Photo report: Trip to Vienna Art Week and Amsterdam Art Weekend

A snowy Belvederegarten. All photos (unless stated otherwise): Latitudes.

As part of this year’s VIENNA ART WEEK, Latitudes was invited to get to know Vienna's art scene over the course of three days (19–21 November). On Tuesday 19 November, the visiting group of curators and artists participated in the panel ‘Some Current Positions of Curating’ at das weisse haus. The panel, chaired by Alexandra Gausman of das weisse haus, briefly introduced recent projects by Argentinian artists Guillermo Faivovich & Nicolás Goldberg; soon-to-be Paris-based curator Claire Hoffmann (Centre Culturel Suisse de Paris); artists and curators FICTILIS from San Francisco; Avi Lubin (Faculty at Jerusalem’s Beit Berl College); and Stephanie Weber (Curator of Contemporary Art at Lembachhaus in München).

Above and below photos: eSeL.

Grand staircase of the Kunsthistorisches Museum in Vienna.

(Above and nine below) Views from the exhibition ‘Spitzmaus Mummy in a Coffin and other Treasures’ guest curated by filmmaker Wes Anderson and writer and illustrator Juman Malouf, in collaboration with Jasper Sharp (Kunsthistorisches Museum) and Mario Mainetti (Fondazione Prada). ‘Anderson and Malouf have assembled more than 400 objects drawn from all fourteen of the museum’s historical collections. Among them are Egyptian, Greek and Roman antiquities, Old Master paintings, selections from the Kunstkammer and the Imperial Treasury, items from the Imperial Armoury, Coin Collection, and Collection of Historic Musical Instruments, as well as pieces from the Theatermuseum, the Weltmuseum, the Imperial Carriage Museum, and Schloss Ambras Innsbruck. A handful of special guests from the Natural History Museum are also included. Particular attention was given to the museum’s storage: more than 350 of the objects have been brought from depots, with many of them on public display for the very first time. (...) The gathering and arrangement of these treasures – from the earliest, a necklace of ceramic beads strung together in Ancient Egypt, to the most recent, a wooden monkey carved in Indonesia almost 5,000 years later – suggest the spectacular breadth, depth, history and complexity of the Kunsthistorisches Museum’s collections.’ (from the venue website)


(Above and below) Donna Huanca exhibition ˝Piedra quemada˝ at the Lower Belvedere.

 (Above and two below) One of the rooms at the Naturhistorisches Museum (NHM). Below Faivovich and Goldberg intervention ˝In Search of Mesón de Fierro˝, part of their long-term research on meteorites at El Chaco region in northern Argentina. For the exhibition, they presented a 19-gram fragment in a meteorite in the collection of the NHM Vienna, which they were able to trace quite convincingly to Mesón de Fierro.

(Above and three below) On our own time, we arranged a visit to the artist-run-space Guimarães. Hugo Canoilas, one of the artists that run it alongside Nicola Pecoraro and Christoph Meier, gave us a detailed tour of the show which explored the concept of excessive sentimentality. ‘SCHMALTZ’ showcased unique editions, amusing finds, objects that accompany artists in their studio, as well as artworks by over 50 artists. 
A special edition of Luisa Gardini's photos. 

(Above and four below) Views from ‘55 dates. Highlights of the MUMOK collection’, presenting 55 works with an exhibition design by (Portscapes artist) Hans Schabus.
(Above and below) Also at MUMOK, "a photographic journey through Austrian history from 1918 to the present" was the focus of ‘Photo/Politics/Austria’ this time with exhibition design by Markus Schinwald.

 (Above and two below) Views from Asier Mendizábal's solo exhibition at Galerie Martin Janda.

