Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth"

Monthly Cover Story on http://www.lttds.org/blog/


The November 2017 Monthly Cover Story "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" is now up on www.lttds.org – after this month it will be archived here

"On 15 November the study day The Return of the Earth: Ecologising art history in the Anthropocene takes place at the CAPC musée d’art contemporain Bordeaux in conjunction with the Latitudes-curated exhibition 4.543 billion. The matter of matter. With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—the event will intertwine discussions of art practice and historical research, with environmental and geological narratives, and vice versa." Continue reading
 
Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017
  • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
  • Cover Story February 2017: The Dutch Assembly, five years on 1 February 2017
  • Cover Story January 2017: How open are open calls? 4 January 2017




15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux

Xavier Ribas, detail of diptych num 7 'Caliche Fields' (2010), 22 Pigment prints on Harman Baryta paper 33 x 50 cm. Courtesy the artist and ProjecteSD, Barcelona.

'The Return of the Earth. Ecologising art history in the Anthropocene'
Study day
Wednesday, 15 November 2017  
4:30—8:00pm
Auditorium
CAPC musée d’art contemporain Bordeaux 
7, rue Ferrère, 33000 Bordeaux, France 


PROGRAMME

4:30—5:30 pm

Keynote by science historian Jean-Baptiste Fressoz (Paris) 
5:30—5:45 pm
Break
5:45—6:45
pm
Conversation between artists Xavier Ribas (London) and Ângela Ferreira (Lisbon)
6:45—7:45
pm
Roundtable discussion moderated by Latitudes (Barcelona)


Free event. Simultaneous translation French/English. 

Conference programmed in the context of the exhibition '4.543 billion. The matter of matter', CAPC musée d’art contemporain Bordeaux, 29 June 2017–7 January 2018. Curated by Latitudes.



The work of many of the artists in the exhibition '4.543 billion. The matter of matter' explores the shared history of human activities and Earth systems. Yet this comes with a critical and political inflexion of the universalizing notion of the Anthropocene, the proposed geological ‘epoch of humanity’ that would cast all of the mankind as being responsible for the alarming damage caused by modernizing and capitalizing nature.

With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists
Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—this event hosted by Latitudes ('4.543 billion' curators Max Andrews and Mariana Cánepa Luna), sees art practice and historical research intertwining with environmental and geological narratives, and vice versa. Both Ribas and Ferreira make art that resists the generalising story of the Anthropocene that Fressoz unmasks in his book 'The Shock of the Anthropocene. The Earth, History and Us' (co-authored with Christophe Bonneuil, Verso Books, 2016). Echoing the meticulous historical approach of Fressoz, both Ribas’s and Ferreira’s projects in the exhibition deal with case studies with a very specific place and politics. Addressing mineral agency and colonial extraction, the artists will discuss their approaches to work that has sprung from diamonds in South Africa (Ferreira) to nitrate in Chile (Ribas).

As Fressoz & Bonneuil have written, the Anthropocene “signals the return of the Earth into a world that Western industrial modernity, on the whole, represented to itself as above earthly foundation … Environmental history, natural anthropology, environmental law and ethics, human ecology, environmental sociology, political ecology, green political theory, ecological economics, etc., are among the new disciplines that have recently begun to renew the human and social sciences, in a dialogue with the sciences of nature.” The dialogue during the event will seek to discover what might happen when artists, curators, exhibitions and museums come into the mix of such emerging practices. What is at stake when artists venture beyond the conventional separation of humanities from sciences, and into environmental art history, cultural ecology, decolonial activism, and so on?


Entrance to the exhibition at the CAPC. Photo: Latitudes/RK.

GUESTS

Jean-Baptiste Fressoz, formerly a lecturer at Imperial College, London, is a historian of science, technology and environment. He is based at the Centre national de la recherche scientifique, Paris, the largest governmental research organisation in France and the largest fundamental science agency in Europe. He is the author, with Christophe Bonneuil, of 'The Shock of the Anthropocene' (Verso, 2016). “This bold, brilliantly argued history of the Anthropocene epoch is a corrective to cosy thinking about humanity’s grave disruptions to Earth systems. Christophe Bonneuil and Jean-Baptiste Fressoz draw on climate science, economics and technological history to reveal how, starting in eighteenth-century France, imperial narratives that saw people and planet as a ‘totality to be governed’ laid the conceptual basis for the crisis. They call for a ‘new environmental humanities’, and a shift away from market-based approaches that feed the beast.” – Barbara Kiser, Nature.

Ângela Ferreira’s works in the exhibition form part of a series titled “Stone Free” (2012) in reference to the 1966 hit song performed by Jimi Hendrix (1942–70). “Stone Free” creates correspondences between two voids below the ground, two ‘negative monuments’ as the artist has termed them: Chislehurst Caves, in southeast London, and Cullinan Diamond Mine in Gauteng Province, South Africa. 


Chislehurst Caves is a man-made network of underground tunnels mainly worked in the late 1700s yet dating back to as early as 1250. The tunnels were excavated in order to mine chalk and flint. Following their use as an air-raid shelter during the second world war, the tunnels were transformed into a venue for rock concerts in the 1960s and 1970s. The Jimi Hendrix Experience played there in 1966 and again the following year, bringing Hendrix’s unique countercultural synthesis of social realism and psychedelic spiritualism based on African and indigenous-American imagery into the literal underground.

Cullinan Diamond Mine (known as Premier Mine from its establishment in 1902 until 2003) is famed for being the source of the largest gem-quality rough diamond ever discovered, in 1905. Most of the gems cut-and-polished from this stone were used to adorn the Crown Jewels of the United Kingdom. The recent history of the diamond industry is inextricable from that of settler colonialism in southern Africa and a commodity cartel established by the De Beers corporation founded in 1888 by British imperialist Cecil Rhodes (1853–1902), two years before he became Prime Minister of the Cape Colony. De Beers owned all of the major mines in South Africa, as well as controlling global distribution until it began a recent sell-off of its less productive mines to the Petra Diamonds group, including divesting itself of Cullinan in 2008. 


Ferreira was born in Maputo, Mozambique, in 1958, and lives in Lisbon, where she teaches Fine Art at the Lisbon University.
http://angelaferreira.info

“A History of Detonations” (2014) is a glimpse at an extensive body of work by Xavier Ribas devoted to exploring the legacy of the mining of sodium nitrate in northern Chile, which boomed from the 1870s until the early-twentieth century when it was discovered how to make the compound synthetically. Comprised of photographs taken by the artist during research visits, alongside vintage postcards and press prints bought on the internet, Ribas’s poster sequence takes us from Chile to London to the surface of Mars. The mining and trade of Chilean sodium nitrate was led by a class of British ‘gentleman capitalists’—aristocrats, bankers and merchants. The extraction of the resource not only industrialized the arid Atacama Desert at one end of the commodity chain, and enriched country estates at the other, but through its use as a chemical fertilizer and a component of explosives, it would radically alter a whole series of seemingly disparate geographies, bodies and institutions.

