hemauer & Roman Keller
182 pages, 20 x 27 cm, in two colours, linen binding
Edizioni Periferia
ISBN: 978-3-906016-24-5
CHF 38 / EUR 30

Purchase here.



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
All photos: Latitudes (except when noted otherwise in the photo caption)




2 June 2012: Book launch and exploration of former Amikejo

On June 2, after having visited Manifesta 9, we took the route towards the Belgian city of Kelmis-La Calamine, nearby the German and Dutch border, where we planned to launch the 'Amikejo' publication (Mousse Publishing, 2012) later that day.
Entrance to Kelmis-La Calamine. Trying to match today with the archive material included in the publication.

"The International Office for Travelling Merchants (‘Senpaga Internacia Oficejo por Komerco-Vojagxistoj’) was located in the Bergerhoff Hotel." (Hotel Bergerhoff was located on Luikerstraat, formerly Hasardstraat, in the place which today accommodates the ‘Select’ Café in Kelmis.)" in Ryszard Żelichowski, "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna", one of the texts in 'Amikejo' (Mousse Publishing, 2012. Edited by Latitudes). 

"There were as many as 135 registered Esperantists in a population then numbering four thousand. The Esperantists enjoyed the right to have two free Esperanto lessons in a primary school on Kerkstraat, which was a present to the city from the Vieille Montagne mining company. [Mr Charles] Schriever gave four lessons of Esperanto a week for children in his house on Kapelstraat, where there was a book shop with literature in Esperanto. The house also functioned as an office for the local Esperanto group and the venue for its meetings. The Esperantists’ guest houses were marked with a green star on their facades and the caption ‘Esperanta Gasttablo’; some of them survive to this day. 

What is now Park Hotel in Kelmis, built in 1843, was once the Vieille Montagne Director’s villa. Situated in a beautiful private park and with a huge ball-room, it was presented to the Esperantists by Charles Timmerhaus, the penultimate Director of the company, in 1907." in Ryszard Żelichowski, "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna", one of the texts in 'Amikejo' (Mousse Publishing, 2012. Edited by Latitudes). 

Finding our way around Kelmis-La Calamine. 
 Welcome to Kelmis–La Calamine.
Façade of the Geuldalmuseum, Göhltalmuseum or Musée de la Vallée de la Gueule (how confusing) on Maxst. 9, Kelmis/Neu-Moresnet, Belgium. Info here. A copy of the publication 'Amikejo' (Mousse Publishing, 2012. Edited by Latitudes) was donated to the museum's archive on our visit.
 Detail of the topological map of the area. In red the Drielandenpunt, towards Aachen, where we'd be going after visiting the museum.
Map of the triangular-shapped territory of Neutral Moresnet (Amikejo) in yellow and green.
First floor: Introduction to Neutral Moresnet, the first Esperanto state. Those who spoke Esperanto wore a green star (verda stelo). In the picture avid Esperantists Dr. Wilhelm Molly and french professor Gustave Roy, who in 1908 founded the first esperanto state (Amikejo, place of friendship in Esperanto) in Neutral-Moresnet. Summary of its history here.
 Wonderful panels explaining the history of Amikejo, its streets, founders, borders, flag, postcards, maps, stamps, coins, certificates, letters, lyrics of the anthem, coat of arms...
One of the original border markers.
Views of Kelmis–La Calamine and its surroundings.
Flora and fauna of the mining area.
All sorts of graphics and mineral samples of the Limburg mining area.
Stone and mineral samples displayed on pink silk, on yellow and baby blue.
Driving towards Vaals and the Drielandenpunt and going under the viaduct.
Arrived. "The Vaalserberg is also the location of the tripoint between Germany, Belgium and the Netherlands and its summit is therefore referred to as Drielandenpunt ("Three-Country Point") in Dutch, or Dreiländereck ("Three-Country Corner") in German, or Trois Frontières ("Three Borders") in French." (from Wikipedia).
 A small mention of Neutral Moresnet (1815–1919, which in 1908 changed its name to Amikejo). Between this period, the location was a quadripoint, bordering also Neutral Moresnet. See progress of the borders here.
The Drielandenpunt today.
Vaalserberg ("Mount Vaals") is 322.7 metres hill and the highest point in the European part of the Netherlands. It used to be like this.
Visitors reading about the drienlandenpunt's history and geographical situation.
 Tower from where one can observe Germany, The Netherlands and Belgium from on high.
Behind the publication the land where Amikejo was. This might be better understood here.
The 'Amikejo' book resting on the Drielandenpunt (the apex of the triangle-shaped borders of what was Amikejo). The green lines mark the borders of Germany (whole top), The Netherlands (triangle to the left) and Belgium (to the right). 
 All images: Latitudes | www.lttds.org