 At the nearby Kunsthalle Wien, Vanessa Joan Müller and Nicolas Schafhausen curated ‘Antarctica. An Exhibition on Alienation’, showing works by Viltė Bražiūnaitė / Tomas Sinkevičius, Burak Delier, Buck Ellison, Isabella Fürnkäs, Eva Giolo, Thibaut Henz, Jan Hoeft, Hanne Lippard, Joanna Piotrowska, Jeroen de Rijke / Willem de Rooij, Jana Schulz, Andrzej Steinbach, Ingel Vaikla, Peter Wächtler, Ian Wallace and Tobias Zielony. ˝The exhibition explores how the term “alienation” functions in our world today. In doing so, it also addresses the following question: What other forms of relationship to the self and to the world do we need? Before we can even begin to create something like a space supportive of self-determination and self-realization?" (from the venue website)

 One of the nine studio visits at Prater Ateliers. Here with Christian Kosmas Mayer. 
Studio visit with Judith Fegerl at Prater Ateliers.

 Tour by curator Moritz Stipsicz of Tomás Saraceno's intervention in the baroque Karlskirche in Karlsplatz. 
 Views of Karlsplatz and Vienna skyline from the cupola.

 (Above and three below) Ed Ruscha's ‘Double Americanisms’ at Secession
(Above) Detail from Philipp Timischl's ‘Artworks For All Age Groups’ in the downstairs galleries of Secession.
(Above) View of Kris Lemsalu's ‘Keys Open Doors’ in the upper Secession gallery.

On November 22, we took off to Amsterdam taking advantage of the Amsterdam Art Week events which included the Rijksakademie open, the opening of two exhibitions at Stedelijk Museum (a solo show by Raquel van Haver and the biannual group exhibition presenting Amsterdam’s Municipal Art Acquisitions, ‘Freedom of Movement’). We also visited De Appel, kunstverein, Rongwrong, a few galleries that opened jointly.


(Above and below) De Appel exhibited Ben Russel's film ‘Good luck’ (2017) premiered during documenta 13. ‘Accompanying the installation, the artist created a sculptural analogue to process and portraiture, Good Luck (Echo) that turns a sheet of copper into a resonant, speaking subject.’ (from the venue website)


 Mr Peanut exhibition at kunstverein Amsterdam, gathering material from Vincent Trasov who became Mr. Peanut in 1971. In 1974 he ran for mayor of Vancouver. ‘The exhibition traces the history of Trasov’s revolutionary alias and includes historical documents, publications, correspondence, video footage as well as more recent drawings of Mr. Peanut and paintings by Vincent Trasov. A major retrospective on Image Bank will follow in the summer of 2019 at Kunst-Werke in Berlin.’


 (Above and below) Works by Cees Mogami de Haas.

 (Above and below) Works by Riet Wijnen.

 (Above and below) Works by Marieke Zwart.

 (Above and below) Works by Morgan Courtois.

  (Above and below) Works by Marina Xenofontos.

 (Above and below) Works by Mire Lee.

  (Above and below) Works by Omar A. Chowdhury.

 (Above and below) Works by Maurice van Es.

  (Above and below) Works by Isabelle Andriessen.


  (Above and below) Works by Omar Vega Macotela.

   (Above and below) A film by Tyna Adebowale.

 (Above and below) Works by Josse Pyl. 

  (Above and below) Works by Gaëlle Choisne.

  (Above and below) Works by Dan Zhu.

  (Above and below) Works by Danielle Dean.

 (Above and below) Works by Polina Kani.

  (Above and below) Works by Femke Herregraven.

  (Above and below) Works by Kévin Bray.

  (Above and below) Library display initiated by Anna Dasovic. 

(Above) Exhibition by Paul Kooiker at the tegenboschvanvreden gallery.

 Gabriel Lester exhibition at Fons Welters, Amsterdam. 

 Lara Almarcegui's video at Ellen de Bruijne. 
 Rory Pilgrim exhibition at andriesse eyck.

 Talk with Janet Cardiff at Oude Kerk. Below her work, with Georges Bures Miller, an intervened mellotron ‘The Instrument of Troubled Dreams˝ (2018), with 72 keys each of them programmed with a sound effect, a vocal track or a musical fragment.


(Above and four below) Stedelijk Collection in the basement of the museum. 

 (Above and two below) Metahaven exhibition at the Stedelijk Museum.

Merlin Carpenter exhibition at Rongwrong.


RELATED CONTENT:




Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend

 Above: de Appel director Niels van Tomme during his welcome speech.  
This and following photos: Carina Erdmann/De Appel.