Ribas was born in Barcelona, 1960, and lives in London.  He is a lecturer at the University of Brighton and associate lecturer at the Universitat Politècnica de València. http://www.xavierribas.com/

Latitudes is a Barcelona-based curatorial office initiated in 2005 by Max Andrews (1975, Bath, United Kingdom) and Mariana Cánepa Luna (1977, Montevideo, Uruguay). They are the curators of the CAPC exhibition ‘4.543 billion. The matter of matter’, and led the related month-long residency programme ‘Geologic Time’ that took place in September 2017 at the Banff Centre for Arts and Creativity. During 2009 Latitudes developed ‘Portscapes’, a series of ten public commissions in the Port of Rotterdam, the Netherlands (2009); in 2010–11 it was a partner organisation in the exhibition ‘The Last Newspaper’ (New Museum, New York) and in 2011 was the guest curator of the project space of the Museo de Arte Contemporáneo de Castilla y León (MUSAC) in León, Spain. More recent curatorial projects include the solo exhibition ‘José Antonio Hernández-Díez. I will fear no evil’, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona (2016); ‘Compositions’, site-specific commissions for two editions of the Barcelona Gallery Weekend (2015 & 2016); and editing the online curatorial reportage initiative ‘Incidents (of Travel)’ developed in partnership with Kadist (initiated in 2016).  
www.LTTDS.org

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‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017

Views of the exhibition at the CAPC musée. Photos: Latitudes / RK.

RELATED CONTENT:
  • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
  • Sediments of the Geologic Time 4-week residency at the Banff Centre for Arts & Creativity 10 October 2017
  • SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
  • Cover Story – May 2017: "S is for Shale or Stuart; W is for Waterfall, or Whipps" May 2017
  • Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
  • Second research trip to Bordeaux 16 July 2016




Fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia


The fifth 'Incidents (of Travel)' episode narrates an encounter between curator Simon Soon and artist chi too. Their offline day took place in April 2016, when they visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, house builders, boat builders, farmers, coconut pickers, food producers, and everything else that matters."


Each of the 16 photographs and videos is augmented by one or more extra assets (a brief commentary, a caption or a soundscape), accessed by clicking the words which overlay the images. 


Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist' instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).


The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.

Since April 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes regular contributions from invited curators and artists working around the world.
The series inaugurated in April 2016 with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan. The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972. The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China. The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.

Forthcoming: Marianna Hovhannisyan (Yerevan).
  

RELATED CONTENT





Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h



Conversación entre Haegue Yang y Latitudes
Miércoles 3 de mayo, 19:30h. 
Actividad gratuita. Aforo limitado. 
Reservas: [email protected] 
c/ Aragó 255, 08007 Barcelona
 
El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?

Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo. 


Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.




Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.

 
(Arriba y abajo) Instalación 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion' (2012) de Haegue Yang, comisariada por Julienne Lorz en Haus der Kunst, Munich. Foto: Latitudes.


Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol. 

(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.


Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.

Cover of The Last Star-Ledger, issue 4 of 10 edited by Latitudes during ‘The Last Newspaper’ exhibition at the New Museum, New York, 2010.

Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013. 


Fotografiando el tote bag realizado por Haegue Yang realizado en colaboración con OK-RM, que conmemora el 10º aniversario de Latitudes. Foto: Latitudes.


Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.

 
'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.


CONTENIDO RELACIONADO:




Fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal


The fourth 'Incidents (of Travel)' episode comes from Lisbon, Portugal, where Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha. Their offline day took place in early December and went through key locations in the artist's life – from Ar.Co, the School of Visual Arts in Almada where she enrolled at age thirty seven, to the Largo da Academia de Belas Artes in Chiado, where she conceived a public project that never materialised. 

Each of the 23 photographs in the sequence is augmented by one or more extra assets (a brief commentary, a caption or a soundscape), and is accessed by clicking the words which overlay the images. 


Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial practice at Casa del Lago) 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via twitter, instagram, and soundcloud) and San Francisco in 2015 (daily posts on Kadist' instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice initiative). 

The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.

Since April 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes regular contributions from invited curators and artists working around the world. 

The series inaugurated with an itinerary from curator Yesomi Umolu and artist Harold Mendez from Chicago – their tour was photographed by Nabiha Khan. The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972. The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.
Forthcoming contributions: Simon Soon (Kuala Lumpur / Sydney); Natalia Zuluaga (Pereira / Miami) and Marianna Hovhannisyan (Yerevan), all fellows who participated in the seminar ‘The Place From Where We Look’ at Kadist Paris in June 2015.  

RELATED CONTENT:




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.






















RELATED CONTENT:




Locating Ancient Lights signs around London with Nicholas Mangan

Nicholas Mangan’s show “Ancient Lights” recently opened at London’s Chisenhale Gallery, where Latitudes had a conversation with the artist on 7 July. The title of the show refers to a long-established English planning law enshrining the “right to light” by restricting the construction of buildings that would block sunlight reaching the windows of neighboring properties. If the sun has shined through a window for more than twenty years, there is legal protection for it not to be blocked. 

In the spirit of our tour project Incidents of Travel (which has involved artist-led explorations of Mexico City, Hong Kong, and soon San Francisco) on 3 July we set out with Nick to track down some of these esoteric signs in central London.


We started with a set of signs that – thanks to Wikipedia’s entry on the Right to light – are probably the best-known examples. The back windows of houses on Albemarle Way are visible from the Memorial Garden of the Priory Church of the Order of Saint John just off the Clerkenwell Road. (Here is a map of some Ancient Lights signs in London, if you know of more let us know!). We made our way on foot to a spot at the south end of Hatton Gardens (an address now notorious for the April 2015 heist) but failed to find the rumored sign there. It was a little early in the day for a pint at the nearby Ye Olde Mitre.



Heading in to Chinatown, we found ourselves scouring the bizarrely-named Horse & Dolphin Yard, a dead-end alleyway with a pagoda-like construction where several restaurants from Gerrard Street and Shaftesbury Avenue have there back entrances. We eventually spotted the sign, which appears to have been moved from its original location as it doesn’t mark any window, just a bare brick wall.



Nearby there is a cute sign above the diminutive Rupert Court, at the back of The Blue Posts pub. (If we were going to stop for a drink it would have to be somewhere far more thematically appropriate – the Sun Tavern in Covent Garden, The Sun and 13 Cantons in Soho or the Rising Sun in Bloomsbury, would hit the spot). 

Later in the week we found the huge and typographically-distinguished Ancient Lights sign in Newman Passage, a little connecting street perhaps most famous for its starring role in the murderous opening scene of the film Peeping Tom (1960).


The more modest sign that can be seen next to the lamp of The Hope pub, just near Goodge Street tube station, is a palimpsest still bearing visible traces of an earlier sign underneath. Thus endeth the tour!


RELATED CONTENT:

Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;


Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;

Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;

Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.


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.




In conversation with the artist Nicholas Mangan at Chisenhale Gallery, London, 7 July 2015, 19h.

  Nicholas Mangan, Still from 'Ancient Lights', 2014–5. Courtesy LABOR, Mexico City; Sutton Gallery, Melbourne; and Hopkinson Mossman, Auckland.