DVD/Book of 'A Road Not Taken', a film by Christina Hemauer and Roman Keller


We received the beautiful DVD/Book of 'A Road not Taken', the film by Swiss artists Christina Hemauer and Roman Keller – see trailer here – narrating the story of President Jimmy Carter's solar panels installed on the roof of the the White House in 1979. Latitudes collaborated with the duo during Portscapes, Rotterdam (2009) and most recently in February this year, curated their solo exhibition 'United Alternative Energies' in Arhus, Denmark – see images.

"This symbolic installation was taken down in 1986 during the Reagan presidency. In 1991, Unity College, an environmentally-minded centre of learning in Maine acquired the panels and later installed them on their cafeteria roof. In 'A Road not Taken', the artists travel back in time and, following the route the solar panels took, interview those involved in the decisions regarding these panels as well as those involved in the oil crisis of the time. They also look closely at the way this initial installation presaged our own era." (from the website http://www.roadnottaken.info)

The documentary just won the Golden Sun Award Best Documentary at The International Environmental Film Festival (FICMA), Barcelona. Congratulations Roman and Christina!

The DVD/Book is now available worldwide through their web and other bookstores. Some data:

UPC: 6 34479 99963 5
ISBN: 978-3-033-02868-5
Genre: Documentary
DVD Region Code: No Zone
Running Time: 66 min.
Rating: no rating
Package Type: Hardcover book in slim DVD case size (192 x 135 x 10 mm, 7.4 x 5.3 x 0.4 “), cellophane wrapped
Pages: 64
Number of discs: 1 DVD-5
Directors: Christina Hemauer | Roman Keller
Original Language: English
Closed Captioned: yes
Subtitles: German, French, Italian, Spanish, Chinese and English
Aspect Ratio: 16:9
Audio Format: Dolby stereo
Bonus: 24 min.

All photos of the pages: Latitudes | www.lttds.org





Publication release: 'Mataró Chauffeur Service', project by Martí Anson & Latitudes for 'No Soul for Sale', Tate Modern, London, May 2010

Cover of the publication. Photo: Save As... Publications



Published by: Save As... Publications
Edited by: Latitudes
Texts by: Martí Anson and LatitudesGraphic Design: ferranElOtro Studio
Format: 21 x 15 cm / softcover with folded poster jacket / 62pp / offset, black-and-gold
Language: English, Spanish & Catalan
Price: EUR 16,00
Print-run: 500 copies
Date of Publication: February 2011
ISBN: 978-84-936956-9-9
Availability: La Central

The publication 'Mataró Chauffeur Service' gathers documentation of the collaboration with artist Martí Anson realised on the occasion of Latitudes' participation in the London edition of 'No Soul for Sale' (14–16 May 2010), for which the artist set up his own chauffeur company and drove the curatorial duo from Barcelona to Tate Modern's Turbine Hall and back. (+ info...)

"Martí Anson drove a car up from Spain and parked in the Tate to double as a screening room for Latitudes projects" 

– Janine Armin, The New York Times

"An interactive art-taxi" 

– Martin Coomer, Hotline

"Mr. Anson has designed the car and his chauffeur’s uniform." 

– Carol Vogel, The New York Times

"La oficina curatorial Latitudes colaborará con el artista catalán Martí Anson … para trasladar su coche tuneado como un 'Spanish cab' hasta Londres y empleando la Sala de Turbinas como aparcamiento" 

– Javier Díaz-Guardiola, ABC.es

"…ha fet el viatge en un espectacular model cedit per la marca BMW que el propi Anson ha redissenyat perquè recordés a l’estil original dels taxis de Mataró dels anys 60 (daurat i negre)" 

– www.capgros.com

"Anson daba a pensar sobre el rol camaleónico del artista, y sobre el intercambio de servicios que se da entre diferentes agentes dentro de la industria del arte." 