Latitudes participated in de Appel Arts Centre two-day symposium "You are such a curator!" on 23 and 24 November 2016. Coinciding with the Amsterdam Art Weekend, the event presented lectures, discussions, performances and papers marking the conclusion of a three-year research project into the dynamics of de Appel’s curatorial programme and its position in the wider field of curatorial education.

Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in 2017. Their point of departure was responding to the question "what does the wrongful killing of a dog in medieval France have to tell us about the micro and the macro, the hyper-specific and the universal?"  

Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'. 
Below: Q+A session.
 
Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.  
Below: Latitudes' presentation "Following the Holy Greyhound".
 
Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation. 
Below: Attentive (femenine!) audience. 

Above: (Intensive) Q+A amongst speakers and audience. 
Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.

Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'. 
Below: Niels van Tomme during one of the many Q+A's.

Above: Prem Krishnamurthy during a Q+A.

The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
  
We also visited a few exhibitions and attended a few events  programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
 
"Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.

(above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
Majestic "Labyrinth" (2016) piece above and below.
(above) "New Improvisation with Bart de Kroon", one of the five performances Jeremiah Day presented at Ellen de Bruijne Projects.

And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.


Abstracted images by Claudia Martínez Garay

(Above and below) Installation on the ground floor by Eva Spierenburg.

Sculptural and archival material by British artist Alex Farrar around his suit.

More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.

 Glass piece by German artist Christine Moldrickx (above and below). 

The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.

(Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.

Jordan Wolfson's "Colored Sculpture" (2016).

San Serriffe art book shop in the red light district.

kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.

RELATED CONTENT:




Report from the Amsterdam Art Weekend, 27–30 November 2014 now on Storify

 Amsterdam Art Weekend advertising.

Below the thread of tweets and Instagram posts we published during our trip, now Storified:


Below some more photos that didn't make it to our live reporting posts:

View of De Appel's group show "When Elephants Come Marching In", through which guest curator Mark Kremer investigates "the ongoing influence that Psychedelia and Conceptualism still have in contemporary Western art".

We also visited the solo show of Dutch conceptual artist Marinus Boezem at Upstream Gallery. The show focused on "the significance of the artist’s physical presence and absence for the concept of his artworks" and included jewels like this 1969 "Piss Project" piece, which was too difficult to capture as it's a sequence of photographs, hence the photo taken from the catalogue available at the gallery.

 

On our last few hours, we paid a visit to Jeanine Hofland which had a group show with works by Andrea Kvas, Mohamed Namou, Alek O., Gino Saccone, Yonatan Vinitsky and Jessica Warboys revolving around the idea of painting without paintings.




And to end our Amsterdam Art Week, we went back to the Stedelijk Museum to see Marlene Dumas's retrospective properly as well as the exhibition 'How Far How Near. The World at the Stedeljk' curated by SMBA's Director Jelle Bouwhuis, which included a great film work by Godfried Donkor 'The Currency of Ntoma' on the symbolism and the financial value that textiles (Dutch Wax, batik, kente cloth and lace) have for women in Ghana.


View of the first room of 'How Far How Near. The World at the Stedeljk'.

Related posts:

Report from London's Frieze week 2014 (27 October 2014)

Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (15 September 2014)

Report from Glasgow: Lecture at The Common Guild and studio and gallery visits (4 December 2013) 

Report from Paris: FIAC week, 21–28 October 2013 (5 November 2013)

Report from Athens: "AGORA", 4th Athens Biennale 2013 (4 November 2013)

Report from New York: Gramcsi Monument, visiting critics at ISCP, Carol Bove at The High Line and galleries route (23 September 2013) 

Report from Dublin and Derry-Londonderry: research trip to Ireland, 8–14 March 2013 (16 March 2013)

Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 (22 July 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.




Audio y videos conferencias 'Cuatro casos de estudio de educación artística', 28 y 30 junio, Espai Cultural Caja Madrid, Barcelona


Ya están disponibles en la página de CAMPUS (véase bajo 'Calendario') los cuatro archivos de audio y los dos videos de las conferencias "Cuatro casos de estudio para la educación artística" organizadas por Latitudes con motivo del inicio de Campus, la escuela/residencia de artistas que tiene lugar en el Espai Cultural Caja Madrid hasta el 29 de Julio.

