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

Latitudes' homepage www.lttds.org

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

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

—> Continue reading
—> After this month it will be archived here.


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


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Latitudes' "out of office": wrap up of the 2017–2018 season

This is possibly our favourite post of the year. Not just because it means we’ll shortly be taking a deserved summer break. But also because it brings a sense of accomplishment to look back at what has happened during the last twelve months — to remember the many conversations we’ve had, the places we’ve been privileged to visit and to refresh all those ideas and plans we intended to move forward. Onwards!

September 11—October 6, 2017
: Lead Faculty of the month-long "Geologic Time" residency at The Banff Centre for Arts and Creativity in Alberta, Canada.


In this blog post, we shared some lithic impressions of the four weeks we spent leading a programme in Alberta's Rocky Mountains.

One of the epic moments of the month: hike to Stanley Glacier.
At the base of Mount Stanley, we found 505-million-year-old Burgess Shale trilobites, soft-body fossils from the Eldon formation.
Snow surprised us on our final week in Banff.
Welcome coffee with third week Guest faculty Sean Lynch.
A fun evening at High Rollers bowling alley in Banff town.

The closing event of "Geologic Time" was conceived as a two-hour infiltration into the pages, shelves, and display possibilities of The Banff Centre library. Featuring storytelling, documentation, annotation, sculpture, video, conversation and other live situations, the event presented some sediments of the ten participants’ ongoing research and geological collaborations. Pdf of the event programme.

Posters communicating some of the seminars and excursions programmed during the four weeks. Design/Photos: Latitudes.
Intervention by Semâ Bekirovic, based in Amsterdam. Bekirovic employed a number of external hard drives to act as pedestals for small stones. How many terabytes can a hunk of rock hold? What fragments of data detritus, chunks and grains of documents, broken off images, or weathered files, might be read and written, stored or retrieved?

Intervention by Caitlin Chaisson based in Vancouver. Chaisson has been researching a former experimental farm station in Agassiz, British Columbia, and a forgotten centennial time capsule buried under a granite marker there. Caitlin also presented a cut-and-paste station on the table next to the photocopier, and a display for the tall vitrine just behind it.

Intervention by Caroline Loewen, based in Calgary. Caroline delves deep into the story of sandstone in Alberta, a rock that gained widespread favour for building and decorative use following Calgary’s Great Fire of 1886. The black-and-brown Rundle Rock that was once quarried at the base of Banff-Centre-neighbour Mount Rundle and was used extensively in creating the Banff Springs Hotel also joins a conversation that anticipates an exhibition scheduled for next summer at Lougheed House in Calgary.
Intervention by Justy Phillips & Margaret Woodward (A Published Event) based in Hobart. Described by the Hobart-based duo as “an accumulative event of mineralogical, metaphysical and metallurgical telling”, the books that have come into the world to date have been incorporated into the library’s holdings alongside a glossary and can be found in the geology section upstairs.

An audio narration drafted by Penelope Smart was also heard on the upper floor, near the “memoirs and narrative” section. Here, an image of the exquisite marble bust by Giovanni Strazza animated Penny’s writing during the last weeks. It came to St.John’s, Newfoundland, in 1856. Ring the bell to the right of the main door of the Presentation Convent adjoining the Basilica in St.John’s and maybe one of the sisters will let you see it.

Remnants of the 2-hour event.

For the final event on October 5th, participants Becky Forsythe and Camila Sposati decided to collaborate through a performance using the library photocopier on the main floor. ‘"Receding Agate" and "Receding Rhodochrosite" was a collection of pages produced during a procedural artwork that slowly and methodically extracted copies of Agate and Rhodochrosite from Roger Caillois' "The Writing of Stones". Each page is a copy of the last, so text begins to harden into pebble-like shapes, and images begin to simplify as darker forms in an experiment of accumulation and sedimentation.’


Far Afield, the artistic-curatorial initiative led by the also participant Caitlin Chaisson, hand-bound the resulting two-part publication for Far Afield's library, a platform for "collecting and sharing publications that support experimental art practices".