On July 7 at 19h Latitudes will lead a conversation with the Melbourne-based artist Nicholas Mangan on the occasion of his solo show 'Ancient Lights' (3 July–23 August 2015) at Chisenhale Gallery. They will discuss his ongoing investigations into the relationship between energy and social transformation as well as his latest film installation premiered in the exhibition and powered entirely by on-site solar panels placed on the roof of the gallery building.

'Ancient Lights' is produced in partnership with Artspace, Sydney, where it will be presented as part of his solo exhibition, Other Currents, in September 2015.  

Nicholas Mangan (1979) lives and works in Melbourne, Australia. Recent exhibitions include 'Art in the Age of…', Witte de With, Rotterdam; 'Anthropocene Moment', Les Abattoirs, Toulouse (both 2015); 'Octopus', Gertrude Contemporary, Melbourne; 'Concrete', Monash Museum of Art, Melbourne; 'Melbourne Now', National Gallery of Victoria, Melbourne (all 2014). He participated in the '2015 New Museum Triennial: Surround Audience', New York; 9th Bienal do Mercosul, Porto Alegre; and the 13th Istanbul Biennial (both 2013).


This event is free. Reserve a place via Chisenhale's Eventbrite.

  
RELATED CONTENT:

Interview 'What Lies Beneath' between Nicholas Mangan and Mariana Cánepa Luna of Latitudes, Mousse Magazine #47, February–March 2015.  

Max Andrews' of Latitudes feature article 'Landscape Artist', Frieze #172, June–August 2015.


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




Latitudes' "out of office" photo album, 2012–2013 season

This is the fifth consecutive year [see 2008-9, 2009-10, 2010-11 and 2011-12] we say goodbye to the season with an 'out of office' post with some unseen and 'behind the scenes' moments lived in the past months. 

Regretfully, we're not exactly off to a beach-and-palmtree holiday, just slowing down our inbox activity as well as our posts on this blog, Facebook and Twitter. 

So happy holidays/felices vacaciones dear readers!  

3 September 2012: The season started with the exciting publication of the first #OpenCurating interview with the web team of the Walker Art Center, Minneapolis, which became content partners of the interview series. "Beyond Interface: An Interview with Robin Dowden, Nate Solas and Paul Schmelzer" was the first of a series of ten publications which were released between September and April 2013. The compilation, gathers an array of voices and approaches around the challenges, expectations, and new possibilities that digital culture and social media present to contemporary art institutions. To what degree are curators, media teams, publishers and archivists concerned with a dialogue with their audiences? #OpenCurating has investigated these questions through how new forms of culture, participation and connectivity are being developed both on site and on line.

In 'Beyond Interface' Robin Dowden (Director of New Media Initiatives), Nate Solas (Senior New Media Developer) and Paul Schmelzer (Web Editor) of the Walker Art Center in Minneapolis, discuss the museum's new website, relaunched in December 2011 following a two-year conceptual reboot and complete redesign.


OC1

9 September 2012: Soon after publishing the first #OpenCurating interview, we participated in dOCUMENTA (13) series of readings based on their publications programme Readers' Circle: 100 Notes—100 Thoughts, for which we decided to read 'Lawrence Weiner IF IN FACT THERE IS A CONTEXT' (2011, Hatje Cantz). On the door steps of Fridericianum, we read Lawrence's book and played his voice reading some of the passages too. See our post on dOCUMENTA (13).


 Board announcing the 19h 'Readers Circle' event.

On the steps of the Fridericianum reading Lawrence Weiner.

11–15 September 2012: During the last week of dOCUMENTA (13) Latitudes facilitated the Nature Addicts Fund Travelling Academy, organised within the framework of the 100-days-long exhibition in Kassel, Germany. Here you can watch a summary of the week-long workshop that had 15 participants (Ackroyd & Harvey, Frédérique Aït‐Touati, Geir Backe Altern, Linus Ersson, Aurélien Gamboni, Fernando García‐Dory, Mustafa Kaplan, Zissis Kotionis, Julia Mandle, Clare Patey, Érik Samakh, Åsa Sonjasdotter, Elisa Strinna, and was punctuated by the partcipation of dOCUMENTA (13) artists Maria Thereza Alves, Toril Johannessen and Claire Pentecost.


 Im-port and Ex-port boat moared at Kassel's river Fulda. Photo: Nature Addicts Fund.

 Visiting Jimmie Durham's piece at the Karlsaue Park. Photo: Nature Addicts Fund.

Group discussion with Chus Martínez, Core Agent, dOCUMENTA (13) at the Import/Export boat. 
Photo: Nature Addicts Fund.

17 September–5 October: Installation and opening (27 September) of the two-part exhibition 'Latitudes Projects 2005–2012' and 'Incidents of Travel: Mexico City' as part of Casa del Lago's 'Sucursal' programme, for which self-organised, self-funded or non-profit organisations temporarily move their offices to Casa del Lago in order to expose the cultural strategies of such forms of organisation. 'Incidents of Travel: Mexico City', consisted of the invitation to Minerva Cuevas (19 September), Tania Pérez Córdova (20 September), Diego Berruecos (21 September), Terence Gower (23 September) and Jerónimo Hagerman (24 September), and to devise one-day-long tours throughout the city. More info and photos of the five tours.


E-invite to the opening of the exhibition "Latitudes. Proyectos 2005–2012 & Incidentes de viaje" at Casa del Lago.
 Around Lagunilla with Minerva Cuevas. Photo: Eunice Adorno.
 Visiting the Hemeroteca at the UNAM with Diego Berruecos. Photo: Eunice Adorno.

Lunch with Terence Gower at Sólo Veracruz es Bello!, Tlalnepantla Centro. Photo: Eunice Adorno.

Observing an overgrown ivy and an ash in Polanco. Photo: Eunice Adorno.

 Visiting the Espacio Escultórico in the UNAM with Jerónimo Hagerman. Photo: Eunice Adorno.

Installing one of the 200+ poster pannels that composed the exhibition 'Latitudes. Proyectos 2005–2012' gathering information on +30 projects presented over the last seven years. More on Latitudes' projects here.

 Post-opening chelas with artists Jerónimo Hagerman and Jorge Satorre at the social cathedral of the artworld in Mexico DF: the cantina Covadonga. 

8 October 2012: Release of the second #OpenCurating interview. 'Alguien dijo 'Adhocracy'?' with Barcelona-based architect, co-founder of the publishing project dpr-barcelona and blogger Ethel Baraona Pohl. Ethel was a member of the curatorial team of 'Adhocracy', the exhibition of the first Istanbul Design Biennial (13 octubre–12 diciembre 2012) which later toured to the New Museum's 'Ideas City' Festival (1–4 May 2013). Read here (in Spanish) or here (in English).

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17 October 2012: Mariana Cánepa of Latitudes participates in the season of talks Cultural Professions: the Curator, at the Aula de Cultura CAM, in Murcia. An initiative of the curatorial collective 1er Escalón.

Foto: Obra Social Caja Mediterráneo.