Las presentaciones analizaron cuatro modelos educativos destinados a artistas que actualmente tienen lugar en Ámsterdam (Rijksakademie presentado por Bartomeu Marí,
Director, Museu d'Art Contemporani de Barcelona (MACBA), México D.F. (SOMA presentado por Jennifer Teets, Comisaria independiente y escritora, París), Los Ángeles (The Mountain School of Arts, presentado por Carles Guerra, Director, La Virreina Centre de la Imatge, Barcelona) y Frankfurt (Städelschule presentado por el Prof. Nikolaus Hirsch, Rector, Städelschule).

Agradecemos una vez más la implicación de los cuatro conferenciantes en
Campus.

Síguenos en Twitter #campusespai




CAMPUS, programa conferencias: 'Cuatro casos de estudio de educación artística', 28 y 30 junio, Espai Cultural Caja Madrid, Barcelona

PROGRAMA DE CONFERENCIAS
'Alrededor de 'Campus': Cuatro casos de estudio para la educación artística'

martes 28 y jueves 30 junio, 19-21h

Entrada gratuita. Aforo limitado. Traducción simultánea (*)

 
Coincidiendo con el inicio de 'Campus', Latitudes organiza "Alrededor de 'Campus': Cuatro casos de estudio para la educación artística", dos conferencias que analizarán cuatro modelos educativos destinados a artistas que actualmente tienen lugar en Ámsterdam, México D.F., Los Ángeles y Frankfurt.

PROGRAMA 

MARTES 28 JUNIO 2011 
Auditorio, Espai Cultural Caja Madrid, Barcelona

19h

Bienvenida e introducción por Latitudes, oficina curatorial y directores de
'Campus'
19.10–19.50h
 

Bartomeu Marí, Director, Museu d'Art Contemporani de Barcelona (MACBA), presentará la Rijksakademie, Ámsterdam.
19.50–20.30h

Jennifer Teets, Comisaria independiente y escritora, París, presentará a SOMA, México D.F.
20.30h–21h
 

Preguntas y respuestas

PROGRAMA JUEVES 30 JUNIO 2011

Sala exposiciones,
Espai Cultural Caja Madrid, Barcelona


19h
 

Bienvenida e introducción por Latitudes, oficina curatorial y directores de 'Campus'
19.10–19.50h
 

Carles Guerra, Director, La Virreina Centre de la Imatge, Barcelona, presentará The Mountain School of Arts, Los Ángeles.
19.50–20.30h

Prof. Nikolaus Hirsch, Rector, Staatliche Hochschule für Bildende Künste - Städelschule, Frankfurt-am-Main, presentará la Städelschule, Frankfurt-am-Main.
(*) Con traducción simultánea inglés-castellano.

20.30h–21h
 

Preguntas y respuestas



SOBRE LOS CASOS DE ESTUDIO

 


La Rijksakademie van beeldende kunsten en Ámsterdam, es un "instituto de artistas nacionales e internacionales de máximo talento". Su nombre alude a las academias clásicas, un lugar donde filósofos, académicos y artistas se reúnen e intercambian ideas y conocimiento. La Rijksakademie ofrece residencias de investigación y producción de un máximo de 2 años de duración a unos 25 artistas por año, ofreciéndoles la oportunidad y el apoyo económico para que éstos puedan concentrarse en su investigación, en la producción y la discusión de su trabajo, con la idea de que éste expanda y acelere así su profesión, ya sea a nivel individual y social. La Rijksakademie también organiza el Prix de Rome, el premio bianual estatal ofrecido a artistas y arquitectos menores de 35 años.