      Photos by Far Afield's library.

27 October 2017: Cabaret at the Capella space, a public programme organised by the Museu d'Art Contemporani de Barcelona in the context of their Joan Brossa exhibition. The Capella space was decorated with fragments of Antoni Hervàs "El Misterio de Caviria" scenography, presented only a year earlier at the other La Capella space as part of the 2016 BCN Producció season. The project was mentored by Latitudes. Following Hervàs’s interests in Barcelona’s dwindling cabaret scene, he invited Gilda Love and castanets master Juan de la Cruz "el Rosillo" (who sadly passed away a few months after) to interpret a moving repertoire of popular Spanish copla, against the backdrop of parts of his scenography. 



Gilda Love and castanets master Juan de la Cruz "el Rosillo". Photos by Dani Cantó/MACBA.

5 November 2017: The 1878 painting by Alfred Roll "The Old Quarryman" is exchanged with Alfred Smith's "The Grave Docks" (1884) in the Latitudes-curated exhibition "4.543 billion" at the CAPC musée. The show remains on view another two more months, until January 7, 2018.

Photo: Lysian Gauthier © Musée d'art contemporain de Bordeaux.

Photo: Alice Cavender.

(Unframed) Alfred Smith's (Bordeaux, 1854–Paris, 1936) “Le Quai de la Grave” [The Grave Docks] (1884). Collection of the Musée des Beaux-Arts, Bordeaux.

15 November 2017: Study day at CAPC musée "The Return of the Earth. Ecologising Art History in the Anthropocene." 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 convened by '4.543 billion'-curators Max Andrews and Mariana Cánepa Luna, saw art practice and historical research intertwining with environmental and geological narratives, and vice versa.

(Top) Left to right: Max Andrews, Xavier Ribas, Jean-Baptiste Fressoz and Ângela Ferreira during the debate. (Below) Ângela discussing her work in the exhibition. Photos (Above and below): Latitudes.

22 November 2017: Launch of Anna Moreno's "The Drowned Giant" publication at the Col·legi d'Arquitectes de Catalunya alongside architect and researcher Lluis A. Casanovas. Moreno's project is part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor. 

Video of the presentation (in Catalan).

Photos (this and following): Pep Herrero / La Capella—Barcelona Producció 2017.
(Above) Photo: Anna Moreno.

Earlier that week we spent two intense mornings unpacking, hand spraying, numbering, inserting poster and booklet and re-packaging the limited edition of 300 vinyl records in the former Escola Massana, nearby La Capella. 

A short video on the project was screened on betevé tv (in Catalan, starting 04:24min).


Photos (Above and below): Latitudes.




1 December 2017: Latitudes introduces the documentary "Harald Szeemann. The Life of a Dreamer" premiered at Cinemes Girona as part of the first edition of Dart Festival 2017, the Festival of Documentary Cinema on Contemporary Art.


Photo: Latitudes.

9 December 2017: Mariana of Latitudes led the first "Parlem" [Let's talk] guided tour around the exhibition "Rosemarie Castoro. Focus at infinity", curated by Tanya Barson, MACBA's Chief Curator, a free event repeated on March 10 and March 31st.

Photo: Latitudes.

December 2017: Transition from Storify to Wakelet to archive all the social media stories related to Latitudes' projects.
Latitudes' Wakelet profile.

20 December 2017: Max Andrews of Latitudes (and Contributing Editor of frieze magazine) looks back at 2017 from Barcelona and beyond, at some art highlights from a tumultuous 2017, including Amie Siegel, Pierre Huyghe, Lúa Coderch, Francesc Torres, Adrià Julià, Jordi Mitjà, Eulàlia Rovira & Adrian Schindler, Joan Morey, and Claudia Pagès. 

2017 from Barcelona and beyond.

23 January 2018: Opening of the exhibition "Artengo2000" by Magda Vaz and Camille Orny at the sala petita of La Capella. This is the third and final Barcelona Producció project mentored by Latitudes.