– Cristina Garrido, Diari de Tarragona

"Martí Anson ha hecho de chófer de una supuesta compañía de taxis (ha creado logo y tarjetas de visita) y cubierto por carretera-ferry el trayecto Barcelona-Londres en plena crisis por la nube volcánica (…) Lo suyo es ficción, pero recuerda que durante los días de bloqueo europeo por las cenizas del volcán islandés, había compañías de taxi que ofrecían el Barcelona-Londres por 4.700 euros." 

– Emili J. Blasco, ABC blog

"Latitudes viene realizando un trabajo que ha logrado concitar el interés de la comunidad artística y el público a partir de proyectos que se instalan más allá de las fronteras de lo artístico … Una vez en Londres, el taxi y unas mesitas y sillas a modo de camping harán de stand en el que se podrán ver los proyectos que ha realizado la oficina así como proyecciones de video de artistas jóvenes" 

 – Javier Hontoria, El Cultural
 

Photos: Latitudes | www.lttds.org (except when noted otherwise)




Installation views of 'Christina Hemauer | Roman Keller: United Alternative Energies', Århus Art Building, Århus, Denmark, until 3 April 2011

Above and below: Installation view. Photo: Jens Møller Sørensen. Courtesy the artists.


—> Slideshow of the publication.
—> Slideshow of the exhibition.

The exhibition 'Christina Hemauer | Roman Keller: United Alternative Energies', is the most comprehensive exhibition of the Swiss duo's work to date, presenting ten works of which four are new productions.

Hemauer | Keller has investigated the concept of energy for several years. One of their main areas of interest is the history of oil and its competing alternatives, notably solar energy. Often involving historical research, remembrance, performance and film, their projects focus in particular on the politics of oil, energy crises, and the pursuit of new technology. (+ info...)

A 36 full-colour page booklet can be purchased from the Århus Art Building for 35 DKK (aprox. €4,70). Exhibition remains on view until 3 April 2011.


Photos and texts accompanying images: Latitudes | www.lttds.org




Forthcoming project: Partner organisation in 'The Last Newspaper', 3rd, 4th and 5th floors, New Museum, New York, 6 October 2010–9 January 2011


Photo: New Museum/Dean Kaufman

| ENG |

(...) The first people we approached to participate were Max Andrews and Mariana Cánepa Luna, who are partners in Latitudes, a curatorial office based in Barcelona. They have a wonderful flexibility in their projects, which include overseeing public commissions, organizing conferences, as well as initiating multidisciplinary research and editorial programs. Our preliminary conversations led quickly to the notion of a weekly newspaper produced in the New Museum over the course of a residency. From this point, we moved pretty quickly into a landscape of organizational residencies that will animate the social aspects of the exhibition. – Richard Flood, interview with Benjamin Godsill about the exhibition, fall 2010.

 
The Last Newspaper will be a hybrid exhibition inspired by the ways artists approach the news and respond to the stories and images that command the headlines. Alongside the exhibition, a number of partner organisations (see list below) will use on-site offices to present their research, engage in rapid prototyping, and stage public dialogues, opening up the galleries as spaces of intellectual production as well as display.

'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... will be an evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited by Latitudes and produced and disseminated from the museum every week for 10 weeks.


The tabloids, design directed by Chad Kloepfer, will be conceived by a specially-assembled editorial team and contributors who are giving their time and skills pro bono. The published record of the enterprise will be bound at the conclusion to form a surrogate catalogue of The Last Newspaper.


Artists in the exhibition:
Alighiero e Boetti; Judith Bernstein; Pierre Bismuth; Andrea Bowers; Francois Bucher; Sarah Charlesworth; Luciano Fabro; Robert Gober; Hans Haacke; Karl Haendel; Rachel Harrison; Thomas Hirschhorn; Emily Jacir; Larry Johnson; Mike Kelley; Nate Lowman; Sarah Lucas; Adam McEwen; Aleksandra Mir; Adrian Piper; William Pope.L; Allen Ruppersberg; Dexter Sinister; Dash Snow; Rikrit Tiravanija; Wolfgang Tillmans; and Kelley Walker.Partner organisations: Center for Urban Pedagogy; StoryCorps; Latitudes; The Slought Foundation; INABA, Columbia University’s C-Lab; Joseph Grima and Kazys Varnelis/Netlab; and Angel Nevarez and Valerie Tevere.