19–21 October 2012: Following on, we participated in a two-day meeting in Witte de With, Rotterdam, in preparation for Moderation(s), a year-long programme of residencies, performances, exhibitions, workshops and research initiated by Witte de With’s director Defne Ayas and Spring Workshop founder Mimi Brown, and presided over by artist, writer and curator Heman Chong.


Photos: Witte de With.

6–9 November 2012: Trip to Munich, to see Haus der Kunst's 'Ends of the Earth – Land Art to 1974' exhibition and attend the opening of Haegue Yang's "Der Öffentlichkeit" commission.


 Façade of Haus der Kunst in Munich.


Haegue Yang's "Der Öffentlichkeit" commission in Haus der Kunst atrium.


 Haegue Yang with Max Andrews discussing the installation process.

28 November 2012: Third #OpenCurating interview online. 'Itinerarios transversales' is the interview with Sònia López and Anna Ramos of the Museu d’Art Contemporani de Barcelona (MACBA). The new web of the museum, was launched at the beginning of 2012 and includes new features such as 'Recorridos' (Itineraries), a tool that allows visitors to create their own transversal itineraries selecting amongst the five thousand works that compose the MACBA Collection, besides videos, artist entries, podcasts, publications, amongst others. Read here (in Spanish) or here (in English).
 Testing the navigation on the iPad. Looking good.

5 December 2012: Fourth #OpenCurating interview up. 'Democratizando la sociedad informacional' analyses the practice of visual artist, art theorist and web activist Daniel G. Andújar. Though the use of irony, his work has questioned the use of new communicative technologies, the democratic and egalitarian promises these media prophesy, critisising their real yet hidden intentions to control users. Read here (in Spanish).



 17 December 2013: Reached the equator with #OpenCurating. Five out of ten interviews are up and running. The fifth, 'books_expanded_field' is the interview with Badlands Unlimited, a New York-based publishing house whose motto is “books in an expanded field”. Its publications and editions in paper or digital forms (e-books for iPad or Kindle) acknowledge that “historical distinctions between books, files, and artworks are dissolving rapidly”. Read here (in English).


The Walker Art Center's web continues to support the project re-publishing the interviews on their site. Read 'books_expanded_field'.


2 January 2013: Happy New Year and happy reading. Seventh #OpenCurating interview with Steven ten Thije, Research Curator at the Van Abbemuseum, in Eindhoven. In 'From One History to A Plurality of Histories', Latitudes conversed with the researcher from one the first public museums for contemporary art to be established in Europe. Under the directorship of Charles Esche since 2004, the museum has defined itself through “an experimental approach towards art’s role in society”, where “openness, hospitality and knowledge exchange are important”. Read here (in English).


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7 January–11 February 2013: Curators-in-residency at Spring Workshop, Hong Kong, as part of the above mentioned 'Moderation(s)' programme. Our residency continued the artist-led tour format we initiated in Mexico City a few months earlier. Hong Kong-based artists Nadim Abbas, Yuk King Tan, Ho Sin Tung and Samson Young were invited to develop day-long itineraries, thus retelling the city and each participant’s artistic concerns through personal references and waypoints. More info and more photos of the four artist tours.


Visiting Chung King Mansions and the nearby Mirador Mansions on Nathan Road with Yuk King Tan, 24 January. Photo: Mimi Brown.


 Navigating Tai Po with Ho Sing Tung, 29 January. Photo: Spring Workshop.

 Sound tour around the Kwun Tong Industrial district, with Samson Young, 7 February.
  
The residency included participating in the workshop "A Day at the Asia Art Archive" organised in collaboration with Spring Workshop and Witte de With, Rotterdam, on 31 January and concluded on February 2, with an Open Studios during which Latitudes and Heman Chong mantained a conversation about their experience in Hong Kong and their curatorial practice. [Related posts: Read the May 2013 interview between Christina Li and Latitudes here.]


Concentrating in the archives, "A Day at the Asia Art Archive". Photo: Mimi Brown.


2 February: Open Day at Spring. Conversation between Heman Chong and Latitudes. Photo: Spring Workshop.


 During an interview and photo session for Ming Pao Weekly. Photo: Athena Wu.

19 February 2013: Public event of the #OpenCurating research at the Auditorium of MACBA, Barcelona. Latitudes in conversation with Yasmil Raymond, Curator of the Dia Art Foundation in New York. The conversation was later transcribed and published at the #7 of the series.


Yasmil Raymond during the conversation at MACBA's Auditorium. Photo: Joan Morey.

8–14 March 2013: Research trip in Dublin. Invited by Dublin City Council: The Arts Office, Latitudes visited art spaces, artists' studios and galleries in Dublin and Derry-Londonderry throughout the week. The diary included participating in the round table 'Within the public realm', alongside artist Sean Lynch and curator Aisling Prior at the Hugh Lane Dublin City Gallery [video of the talk here]; and a Curatorial talk at CCA Derry-Londonderry. During the week we were hosted by artists, curators and studio managers who took us around the Red Stables Studios; Temple Bar Gallery + Studios; Fire Station Artists' Studios; Green On Red Gallery; Kevin Kavanagh Gallery and the Project Arts Centre - Visual Arts.


Visiting Fire Station Artists' Studios. Photo: Liz Burns.


 Walk with our hosts Aileen Burns and Johan Lundh, co-directors of CCA Derry–Londonderry, around Kinnagoe Bay in Donegal, site of 1588 shipwreck of one of the Spanish Armada ships.


 Gathered plenty of material during studio visits, lunches and dinners. How do we deal with this, Ryanair?


20 March 2013: Mariana Cánepa of Latitudes visits A*Desk's HQ and talks to A*Study's partipants about some of the practical challenges that came up in recent projects, how they were negotiated and ultimately, presented.

Photo: Oriol Fondevila.

2 April 2013: Publishing the eight #OpenCurating interview, "Digression(s), Entry Point(s): An interview with Heman Chong", Singapore-based artist, writer and curator of 'Moderation(s)'. 



18–22 April 2013: Attended the first International Association of Curators of Contemporary Art (IKT) congress, this year celebrated in Madrid. See more photos of the three-day event.


(Above) Symposium at the Cineteca in Matadero and (below) visit to the newly opened MediaLab Prado.

24 April 2013: Since mid-2010 we been members of the Programme Committee of Hangar Production Center in Barcelona, and have extended our mandate one more year until a new board is formed. Below a tweeted photo of a studio visit to Rasmus Nilausen' working space, during one of our periodic visits alongside other members of the Committee Joan Vilapuig, Jordi Mitjà and Àlex Mitrani.


27 May–2 June 2013: Venice Biennale week galore. We published three posts on our blog on 'The Encyclopedic Palace', the National Pavilions and Collateral Events and of the ubiquitous biennale tote bags.

After the art overdose, Venice rewarded biennale visitors with incredible sunsets between the several storms and showers that plagued the opening week.

4 June 2013: In Madrid for an in conversation with New York-based artist Alejandro Cesarco on the occasion of his solo exhibition "La noche agranda su silencio”, Parra & Romero, Madrid. 