(Above and below) View from "Artengo2000", an exhibition by Camille Orny and Magda Vaz at the Sala Petita in La Capella. Photo: Pep Herrero / La Capella.


23 January 2018: The online platform arteinformado.com publishes three artist recommendations by five Spanish-based curators. Mariana Cánepa of Latitudes selected Gerard Ortín, Martín Llavaneras and Anna Moreno.

25 January 2018: Print proofs of the forthcoming John Kørner's monograph published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews' of Latitudes, published on the occasion of his recent mid-career retrospective "Altid Mange Problemer" at Kunsthal Charlottenborg in Copenhagen (17 June–13 August 2017).



2 February 2018: Roulette Russe publish an image of John Kørner's book hot off the press.




















9–10 February 2018: Trip to Montpellier to attend the opening of "Crash Test" at La Panacée/Centre d'art Contemporain MoCo.

16 February 2018: Max Andrews of Latitudes wrote a review of the show for frieze magazine published online and in the printed issue in April.

Installation piece by Alice Channer.
Work by Agnieszka Kurant (foreground) and Aude Pariset (background).

Detail of a vitrine piece by Bianca Bondi.
15 February 2018: Award ceremony of the 2017 Premis Ciutat de Barcelona, of which Mariana was a jury member in the Visual Arts category. Joan Morey was the awarded visual artist.

20–23 February 2018: Trip to ARCOmadrid fair, below some social media posts.





Photo: Roberto Ruiz.

Lola Lasurt presented ‘Donació’ (Donation) in the Galeria Joan Prats booth, a body of work produced for the ‘Composiciones’ commissioning series Latitudes curated for the Barcelona Gallery Weekend 2016. Lasurt was also exhibiting as part of La Casa Encendida's "Generación 2018".

22 February 2018: Max Andrews' review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona, is published online. The text is also be included in the printed issue in April. 
Review of Lúa Coderch's solo show "The girl with no door on her mouth" at àngels barcelona.

26 February 2018: After nearly two years in development, the sixth ‘Incidents (of Travel)dispatch from Yerevan, Armenia, is finally live! 

In her day-long tour Yerevan-born, San Diego-based curator and researcher Marianna Hovhannisyan extended the invitation to Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan, three students from the studio college at the National Center of Aesthetics. The purpose was to document transformed, disappeared, or permanently-closed art institutions in the city centre. The shared inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work. As they were putting together the touches on this online version of the offline day, the studio-college itself closed down permanently at the end of 2017.

http://incidents.kadist.org/yerevan

2 March 2018: Book launch of John Kørner's monograph in Copenhagen. Published by Roulette Russe with texts by Oliver Basciano, Marie Nipper and Max Andrews.


 (Above and below). Courtesy Roulette Russe. Photos by Finn Wergel Dahlgren.


March 10 and 31, 2018: Second and third guided visits to Rosemarie Castoro's exhibition at MACBA led by Mariana Cánepa Luna of Latitudes.

MACBA's Instagram story announcing the talk.

March 20, 2018: Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda."A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who stands in a hole cut into its center."

Mariana Cánepa Luna of Latitudes reviews ‘Allora & Calzadilla’ at the Fundació Tàpies, Barcelona, for art-agenda.

The same day, we send the Spring newsletter to our contacts, in English and in Spanish.

12—14 April 2018: Three performances by Les Brontë, Quim Pujol and Eliana Beltrán over three consecutive evenings at La Capella, part of the BCN Producció 2017–18 programme of which Latitudes' is a jury member and mentor.



(Above and below) "Fine Cherry" performance by Les Brontë. Photos: Latitudes.
"Verde Croma" by Quim Pujol. Photos: Latitudes.
"Reading Room #3" by Eliana Beltrán. Photos: Latitudes.