http://www.rijksakademie.nl/



web de SOMA

SOMA es un espacio destinado al arte contemporáneo sin fines de lucro, concebido por los artistas Yoshua Okón, Aimee Servitje y Eduardo Abaroa, y cuya dirección académica corre a cargo de Bárbara Hernández. La iniciativa incluye tres elementos: en primer lugar, un programa educativo de profesionalización artística con duración de dos años cuya finalidad es poner en contacto a jóvenes artistas de México con comisarios y artistas destacados. El SOMA Summer, dirigido por Carla Herrera-Prats, es un curso de verano que recibe a artistas jóvenes de varios países del mundo. SOMA también organiza cursos de divulgación cultural para el público general. En segundo lugar, SOMA programa eventos semanales gratuitos y abiertos al público: 'Miércoles de SOMA ', a cargo de Homero Fernández, en los que se presentan libros, performances, proyecciones de video o el trabajo de artistas. En último lugar, SOMA tiene un programa de residencias que recibe a artistas y comisarios internacionales con el fin de que interactúen el grupo de estudiantes.
http://somamexico.org




The Mountain School of Arts es una escuela independiente y gratuita establecida en 2005 por los artistas Piero Golia y Eric Wesley, con el objetivo de ofrecer una alternativa orgánica al modelo universitario mediante un programa libre de estrés, gratuito y de mutuo beneficio para los participantes. 15 alumnos de diversas procedencias se reúnen anualmente entre enero y marzo en la sede de MSA^: el bar 'The Mountain', en Chinatown, donde asisten a clases dos veces por semana, 3 horas al día. El programa también incluye conversaciones semanales y conferencias a cargo de artistas visitantes, cineastas, científicos y destacados expertos.
http://www.themountainschoolofarts.org

 

web de la Städelschule

La Städelschule es una academia internacional dedicada a las artes visuales y a la arquitectura, que cuenta con el 60% de los estudiantes y profesores provenientes del extranjero. Städelschule se distingue por ser gratuita y por el perfil del profesorado, que incluye a reconocidos artistas tales como Douglas Gordon, Mark Leckey, Simon Starling, Wolfgang Tillmans, Martha Rosler, Willem de Rooij o Tobias Rehberger. El programa académico de la Städelschule parte del diálogo con el tutor elegido por el estudiante y se centra en el trabajo individual de éste en su estudio. Asímismo, se complementa con un intenso programa conferencias de renombrados profesionales que visitan anualmente Städelschule. Desde el 1987, la Städelschule programa el espacio Portikus, un importante centro de arte experimental donde artistas de todo el mundo exhiben y donde los estudiantes tienen la oportunidad de participar activamente en la producción de exposiciones.  
http://www.staedelschule.de



BIOGRAFÍAS PONENTES (por orden de aparición)


Bartomeu Marí
(Eivissa, 1966. Vive y trabaja en Barcelona) es director del Museu d'Art Contemporani de Barcelona desde 2008, donde fue Comisario Jefe desde el 2004. Licenciado en Filosofía por la Universidad de Barcelona, Marí fue comisario de exposiciones en la Fondation pour L'Architecture, Bruselas (1989–1993), conservador en el Instituto Valenciano de Arte Moderno Centre Julio González (1993-1995) y director del Witte de With Center for Contemporary Art en Rotterdam (1996–2001). En el 2002, Marí comisarió la Bienal de Taipei en Taiwan junto con Chia-chi Jason Wang, y en el 2004 comisarió con James Lingwood la exposición Juan Muñoz. La Voz Sola. Esculturas, dibujos y obras para la radio, La Casa Encendida, Madrid. En el 2005 fue comisario del Pabellón Español en la 51 Bienal de Venecia en la que Antoni Muntadas fue el artista invitado. Marí ha comisariado numerosas exposiciones de artistas tales como Raoul Hausmann, Lawrence Weiner, Rita McBride, Eulàlia Valldosera, Francis Picabia, Pierre Bismuth, Marcel Broodthaers, Michel François, y Francis Alÿs, entre otros.