Photo: Parra & Romero.

As far as press coverage, Stephanie Cardon of Boston's Big Red & Shiny featured a profile in September 2012 titled 'Meanwhile in Barcelona: Latitudes and #OpenCurating'. In the Autumn issue of D'ARS, Italian writer Saul Marcadent mentioned the (out of print, unfortunately) publication "LAND, ART: A Cultural Ecology Handbook", Latitudes edited in 2006 in the context of other ecological-oriented projects. During our March visit to Dublin, we chatted with Anne Mullee about the (then ongoing) #OpenCurating research, the conversation was soon after published in the International section of the May-June 2013 issue of The Visual Artists' News Sheet. Also in May, writer and curator Christina Li, interviewed us for the Moderation(s) blog Witness to Moderation(s), an opportunity to look back at our January residency in Hong Kong.

In the past months, Max Andrews of Latitudes has published the following texts in frieze: 'Utopia is possible' (October 2012 issue); review of Julia Montilla's exhibition "El «cuadro» de la Calleja" at Espai 13, Fundació Miró; and forthcoming, an interview with Rotterdam-based artists Klaas van Gorkum and Iratxe Jaio also for frieze, as well as two texts on the 1979 documentary film 'The Secret Life of Plants' for the final issue of the Dutch journal Club Donny!



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)




Latitudes conversa con el artista Alejandro Cesarco en la Parra & Romero, Madrid


El pasado 4 de junio Latitudes mantuvo una conversación con el artista Alejandro Cesarco (1975 Montevideo, vive en Nueva York) con motivo de la inauguración de su exposición individual "La noche agranda su silencio", en la galería madrileña Parra & Romero.


La conversación se centró en los trabajos presentados en su exposición en la galería (las películas 'Zeide Isaac' y 'Present Memory' de 2009 y 2010 respectivamente; dos pies de página en vinilo [Footnote #20 y Footnote #24] y la serie de cuatro fotografías 'Where I'm Calling From' del 2012), e incluyó preguntas enviadas por amigos (novia del artista, el actor Daniel Hendler que aparece en varias de sus películas), colegas artistas (Jack Pierson, Julie Ault, Nicolás Guagnini) y comisarios con los que ha colaborado en años recientes (Sarah Demeuse desde Nueva York, Jacob Fabricius desde Copenhague o Ellen Blumenstein desde Berlin).



Cesarco trabaja con Murray Guy en Nueva York, Tanya Leighton en Berlin y Ignacio Liprandi en Buenos Aires. "La noche agranda su silencio" (vistas de la exposición a continuación) es la primera exposición de Cesarco en Parra & Romero, Madrid.


Fotos cortesía de Parra & Romero, Madrid.




Report from the 2013 congress of the International Association of Curators of Contemporary Art (IKT) in Madrid, 18–21 April

The programme of the 2013 congress of IKT, the International Association of Curators of Contemporary Art, included meetings at the Centro de Arte Dos de Mayo in Móstoles as well as at Centro Cultural Matadero Madrid and the Museo Nacional Centro de Arte Reina Sofia, where the IKT Members Forum, Symposium and General Assembly were held.

"Curating Value", the topic of this year's symposium organised by Brussels-based independent curator Zoë Gray, included the participation of Barnabás Bencsik (the recently forced-out director of the Ludwig Museum in Budapest), French artist Pierre Bismuth, Spanish curator and consultant María de Corral, London-based curator and theorist Dr. Simon Sheikh and Greek artist and Athens Biennial co-director, Poka-Yio

Following is our photo diary documenting a few moments of these five days in Madrid alongside the organisers' schedule, starting the Pre-Congress programme on Thursday afternoon with a first meeting at Espacio Trapézio at the Mercado de San Antón and ending on Monday morning with the Post-Congress programme which included studio visits to Fernando Sánchez Castillo and Cristina Lucas.

Friday, 19th April 2013
 
Buses depart from Plaza del Emperador Carlos V/ Atocha (opposite the renowned El Brillante bar) for Centro de Arte Dos de Mayo (CA2M) in Móstoles. 



IKT Members Forum. Opening of the congress, welcome and greetings.


Each of the +/- 120 members and guests had 90 seconds to introduce themselves to the rest and quickly explain what projects they were currently developing.

Exhibition visits: Pop Politics: Activismos a 33 revoluciones curated by Iván López Munuera and Hailil Altindere curated by CA2M Director, Ferran Barenblit.

Lyota Yagi, Vinyl (2005) plays the melodies of Debussy's “Clair de Lune” and “Moon River” by Johnny Mercer and Henry Mancini on a record player from a record made of ice created with a silicon mould.


Lunch offered by CA2M at the Terrace.

Buses depart for Fundación Banco Santander (Boadilla del Monte) to visit the exhibition "Out of the House. Contemporary Art Cranford Collection", curated by Anne Pontégnie and Muriel Salem.


 Sci-Fi-like building of the Fundación Banco Santander in the Ciudad Financiera, Boadilla del Monte.


The exhibition space holds a collection of Spanish currency. Here, the last pesetas notes that used to circulate before 2002.


 View of the galleries presenting London's Cranford Collection. Holdings include mostly British art (Sarah Lucas, Rachel Whiteread, Damien Hirst, Phil Collins, Paul Noble, Eva Rothschild, Rebecca Warren, Gillian Wearing), but also pieces by Franz West, Albert Oehlen, Martin Kippenberger, Pierre Huyghe and Thomas Schütte. 
You can also visit it virtually.


 More blue chip works, by Damien Hirst (Something or Nothing, 2004).


 Our Love Is Like the Flowers, the Rain, the Sea and the Hours, 2002 by Martin Boyce.

 (Foreground) Jim Lambie's Sweet Exorcist, 2005.

 (Foreground) Rebeca Warren, Log Lady, 2003.

Franz West, Appartment (2001)

Buses depart for Ivory Press. Exhibition visit: Ilya & Emilia Kabakov.


 Tour through Ivory Press' artist books production with heavy weights like Noguchi, Chillida, Kapoor, Kiefer, Bacon...


...and of course Damien Hirst (again). Here The Holy Trinity explained in percentages, a part of a much larger sculptural/archive piece produced by Ivory Press.

View of Ilya & Emilia Kabakov's show Vertical Paintings and Other Worlds.

Walk to Galería Liebre. Exhibition visit: Ideas y presupuestos. Curator: Martí Manen. 


Ideas and budgets for possible artworks by artists Sebastian Beyro, Black Tulip, Bonus Extra, Kalle Brolin, Priscila Fernandes, Guillem Juan Sancho, Sandra Paula Fernández, Ana García Pineda, Luis Pérez Calvo, Iratxe Jaio & Klaas van Gorkum, Laramascoto, Connie Mendoza, Carlos Motta, Carl Palm, Pepo Salazar, Yes.
 

Visit to the Tabacalera Espacio Promoción del Arte. Exhibition visit: José Manuel Ballester “Bosques de Luz”. Curators: María de Corral and Lorena Martínez de Corral.


Entrance to Tabacalera, Espacio Promoción de Arte.