1 May 2018: Max Andrews' profile on Madrid-based artist Teresa Solar Abboud goes online on frieze website.



28 April–4 May 2018: Trip to Berlin during the Gallery Weekend, and later to Cologne to visit Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig, and Ana Jotta's first solo exhibition in Germany at the Temporary Gallery. More on this blog post and on this Wakelet feed.





23–29 May 2018: Trip to London to visit +35 exhibitions, friends, and family – highlights below, full photo report here. Short day trip to Oxford's Pitt Rivers Museum (a favourite of ours), the Natural History Museum and Modern Art Oxford. 

 (Above and below) Cinthia Marcelle's "The Family in Disorder" (2018) at Museum and Modern Art Oxford.
(Above) The incredible main hall of the Pitt Rivers Museum in Oxford.
 (Above) The opening of Leonor Antunes's "a thousand realities from an original mark" at Marian Goodman.Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003). 

 Fantastic assembly of Markus Lüperz's tent paintings at Michael Werner Gallery, which the artist painted at age 24 using distemper on canvas.
 Batia Suter's work at The Photographers' Galery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018, finally won by Luke Willis Thompson with his striking film "autoportrait".
   (Above) Antoni Hervàs studio at Gasworks during his 3-month residency.
   (Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
(Above) Peter Gabriel discussing his during the internet interspecies symposium "The Shape of a Circle in the Mind of a Fish" curated by Lucia Pietroiusti and Filipa Ramos for the Serpentine Gallery at the London Zoo.

Things that make us very happy: when a friend travels half the world to find one of our publications (Amikejo catalogue by Mousse Publishing in 2011) in the library of TEORética in Costa Rica and shares a snapshot on Twitter. :-)

28 June 2018: The seventh ‘Incidents (of Travel)’ dispatch from Hobart, Tasmania, goes live on http://incidents.kadist.org/ On this occasion, the offline conversation took place between curator Camila Marambio and artist Lucy Bleach. We're also working on the eighth destination: Buenos Aires.
Throughout June–July 2018: Intense writing period in preparation of two forthcoming exhibitions: ‘Cream cheese and pretty ribbons!’ (Galerie Martin Janda, Vienna, opening on September 13 and, on view until October 14) and ‘COLLAPSE’, a solo exhibition by Joan Morey opening on September 19 over two floors of the Centre d'Art Contemporani de Barcelona - Fabra i Coats, with following chapters at the Centre d'Art Tecla Sala (23 November 2018–13 January 2019) and a new commission at a yet-undisclosed location (10 January 2019).


18–29 July 2018: Two days in Dublin followed by a 10-day residency in Askeaton, as part of Askeaton Contemporary Art's (ACA) thirteenth annual event "Welcome to the neighbourhood". In 2018 ACA invited artists Matt Calderwood, Jonny Lyons, Ruth Clinton and Niamh Moriarty, alongside curators Gareth Bell-Jones (Flat Time House, London) and Latitudes. More on this post.

Desmore castle undergoing restoration.
Artists and POW workers after the tour.
RUSAL Aughinish alumina plant from afar, this is the largest alumina refinery in Europe.
Group trip to Lismore Castle upper garden in County Waterford.
The gardens featured works by Franz West (above) and Rashid Johnson (below).

The Grange Stone circle.

During the residency, we learnt of the story of ‘the Pilgrim’, a merchant from Barcelona who arrived in Askeaton around 1767 and who lived out his life in the Franciscan friary, dying there in 1784. Digging further in the local library, we came across a 1984 article written by Tim Kelly in a back issue of the ABC News, Askeaton’s local publication of record. The story reveals a dramatic narrative bringing to life a cryptic inscription found in the cloister that reads “Beneath lies the Pilgrim’s body, who died January 17, 1784”. The tale involves an Italian, a Spaniard, and a morbid blood-hunt that links Barcelona with Askeaton and is read aloud by artist Carl Doran. 


Matt Calderwood's boat ready to sail on the River Deel.
Making of Jonny Lyons’ "Joyride" on the River Deel.
"Welcome to the neighbourhood" Open day.


August 2018: Aaaand we’re out of office! Kinda.