Exhibition co-curated by Richard Flood, Chief Curator of the
New Museum and Benjamin Godsill, Curatorial Associate.

 
| ESP |


Hans Haacke, News, 1969/2008, RSS newsfeed, paper, and printer, dimensions variable.

"La primera persona que invitamos a participar fue Max Andrews y Mariana Cánepa Luna, socios de Latitudes, una oficina curatorial con base en Barcelona. Tienen una maravillosa flexibilidad en sus proyectos, que incluyen la supervisión de comisiones públicas, la organización de conferencias, así como iniciar programas de investigación multidisciplinaria y de índole editorial. Nuestras conversaciones preliminares nos llevaron rápidamente hacia la idea de realizar un periodico semanal producido en el New Museum en el transcurso de una residencia. – Richard Flood, entrevista con Benjamin Godsill entorno a la exposición, otoño 2010

'The Last Newspaper' será una exposición híbrida que explorará el modo en que los artistas responden a las noticias, imágenes y titulares y al tiempo analizará cómo se genera, gestiona, registra, ordena y distribuye la información. Un número de organizaciones asociadas han sido invitadas a 'desplazar' sus oficinas al terreno museístico para presentar su trabajo, participar en la creación de propotipos y diálogos públicos, convirtiendo las galerías del museo en espacios de exhibición y discurso.

'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... será un tabloide semanal de 12 páginas editado por Latitudes durante 10 semanas ‘en directo’ desde una sala de redacción instalada en el espacio expositivo. El periódico será una publicación episódica gratuita que cambiará su título semanalmente e investigará el frágil momento del periódico como medio de comunicación así como los comportamientos comunes entre la labor editorial y la curatorial.

Los tabloides, cuyo diseño será dirigido por Chad Kloepfer, serán un documento en continua formación que registrará la exposición. Al concluir ésta, se encuadernarán como un único volumen formando el catálogo sustituto de 'The Last Newspaper'.


Artistas en la exposición:
Alighiero e Boetti; Judith Bernstein; Pierre Bismuth; Andrea Bowers; Francois Bucher; Sarah Charlesworth; Luciano Fabro; Robert Gober; Hans Haacke; Karl Haendel; Rachel Harrison; Thomas Hirschhorn; Emily Jacir; Larry Johnson; Mike Kelley; Nate Lowman; Sarah Lucas; Adam McEwen; Aleksandra Mir; Adrian Piper; William Pope.L; Allen Ruppersberg; Dexter Sinister; Dash Snow; Rikrit Tiravanija; Wolfgang Tillmans; and Kelley Walker.

Organizaciones asociadas:
Center for Urban Pedagogy; StoryCorps; Latitudes; The Slought Foundation; INABA, Columbia University’s C-Lab; Joseph Grima y Kazys Varnelis/Netlab; y Angel Nevarez y Valerie Tevere.


Exposición comisariada por Richard Flood, Comisario jefe del New Museum y Benjamin Godsill, Comisario asociado.


New Museum
235 Bowery
New York, NY 10002
USA




'Portscapes' publication now available at Motto and Pro qm (Berlin) and La Central (Barcelona and Madrid)

'Portscapes' standard edition (green) and limited edition (white). Photo: Latitudes | www.lttds.org

We are happy to announce that the 'Portscapes' multi-part publication is now available at Motto in Berlin (location map), Pro qm (also in Berlin, see map) and in La Central (several locations in Barcelona and Madrid).


It is also available at the Museum Boijmans shop (in Rotterdam) and at SKOR, by emailing [email protected] or calling +31 (0)20 672 25 25.

Inside of 'Portscapes' box. On view production stills of Jan Dibbets' film. Photo: Latitudes | www.lttds.org

The bilingual English/Dutch publication was designed by Ben Laloua/Didier Pascal contains a miscellany of contributions by the artists, a cahier with texts on the projects, the prologue publication presented with the launch of the project in February 2009 and a DVD with 'behind the scenes' footage with interviews with 'Portscapes' artists. Please note there are two editions: Green box=standard and white box=special edition (includes Jan Dibbets' film '6 Hours Tide Object with Correction of Perspective').