Tabacalera also shares spaces with La Tabacalera Centro Social Autogestionado (follow @latabacalera), where over 30 organisations self-manage their own spaces sharing, garden areas, storage, a stage, bar facilities, etc.


Saturday, 20th April 2013

Caixaforum. Exhibition: 'Maestros del Caos. Artistas y Chamanes'.

Walk to Medialab Prado, Calle Alameda 15, which officially opened its doors a day before our visit.




Walk to La Casa Encendida, Ronda de Valencia 2.
Exhibitions: Generaciones 2013. Proyectos de Arte Caja Madrid.
Albert Oehlen, Moderne Farbkonzepte. Curator: Christian Domínguez.
 

Lunch offered by La Casa Encendida in their terrace.
 


Buses depart for Matadero Madrid, Plaza de Legazpi 1, 28045 Madrid. 


Manuela Villa, Head of Contents at Matadero introduces the different areas of the 80,000m2 of the former slaughterhouse and its programmes, including the Programa de Pensamiento Matadero Madrid; Intermediae Laboratory for the production of projects and social innovation and Archivo de Creadores (Documentation of 150 Madrid-based contemporary artists).


   Fernando García-Dory of Campo Adentro working at Matadero Madrid.

Archivo de Creadores de Madrid, offering "physical and online documentation on 150 young artists or collectives of 17 different nationalities with links to the city of Madrid."


 IKT Symposium “Curating Value” at the Cineteca.  

"Curating Value" symposium at the Cineteca, Matadero Madrid. 
Left to right: Zoë Gray, Pierre Bismuth, Dr. Simon Sheikh Poka-Yio, Maria de Corral and Barnabás Bencsik.

Exhibition visits. Abierto x Obras: Candela. Los Carpinteros . Curator: Manuela Villa; and Arqueológica, curated by Virginia Torrente. Followed by a dinner and party offered by Matadero Madrid.


Candela, site-specific work by Los Carpinteros at the Abierto x Obras space.


 Pedro Barateiro's piece The Negative Reader, 2012-13, included in the group exhibition Arqueológica in Nave 16.

  Mariana Castillo Deball, five dance costumes produced by artisans in Yautepec in Morelos, used to perform the Brinco de los Chinelos dance during the Carnival. Part of the group exhibition Arqueológica in Nave 16.

Sunday, 21th April 2013

IKT General Assembly in the Auditorio 200, Museo Nacional Centro de Arte Reina Sofía (MNCARS).  



One of the issues to discuss during the General Assembly was to decide on the next venue/city to host the IKT Congress 2014 and 2015. The members voted that CCA Derry-Londonderry would host the 2014 event (the bid included visiting the biennial Eva International in Limerick) and that Vienna's Kunsthalle Wien to host the following year.

Here Johan Lundh co-director of CCA Derry-Londonderry during his presentation for Derry-Londonderry to host the 2014 IKT Congress.

Exhibition visits: Colección I. 1900-1945; Colección II. 1945-1968; Colección III. 1962-1982; Cristina Iglesias; Robert Adams. el lugar donde vivimos. Una selección retrospectiva de fotografías; La invención concreta. Colección Patricia Phelps de Cisneros; and Azucena Vieites. (Programa Fisuras).


 Favourite Gego mobile, "Reticularea" (1973–76), in the Colección Patricia Phelps de Cisneros. 

 Favourite Jesús Soto, "Pre-penetrable" from 1957 in the Colección Patricia Phelps de Cisneros. 
 
Wonderful 1967 Tropicália by Hélio Oiticica in the "Colección III, 1962-1982" (above and below).

 
(End of congress & beginning of Post-Congress)
 

Afternoon gallery visits around c/ Doctor Fourquet:
 

NoguerasBlanchard, with the exhibition "Can’t Hear My Eyes" curated by Niekolaas Johannes Lekkerkerk.
 

MaisterraValbuena, with the exhibition "Entre lo fugitivo y lo infinito" curated by Anja Isabel Schneider.


Isidoro Valcárcel–Medina, Conducto, 2013. From the press release: "On the occasion of this exhibition project, Isidoro Valcárcel Medina proposes a site-specific intervention on the floor in the gallery’s entrance zone. With a critical, at times provocative stance towards the art market, voiced among others in Ley del Arte - Ley reguladora del ejercicio, disfrute y comercialización del Arte (1992), Valcárcel Medina’s work sees art and life interrelated, inviting the spectator above all to an experience."

García Galería with the exhibition "En la zona gris" curated by Virginia Torrente.


Joaquín García of García Galería introducing the meteorite piece by Belén Rodríguez González

Moisés Pérez Albéniz with an exhibition of Antoni Muntadas (below).
 


Helga de Alvear with an exhibition of works by Prudencio Irazabal.

Fúcares, with the exhibition "Escópico-Esconder(se)-Escaparcurated" by Juan Francisco Rueda.
 

Visit to artists studios at Rampa in the Carabanchel neighbourhood, Madrid.

Found photograph in the former car repair shop that existed before Rampa.
IKT members listening to Rampa's presentation and questions on curating and the artist-curator relationship.

Bus departs for Colección Inelcom at the Ciudad de la Imagen, Pozuelo de Alarcón, Madrid. Artistic direction of the collection: Vicente Todolí.



The circa 3,000m2 headquarters at Ciudad de la Imagen, hold 72 works by 24 artists, including Pavel Büchler, Anthony McCall, Markus Schinwald, Ernesto Neto, Sophie Calle, Kader Attia, Candice Breitz, Ceal Floyer, Fiona Tan and Fernando Bryce's 'Work in Progress' (2006) a suite of 80 ink drawings (below).


 
Monday, 22th April 2013 

Visit artists studios: Fernando Sánchez Castillo and Cristina Lucas.


How many curators can you fit in an artist studio?

Espacio Valverde group show included a work by Antonio R. Montesinos, one of the members of Rampa.


AVE back to Barcelona... end of journey.

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

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




"Host and Ambassador: A Conversation with Yasmil Raymond" Curator of Dia Art Foundation, New York. Seventh in the #OpenCurating research series


Yasmil Raymond has been the curator of Dia Art Foundation in New York since 2009. Previously, between 2004–9, she worked at the Walker Art Center in Minneapolis. At Dia she has organised exhibitions and projects with artists including Jean-Luc Moulène, Yvonne Rainer, Ian Wilson, Robert Whitman, Koo Jeong A, Franz Erhard Walther and Trisha Brown. She is currently working on the retrospective Carl Andre: Sculpture as Place, 1958–2010, due to open in May 2014, as well as on Gramsci Monument, a project by Swiss artist Thomas Hirschhorn that begins this July.
The published text [available via Latitudes' web on pdf and ISSUU format] is a transcription of a conversation between Raymond and Latitudes that took place on 19 February 2013 at the auditorium of the Museu d’Art Contemporani de Barcelona (MACBA), as the public event of Latitudes’ #OpenCurating research. The conversation begins with an overview of this research, followed by a brief introduction to Dia and its projects since 1974. It incorporates “crowd-sourced” questions that were received via Twitter and Facebook, including from Raymond’s current and former work colleagues, and concludes with questions from the audience.  