Save the following dates:

13 September, 6–9pm: Opening of ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna. 


14 September, 6pm: Performance “One motif says to the other: I can’t take my eyes off you” by Adrian Schindler and Eulàlia Rovira. Followed by the artist lecture: “A Blow by Blow Account of Stonecarving in Oxford” by Sean Lynch. Part of the exhibition ‘Cream cheese and pretty ribbons!’ at Galerie Martin Janda, Vienna.

19 September, 19h: Opening of ‘Joan Morey. COLLAPSE’, Centre d'Art Contemporani de Barcelona - Fabra i Coats.




RELATED CONTENT:





Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group

Latitudes' home page www.lttds.org

The June 2018 Monthly Cover Story "Near-Future Artworlds Curatorial Disruption Foresight Group" is now up on Latitudes' homepage.

"Sporadically convened by Latitudes, the Near-Future Artworlds Curatorial Disruption Foresight Group is a forum for informal dialogue about megatrends and the future of contemporary art institutions.

In order to be conducive to freedom of interaction, this by-invitation, closed-door meetings have been held under the Chatham House Rule. The list of attendees is not circulated beyond those participating in the meeting, and no documentation is made."


—> Continue reading
—> After June it will be archived here.

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


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • Cover Story – May 2018: "Shadowing Roman Ondák" 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 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




Progress of Amy Balkin's ‘Today’s CO2 Spot Price’ (2009)



Installation of Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) on the opening day, 29 June 2017. Photo: Latitudes/RK. 

Throughout the course of the ‘4.543 billion. The Matter of Matter’ exhibition at the CAPC musée in Bordeaux, the work by Amy Balkin (Baltimore, Maryland, 1967. Lives in San Francisco) ‘Today’s CO2 Spot Price’ (2009) charted the daily price of carbon dioxide emissions allowances in the world’s largest carbon market, the EU Emissions Trading Scheme. The numbering system was manually updated every morning to show the price in Euros of an entitlement to legally emit one metric tonne of CO2. Polluters—power plants or factories—receive or buy emissions allowances at auctions and trade them as needed to minimize costs.

A product of the increasing dominance of the finance sector and the expansion of financial derivatives that emerged in the 1970s, the carbon market ‘fix’ has abstracted the qualitative problem of climate change mitigation into a commodity market based on a molecule treated as the singular cause. There is a trend towards emissions that can be lucratively ‘avoided’, while there has been little effect on structural fossil fuel dependence. In this perspective, global warming is a market failure that can be corrected by governing the atmosphere via an economic instrument with no real material or historical reference.

Balkin's piece was presented alongside works by Pep Vidal, Lucas Ihlein, and Lara Almarcegui, all focusing on humans' calculations and quantification of nature and its progressive abstraction.

—Latitudes 

(Text from the exhibition guide)

4.543 billion. The matter of matter’ took place between the June 29, 2017 and January 7, 2018 at the CAPC musée d'art contemporain, Bordeaux, France.



General view of room 8. Photo: Latitudes/RK.


Work by Lara Almarcegui (wall) and Pep Vidal (floor). Photo: Latitudes/RK.


Prints by Lucas Ihlein (wall) and part of a tree by Pep Vidal (floor). Photo: Latitudes/RK.


Below a sequence of all the social media posts (mostly from Instagrammers, more on this and other works on this Wakelet feed) showing the ongoing flux of its price—which has ranged from 4,84 Eur per tonne of CO2 during the installation of the piece, to 4,93 Eur on the opening day (29 June 2017), to the last picture on record showing a whopping 7,76 Eur per tonne of CO2.

We would like to thank the KADIST in San Francisco for having given us the opportunity to, after years of corresponding over email, finally meet Amy during a residency in September 2015. Her "Incidents of Travel" day on several locations in and outside San Francisco (download the specially-commissioned itinerary here) was invaluable towards the conceptualization of this exhibition.




Installing ‘Today’s CO2 Spot Price’ (2009). Photo: Latitudes for @capc 



Taken on 2 July 2017. Photo: Latitudes. 