Inside of 'Portscapes' box. On view CD with 'making of' videos of each project. Photo: Latitudes | www.lttds.org

Publisher: Port of Rotterdam Authority and SKOR (Foundation Art and Public Space, Amsterdam)

Publication date: 5 February 2010
Graphic design Portscapes: Ben Laloua/Didier Pascal with Marius Hofstede, Rotterdam.
Design various artists contributions: Edauw Design, Koudekerk aan den Rijn
Format: 33 x 27cm, box (green= standard edition, white = limited-edition)
Weight: c.900g
Print run: 800 copies of which 100 are limited editions
Project texts: Latitudes and Theo Tegelaers

The art section at La Central bookstore in c/Elisabets 6, Barcelona. Photo: La Central
La Central, several locations in Barcelona and Madrid, check www.lacentral.com

View of Motto in Berlin. Photo: Motto
Motto, Skalitzer Str. 68, im Hinterhof, 10997 Berlin, Germany
Mon-Sat: 12–20h
[email protected]

Displaying 'Portscapes' at Pro qm, Berlin. Photo: Latitudes | www.lttds.org

Pro qm, Almstadtstraße 48-50, 10119 Berlin, Germany
Mon-Sat: 11-20h
[email protected]




Newsletter #22 – April 2010

 
Newsletter in English | Newsletter en Español

This month, Latitudes celebrates its 5 year anniversary! Together with Archive Books (Turin/Berlin) they are preparing a small publication gathering documentation from a selection of projects produced since 2005 (release date TBA).


CURRENT
 

Text 'Under Construction' on Lara Almarcegui's practice on the April–May issue of Milan-based magazine Mousse #23.

FORTHCOMING


Latitudes invited Martí Anson to create
Latitudes’ temporary office-encampment for their participation in 'NO SOUL FOR SALE – A Festival of Independents', taking place at Tate Modern's Turbine Hall, 14–16 May, London, UK + info...

Participation of Latitudes' Max Andrews in 'The Falmouth Convention', 20–23 May, Cornwall, UK + info...

Collaboration in the
exhibition 'The Last Newspaper' at the New Museum, New York, October 2010–January 2011 + info...
 

LAST CHANCE

Portscapes exhibition of the ten public commissions that took place throughout 2009 in the port of Rotterdam, on view until 25 April at the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands
+ info...






Check Latitudes' web www.lttds.org for further info and project updates
Facebook fan page here.
Flickr photosets here

Newsletters archive here




Inside 'Portscapes' publication box (green=standard and white=limited edition)


Designed by Rotterdam-based design studio Ben Laloua/Didier Pascal, the multi-part publication box includes a miscellany of contributions by the artists, a cahier with texts on the projects (it can be downloaded from here), the prologue publication presented with the launch of the project in February 2009 and a DVD with 'behind the scenes' footage with interviews with 'Portscapes' artists Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Jorge Satorre and Hans Schabus.



DVD with 'behind the scenes' footage and interviews with 'Portscapes' artists – these can also be seen online on Latitudes' YouTube Channel.

The limited edition contains the film '6 Hours Tide Object with Correction of Perspective' (2009) produced by Jan Dibbets for 'Portscapes'.


The publications can be purchased at the Museum Boijmans’s shop, or can be ordered from SKOR by emailing [email protected] or calling +31(0)20 672 25 25. The standard edition costs €12.50 and the limited edition €50.

Publisher: Port of Rotterdam Authority and SKOR (Foundation Art and Public Space, Amsterdam)
Publication date: 5 February 2010
Graphic design Portscapes: Ben Laloua/Didier Pascal with Marius Hofstede, Rotterdam.
Design various artists contributions: Edauw Design, Koudekerk aan den Rijn
Format: 33x27cm, box (green for the standard edition, white for the limited-edition)
Weight: c.900g
Print run: 800 copies of which 100 are limited editions
Project texts: Latitudes and Theo Tegelaers
'Portscapes' was an accumulative series of newly commissioned projects taking place throughout 2009 alongside the construction of Rotterdam's [51°55' N 4°29' E] Maasvlakte 2 – the extension to Europe's largest seaport and industrial area by 20%. + info