Interview with Yasmil Raymond available via Latitudes' web as a pdf and in ISSUU format.

 



ABOUT #OPENCURATING

Drawing on the emerging practices of so-called 'Open Journalism' – which seek to better collaborate with and use the ability of anyone to publish and share#OpenCurating is a research project that investigates how contemporary art projects may function beyond the traditional format of exhibition-and-catalogue. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context.

The project is articulated around a series of ten new interviews with curators, artists, writers and online strategists published as a free digital edition [read here the published ones so far], a Twitter discussion moderated around the hashtag #OpenCurating and an public conversation with Dia Art Foundation curator which took place at MACBA on the 19 February.

#OpenCurating is a research project by Latitudes produced through La Capella. BCN Producció 2012 of the Institut de Cultura de Barcelona. 










Content partners: Walker Art Center

 




All photos above: Joan Morey

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




#OpenCurating: "Latitudes in conversation with Yasmil Raymond", Curator, Dia Art Foundation, New York. Tuesday 19 February, 19:30h. Auditori MACBA, Barcelona

Dia Art Foundation curator, Yasmil Raymond. Photo: Lina Bertucci

| ENG |
 
"Latitudes in conversation with Yasmil Raymond" 

Tuesday 19 February 2013, 19:30h
Auditori MACBA, Barcelona
Free admission. Limited seating. With simultaneous translation.

This event is part of Latitudes' ongoing #OpenCurating research, which analyses the implications of Web 2.0, participation and transparency for contemporary art production and programming. The core of #OpenCurating is formed through a series of interviews, freely available online, most recently with Steven ten Thije (Van Abbemuseum, Eindhoven), Sònia López and Anna Ramos (MACBA, Barcelona), and Badlands Unlimited (New York).

The conversation with Dia Art Foundation's curator Yasmil Raymond will address Dia's historical identity, the evolving role of the curator, and Raymond's vision in commissioning and preserving art projects. The dialogue will be later transcribed and published as the seventh interview of the #OpenCurating research series.

The evening will incorporate "crowd-sourced" questions by the public previously solicited via Twitter (hashtag #OpenCurating) and Facebook (http://www.facebook.com/LTTDS).

Yasmil Raymond has been Curator at the Dia Art Foundation since 2009, where she has organized exhibitions and projects with artists such as Jean-Luc Moulène (2012); Yvonne Rainer (2011-12); Koo Jeong A (2010-11); Franz Erhard Walther (2010-2012); and Trisha Brown (2009-10). Prior to joining Dia, Raymond worked at the Walker Art Center (2004–2009) in Minneapolis where she organized solo exhibitions with Tomás Saraceno (2009), Tino Sehgal (2007) and group exhibitions including Abstract Resistance (2010); Brave New Worlds (2007, co-curated with Doryun Chong). Raymond studied at The School of the Art Institute of Chicago (1999) and the Center for Curatorial Studies, Bard College (2004).

As a non-profit institution founded in 1974, the Dia Art Foundation is renowned for initiating, supporting, presenting, and preserving art projects. Between 1987 and 2004, the Dia Center for the Arts in Chelsea, New York, saw presented site-specific exhibitions and projects including those by Robert Gober, Jenny Holzer, Jorge Pardo and Pierre Huyghe. Dia:Beacon opened in 2003 in upstate New York, as the home for Dia’s distinguished collection of art from the 1960s to the present. Dia Art Foundation maintains long-term, site-specific projects including Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), Joseph Beuys’s 7000 Eichen (7000 Oaks) (1988), and Dan Flavin’s untitled (1996), all in Manhattan; the Dan Flavin Art Institute in Bridgehampton, New York; De Maria’s The Vertical Earth Kilometer (1977) in Kassel, Germany; Robert Smithson’s Spiral Jetty (1970) in the Great Salt Lake, Utah; and De Maria’s The Lightning Field (1977) in Quemado, New Mexico. Currently Dia is developing a project space on West 22nd Street in New York City.


#OpenCurating is a research project by Latitudes produced through BCN Producció 2012. La Capella, Barcelona City Council.   


 






Content partner: Walker Art Center, Minneapolis / walkerart.org





Related posts:
"Host and Ambassador: A Conversation with Yasmil Raymond" Curator of Dia Art Foundation, New York. Seventh in the #OpenCurating research series (7 March 2013)


| ES |

"Latitudes conversa con Yasmil Raymond"

Martes 19 de febrero, 19:30h
Auditori MACBA, BarcelonaEntrada gratuita. Aforo limitado. Con traducción simultánea.  

Este evento es parte del proyecto de investigación #OpenCurating de Latitudes, enfocado en el análisis de las implicaciones de la web 2.0, así como la expectación de participación y transparencia, en la producción y programación de arte contemporáneo. El núcleo de #OpenCurating consiste en una serie de diez entrevistas, disponibles en línea y gratuitas, con artistas, comisarios y escritores tales como Steven ten Thije (Van Abbemuseum, Eindhoven), Sònia López and Anna Ramos (MACBA, Barcelona), y Badlands Unlimited (Nueva York).  

La conversación con la comisaria del Dia Art Foundation, Yasmil Raymond se centrará en la identidad histórica del Dia, la evolución del rol del comisario y la visión de Raymond en el encargo y el comisariado de proyectos artísticos. La charla será posteriormente transcrita y se publicará como la séptima entrevista en la serie #OpenCurating .

La sesión incorporará preguntas previamente enviadas por el público a través de Twitter (@LTTDS con hashtag #OpenCurating) y Facebook (http://www.facebook.com/LTTDS).

Yasmil Raymond ha sido Comisaria del Dia Art Foundation en Nueva York desde el 2009, donde ha organizado exposiciones y proyectos de artistas como Jean-Luc Moulène (2012); Yvonne Rainer (2011–12); Ian Wilson (2011–13); Robert Whitman (2011); Koo Jeong A (2010-11) (2010-11); Franz Erhard Walther (2010-2012); y Trisha Brown (2009–10). Anteriormente Raymond trabajó en el Walker Art Center en Minneapolis, donde organizó exposiciones individuals de Tomás Saraceno (2009), Tino Sehgal (2007) y exposiciones colectivas como Abstract Resistance (2010); Statements: Beuys, Flavin, Judd (2008); y Brave New Worlds (2007, co-comisariada con Doryun Chong). Raymond estudió en The School of the Art Institute of Chicago (1999) y cursó un máster en el Center for Curatorial Studies, Bard College (2004).