Jennifer Teets
(Houston, 1978. Vive y trabaja en París) es comisaria independiente y escritora. Entre el 2003–7, Teets fue comisaria jefe de 'El Cubo', en la Sala de Arte Pública Siqueiros en México D.F. En el 2007 fue residente en Platform Garanti, Estanbul, y en el 2009 residente en la Kadist Art Foundation, Paris, donde presentó la exposición This place you see has no size at all… Entre sus proyectos curatoriales destacan: HaVE A LoOk! Have a Look!, FormContent, Londres (2010), If you do know that “here is one hand” en el CAC, Lituania (2010); Locus Solus, MYTO, México D.F. (2007), Pink Not Dead! (co-comisariada con Maurycy Gomulicki), Garash Galería, México D.F. (2006), Réplica, Museo Universitario de las Ciencias y las Artes, México D.F. (2004). Actualmente está preparando exposiciones en la Fondazione Giuliani, Roma, y para la galeria stereo en Poznan, Polonia. Teets contribuye en revistas tales como frieze, Mousse, SPIKE y Novembre y en el 2010 formó parte del equipo de profesorado de SOMA Summer en México D.F.

Carles Guerra
(Amposta, 1965. Vive y trabaja en Barcelona) es director de La Virreina Centre de la Imatge desde el 2009 y ha sido recientemente nombrado Conservador Jefe del Museu d'Art Contemporani de Barcelona, donde se incorporará a partir de Septiembre 2011. Guerra es doctor en Bellas Artes por la Universitat de Barcelona y en The New School for Social Research, Nueva York. Guerra colabora como profesor asociado en la Universitat Pompeu Fabra, así como profesor invitado en la Universitat de Barcelona y la Universitat de Girona. Ha sido profesor invitado en el Center for Curatorial Studies del Bard College (Annandale-on-Hudson, Nueva York), Konstfack (Estocolmo). Entre sus publicaciones destacan N de Negri. Una conversació amb Antonio Negri (2000), Allan Sekula habla con Carles Guerra (2005) y ensayos o artículos en numerosos medios. Ha sido vocal del consejo de administración del Instituto de Cultura del Ayuntamiento de Barcelona (ICUB), y desde 2009 es miembro del comité científico del Lieven Gevaert Research Centre for Photography, Bélgica. En el 2011 ha sido galardonado con el Premio Ciutat de Barcelona en la modalidad de artes visuales.

Nikolaus Hirsch
(Karlsruhe, 1964. Vive y trabaja en Frankfurt) es arquitecto y desde el 2010 es Rector de la Städelschule, en Frankfurt. Hirsch ha sido profesor en el Institute of Applied Theatre Studies en la Giessen University (2003-2004), en HfG Karlsruhe (2004), en la Architectural Association en Londres y en UPenn en Philadelphia, y es miembro del programa Comisariando Arquitectura de Goldsmiths College en Londres. Su trabajo arquitectónico incluye proyectos como la Dresden Synagogue, el Hinzert Document Center, el European Kunsthalle en Colonia, United Nations Plaza (con Anton Vidokle) en Berlín, Cybermohalla Hub en Delhi o un espacio-estudio para The Land de Rirkrit Tiravanija. Ha sido galardonado con premios como el World Architecture Award 2002 o el German Critics Award 2001. Su obra ha sido expuesta en New German Architecture (2003), Utopia Station, Venice Biennale (2003) y Can Buildings Curate?, Architectural Association, London y Storefront Gallery, Nueva York (2005). Entre sus publicaciones destaca On Boundaries (Sternberg Press, 2007), una selección de textos sobre las relaciones entre arquitectura, modelos artísticos y de comisariado.


(Moderador) 
Latitudes es una oficina curatorial independiente dirigida por Max Andrews (Bath, 1975) y Mariana Cánepa Luna (Montevideo, 1977) fundada en el 2005 y con sede en Barcelona. Recientemente, Latitudes participó como organización asociada en la exposición The Last Newspaper, en el New Museum de Nueva York (2010–11) para la cual editaron un periódico semanal durante diez semanas y actualmente son comisarios invitados de la temporada 2011 del Laboratorio 987, en el Museo de Arte Contemporáneo de Castilla y León (MUSAC). Latitudes ha concebido y dirige Campus.  

Proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos en Twitter #campusespai

Espai Cultural Caja Madrid
Plaça Catalunya 9 (esquina Rambla de Catalunya), 08002 Barcelona




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