Haegue Yang's 'Symmetric Inequality' (Desigualdad simétrica) exhibition catalogue, sala rekalde, Bilbao


The trilingual exhibition catalogue 'Symmetric Inequality' (Desigualdad simétrica), has just been published following the solo exhibition by Berlin-based artist Haegue Yang (1971, Seoul, Korea) which opened a year ago at sala rekalde, Bilbao (18.12.08–19.04.09 – see images of the exhibition on Latitudes' post from 20 December 2008). The catalogue is the second volume of a two-part publication project that began with the exhibition 'Asymmetric Equality: Haegue Yang', which took place at REDCAT, Los Angeles between 28 June and 24 August 2008.

This second volume documents the installation at sala rekalde and includes texts by Max Andrews of Latitudes; Prof. Jie-Hyun Lim, director of the Institute of Research in History and Comparative Culture of the University of Hanyang and a conversation between Melanie Ohnemus, curator of Portikus, Bart van der Heide, former curator of Cubitt, Pablo Lafuente, critic and editor of the journal Afterall, London/ Los Angeles, Asier Mendizábal, artist, Leire Vergara, former curator of sala rekalde and Haegue Yang.

'Haegue Yang. Symmetric Inequality'
Graphic Design: Katie Hanburger & Gail Swanlund
Publisher: sala rekalde, www.salarekalde.bizkaia.net
Distributor: AGD Libros, Bilbao, [email protected]
ISBN 978-84-88559-58-6 (sala rekalde), ISBN 0-9749831-9-5 (REDCAT)
352 pp., colour, softcover




Ignasi Aballí's exhibition catalogue 'Nothing, or Something' now available



Ignasi Aballí's exhibition catalogue 'Nothing, or Something' is finally out and available via Múltiplos, Barcelona.

The catalogue follows his recent exhibition at the project space run by Beijing's Today Art Museum placed at the Yintai Center, which took place between 22 May and 22 July this year. The exhibition catalogue includes an essay by exhibition curators Latitudes as well as installation images of the project which spreads throughout eight window displays on three floors. Aballí's project responded to the retail context of the commercial centre as well as an artistic history of absence, nothingness and invisibility.

To see images of the exhibition, see here.
Description of the exhibition, read here.

'Nothing, or Something'
Softcover, 88 pages, colour
Essay by Latitudes
English/Chinese publication
Published by the Today Art Museum.

All images: Latitudes | www.lttds.org




Sharjah Biennial 8 (2007) part 2 publication with transcripts of the 3-day conference organised by Latitudes and the RSA, London



Above images of the recently published catalogue of the Sharjah Biennial 8, United Arab Emirates [25º 22’N, 55º 24’E] titled 'Still Life: Art, Ecology and the Politics of Change (Part II)' which includes installation shots of the exhibition as well as transcripts of the 3-day conference Latitudes organised in collaboration with the Royal Society of Art's Arts & Ecology programme (today the RSA Arts and Ecology Centre) back in April 2007 (+ info).

The symposium
(images here) considered today’s uses and abuses of the ‘eco-’, notions of artistic agency and critical practice, as well as the role of the public realm in today’s artistic and institutional practices. How has it become fashionable (or profitable) to be seen to be eco? How has what we mean by ecology been transformed and evolved through the uses of terms such as ‘environmental’, ‘green’, ‘ethical living’, and so on?; How do some artists desire palliative results, while others offer strategies of friction or resistance? How far are the sources of materials a consideration for artists, designers and architects? And how does this relate to wider questions of resources—water, energy, oil in the Emirate and beyond?

The symposium included focused presentations by keynote speakers such as Bruce Sterling (read his paper here), critical panels with participating artists Sergio Vega or Peter Fend as well as Van Abbemuseum director Charles Esche, or Smart Museum's
Curator of Contemporary Art Stephanie Smith as well as breakout seminars with participating artists Tomás Saraceno and Michael Rakowitz.

You can download the symposium programme, exhibition guide and view press-related materials in this archive.