Como institución sin ánimo de lucro fundada en el año 1974, el Dia Art Foundation es conocida por haber iniciado, apoyado, presentado y preservado proyectos artísticos. Entre 1987 y 2004, el Dia Center for the Arts en Chelsea, Nueva York, presentó exposiciones y proyectos site-specific de Robert Gober, Jenny Holzer, Jorge Pardo y Pierre Huyghe, entre otros. Dia: Beacon abrió sus puertas en 2003 en el norte del estado de Nueva York, como sede de la distinguida colección de arte desde la década de 1960 hasta la actualidad. Dia Art Foundation mantiene proyectos a largo plazo en sitios específicos tales como The New York Earth Room (1977) y The Broken Kilometer (1979) ambos de Walter De Maria; Times Square (1977) de Max Neuhaus, 7000 Eichen (7000 Oaks) (1988) de Joseph Beuys; untitled (1996) de Dan Flavin, todos en Manhattan; el Dan Flavin Art Institute in Bridgehampton, Nueva York; The Vertical Earth Kilometer (1977) de Walter De Maria en Kassel, Alemania; Spiral Jetty (1970) de Robert Smithson en Great Salt Lake, Utah; y The Lightning Field (1977) Walter De Maria  en Quemado, Nuevo Mexico. En la actualidad, Dia está desarrollando un espacio para proyectos en la calle West 22nd de Nueva York. 

#OpenCurating es un proyecto de investigación de Latitudes producido por La Capella. BCN Producció 2012 del Institut de Cultura de Barcelona. 


 







Content partner: Walker Art Center, Minneapolis / walkerart.org





Contenido relacionado:"Host and Ambassador: A Conversation with Yasmil Raymond" Curator of Dia Art Foundation, New York. Seventh in the #OpenCurating research series (7 de marzo 2013)




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All photos: Latitudes | www.lttds.org (except when noted otherwise in individual photo captions).  
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"Itinerarios transversales", tercera entrevista de la investigación #OpenCurating, con Sònia López y Anna Ramos del Museu d'Art Contemporani de Barcelona (MACBA)

El estudio radiofónico de Ràdio Web MACBA en el Auditorio del MACBA. 
Foto: Gemma Planell / MACBA, 2012. Some rights reserved.

La entrevista "Itinerarios transversales" con Sònia López y Anna Ramos del Museu d’Art Contemporani de Barcelona (MACBA), es la tercera en la investigación #OpenCurating – leer la primera con el equipo del Walker Art Center aquí (inglés), y la segunda con Ethel Baraona Pohl aquí (en inglés aquí).

El Museu d’Art Contemporani de Barcelona (MACBA) abrió sus puertas en el Raval de Barcelona en el 1995, aunque su fundación se remonta a 1987 cuando miembros representantes de la sociedad civil catalana y empresas privadas crean Fundación MACBA, una de las cuatro entidades que integran el Consorcio junto con la Generalitat de Catalunya, el Ayuntamiento de Barcelona y el Ministerio de Cultura. La nueva página web del museo (macba.cat), se lanzó a principios del 2012 tras un periodo de rediseño y reconceptualización, e incluye novedades como los Recorridos (permite al visitante crear itinerarios transversales seleccionando entre las cinco mil obras que componen la Colección MACBA, además de vídeos, fichas de artista, podcasts, publicaciones, etc.) y la unificación de bases de datos de la colección y el Archivo del Centro de Estudios y Documentación, entre otras muchas. Ràdio Web MACBA, el proyecto radiofónico del museo iniciado en el 2006, cuenta con su propia web rwm.macba.cat e incluye una selección de más de 250 podcasts sobre arte, filosofía, música experimental y material documental con la voluntad de fomentar una aproximación crítica a la producción sonora y el pensamiento contemporáneo. 

Sònia López es la responsable de la web y las publicaciones digitales del MACBA desde el 2001. Ha participado en diversos proyectos artísticos y pedagógicos en el MACBA y otras instituciones culturales de Barcelona. Activista crafter a tiempo parcial.

Anna Ramos es la coordinadora del proyecto radiofónico online Ràdio Web MACBA, y co-responsable del sello ALKU, plataforma pluridisciplinar que opera desde 1997. Bajo ambos paraguas desarrolla publicaciones, proyectos, instalaciones y ciclos en torno a la música por ordenador, el audio generativo, la síntesis, el pensamiento contemporáneo y otras áreas relacionadas. Asimismo, acaba de co-editar el libro del artista danés Goodiepal, El camino del hardcore (ALKU, 2012).

El documento se puede visualizar en ISSUU, y también se puede descargar como pdf desde la web del proyecto y por de ahí leerlo en vuestro iPad (visualización optimizada para la pantalla Retina).


 Foto: Latitudes.
 –

ACERCA DE #OPENCURATING


Partiendo de las preocupaciones exploradas por Latitudes durante el proyecto editorial realizado durante 'The Last Newspaper' (New Museum, Nueva York, 2010), y basándose en las prácticas del denominado 'periodismo abierto' (Open Journalism) – que trata de mejorar la colaboración y utilizar la habilidad de cualquier persona para publicar y compartir – #OpenCurating es un proyecto de investigación que indaga en las nuevas formas de interacción entre los públicos – sean seguidores en red o visitantes físicos – con obras de arte, su producción, exhibición y su contexto discursivo.

El proyecto se estructura a partir de tres elementos: una serie de diez entrevistas a comisarios, artistas, escritores y expertos web publicada en una edición digital gratuita (véase aquí), una discusión en Twitter moderada por el hashtag #OpenCurating y por último, un evento que tendrá lugar en Barcelona (fecha por determinar).
  
#OpenCurating es el proyecto ganador de la primera convocatoria BCN Producció 2012 en la categoría de investigación, otorgada por el Institut de Cultura de Barcelona.

Síguenos en Twitter: #OpenCurating
 






 

   
Content partners : Walker Art Center






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




Selected press coverage of 'The Dutch Assembly' at ARCOmadrid 2012

Rubén Grilo during his performance at 'The Dutch Assembly'. Space designed by Jasper Niens and Thijs Ewalts. Photo: Latitudes | www.lttds.org

(ES) Bea Espejo, "ARCO 2012, cifras y letras", El Cultural online, 23 November 2011


(UK) The Netherlands is the guest country at ARCOmadrid 2012, art-agenda.com, 13 February 2012

(ES) "ARCO 2012: Entrevista a Latitudes, comisarios de "The Dutch Assembly", Blog www.camilayelarte.blogspot.com, 15 Febrero 2012

(ES/UK) Álvaro Calleja, 'Un puente entre dos naciones/A bridge between two nations', ABCDArco, 16 Febrero 2012, p.7

(ES) Roland Groenenboom, "Holanda, reinventarse para sobrevivir", El Cultural, 17 Febrero 2012

(ES/UK) 'Kunstbeeld interviews Latitudes', special ARCOmadrid 2012 issue y en español aquí

(UK) Jolien Verlaek, "State of the arts: Spain - the Netherlands. Interview Mariana Cánepa Luna", Metropolis M, 18 February 2012

(ES) Entrevista con Mariana Cánepa, www.masdearte.com, 18 Febrero 2012


All photos: Latitudes | www.lttds.org

 Videos ('The Dutch Assembly' related events/participants):

(ES) Entrevista a Lara Almarcegui, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Mariana Cánepa, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Adrià Julià, www.hoyesarte.tv, 18 Febrero 2012

'Care', performance by Rory Pilgrim at 'The Dutch Assembly' at ARCOmadrid, Metropolis M


+ info: The Dutch Assembly and programme details here




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