'Sharjah Biennial 8. Still Life: Art, Ecology and the Politics of Change (Part II)'
568 pages, 233 x 165 mm, softcover 350g. Art Matt Card

Paper: 80g. offset wood free and 135 g. Art Matt

Publisher: Sharjah Biennial,
www.sharjahbiennial.org
ISBN 978-9948-04-328-6 Part II




Beginning of 'Portscapes': Jan Dibbets' 1969–2009 "12 Hours Tide Object with Correction of Perspective"

Production stills of Jan Dibbets '12 Hours Tide Object with Correction of Perspective', produced by Gerry Schum for the series 'Land Art' in 1969. Courtesy Jan Dibbets.

'Portscapes' is an accumulative series of artists’ projects that will take place throughout 2009 alongside the construction of ‘Maasvlakte 2’, a 2,000 hectare area of reclaimed land that will extend the Port of Rotterdam, Europe's largest seaport and industrial area. Projects of variable scales will be experienced through itineraries and destinations, comprising artist-designed tours, performances, interventions, screenings and mobile seminars, for example.

'Portscapes' will be launched during Art Rotterdam (5–8 February 2009). A prologue publication designed by Ben Laloua / Didier Pascal will be available at Portscapes' booth with contributions by Jorge Satorre, Paulien Oltheten, Maria Barnas and Erick Wesselo amongst others. Images of the publication:


'Portscapes' prologue publication designed by Ben Laloua / Didier Pascal

Events during Art Rotterdam week include:


* Thursday 5 February: tour for press and invited guests around the port and presentations by Portscapes artists Marjolijn Dijkman and Ilana Halperin as well as Theo Tegelaers from SKOR and Latitudes.

* Sunday 8 February (weather permitting) : the inaugural project will take place with the filming of an event-sculpture by the Dutch Conceptual artist Jan Dibbets. First realised in February 1969 as part of Gerry Schum's seminal 'Land Art' series of films screened on German TV, the 2009 realisation of '12 Hours Tide Object with Correction of Perspective' will be filmed forty years later to the month on the beach of the Maasvlakte.


 The artists currently developing proposals are: Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Cyprien Gaillard, Ilana Halperin, Roman Keller & Christina Hemauer, Paulien Oltheten, Michael Rakowitz, Jorge Satorre, Hans Schabus and Jun Yang.

More info: www.portscapes.nl (UK/NL) and Latitudes' web.

'Portscapes' is commissioned by the Port of Rotterdam Authority advised by SKOR (Foundation for Art and Public Space, Amsterdam) and is curated by Latitudes.
   

Art Rotterdam (5–8 February) takes place at the Cruise Terminal in Wilheminakade 699, 3072 AP Rotterdam (MAP). Opening hours: Thursday 5 & Friday 6: 13–18h; Saturday 7 & Sunday 8: 11–19h.




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

 

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

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

Read about the show on ARTFORUM critics' picks.




Photos of the launch of the publication 'LAND, ART: A Cultural Ecology Handbook' at the LCE, London

 All images: Latitudes | www.lttds.org




Invitation card for the launch of the publication 'LAND, ART: A Cultural Ecology Handbook'



Edited by / Editor: Max Andrews
Published by / Publica: RSA in partnership with Arts Council England
 

Specs / Caracteríticas: 17 x 24 cm, 248 pages, colour throughout
ISBN 0 901469 57 2
Design by / Diseñado por: SMITH
Distributed by / Distribuidor: Cornerhouse Publications


| UK | 

Here is the invitation for the publication launch of 'LAND, ART: A Cultural Ecology Handbook' which will take place on the Monday 11 December, 6.15–8pm at the London School of Economics and Political Science (LSE), coinciding with the RSA/LSE international enquiry 'No Way Back?' (11–12 Dec). 

The book is going to print in Italy in two weeks, so soon you will be able to see more on these pages.

| ES | 

Aquí tenéis la postal de la publicación en la que hemos trabajado a lo largo de este último año! Su presentación oficial se hará el 11 de Diciembre en Londres al final del primer día de la conferencia internacional organizada por la Royal Society of Arts (RSA) y la London School of Economics (LSE) titulada 'No Way Back?' (11-12 Dic). 

El libro se imprimirá en dos semanas en Italia, así que pronto podréis ver más información en estas páginas.
 
[Image on the book cover: Henrik Håkansson, Untitled (Khao Nor Chuchi), 2003, offset print on paper, 70 x 100 cm. Courtesy the artist; The Modern Institute, Glasgow; Galleria Franco Noero, Torino.]




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