Image published in the Sudouest newspaper on 12 July 2017 showing 04,98 EUR/tC02.


Taken on 13 July 2017 by Hélène Lucien. 


Taken on 16 July 2017 by Adriano Pedrosa. 


Taken on 2 August 2017 by Lena Joreis. 


Taken on 19 August 2017 by Semi-Sans.


Taken on 22 August 2017 by Mads Freund Brunse.


Taken on 12 October 2017 by Tomas Mendizabal.


Taken on 17 October 2017 by @Margareth.


Taken on 20 November 2017 by @matlegall. 


Taken on 2 November 2017 by @Elénie. 


Taken on 30 November 2017 by @mllelahaye 


Taken on 1 December 2017 by @mommou.elle 


Taken on January 7, 2018, the last day of the exhibition, by exhibition coordinator Alice Cavender. 


RELATED CONTENT
  • 4.543 billion. The Matter of Matter” exhibition 
  • Archive of social networks posts related to "4.543 billion" 
  • Photo gallery of the exhibition 
  • CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
  • Cover Story—December 2017: "Tabet's Tapline trajectory" 4 December 2017
  • Alfred Roll's 1878 "The Old Quarryman" exchanged with Alfred Smith's "The Grave Docks" (1884) in the exhibition "4.543 billion" at the CAPC musée 3 November 2017
  • Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" 1 November 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 24 October 201
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 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 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





    Latitudes' "out of office" 2016–2017 season

     Downtime for physical and mental "reparations" begins. 
    Photos: Latitudes (except where noted otherwise).

    It's the end of the 2016–17 season, at last. Following a Latitudes' tradition we mark the summer downtime with an "out of office" post (see the 2008-9, 2009-10, 2010-11, 2011-12, 2012–13, 2013–14, 2014–15, 2015–16 ones) with a series of "behind the scenes" and "making of" moments from the year gone by. Here are some glimpses of the past season, from September 2016 to July 2017.

    We'll be back in September 2017, when we'll be leading a residency programme at Banff Centre in the Canadian Rockies!

     
    15 September
    2016: The 2016–17 season started with glitter and sparkle as Antoni Hervàs' "The Mystery of Caviria" exhibition opened in La Capella. The eight chapters of his complex scenario revolved around the legend of Jason and the Argonauts’ expedition in search of the Golden Fleece. The spectacular scenography took as its point of origin the section of the tale in which the expedition led by Jason stops for a few months in Lemnos, the island of fire, in the northern part of the Aegean Sea. Taking this fragment, Hervàs explored the transformist and genre-bending possibilities of drawing, a medium that enabled him to unite two mythologies: the Cabeirian rites of Classical Greece and figures from Barcelona’s dwindling cabaret scene. Photos of the exhibition here.

    Toni's exhibition was the focus of the September and November Cover Story series on our home page, archived here.



    Photos above: Latitudes and Toni Hervàs.

    18 September 2016: More sparkle awaited on the former site of the Copacabana club and nearby frontón court. The former is currently a parking lot used by the Department of Culture of the Catalan Government. The lone castanets master Juan de la Cruz el Rosillo interpreted a moving repertoire of popular Spanish coplas. For the second part of the event, the audience walked a few meters up Las Ramblas towards the frontón, where Gerard López, Senior Spanish Champion in male rhythmic gymnastics, interpreted newly-commissioned choreography with specially-produced music by Norman Bambi, while wearing a Hervàs-designed garment (exhibited as part of his exhibition).


    20 September 2016: Just as we are catching our breath from the memorable exhibition opening and the first event related to Toni's exhibition, street banners popped up around the city announcing the second Barcelona Gallery Weekend.


    26–28 September 2016: Installation of "Composiciones" projects, five site-specific commissions for the second iteration of the Barcelona Gallery Weekend. Three days of intense preparations! Curated by Latitudes for the second time (see 2015 edition), the project further explored Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous.

     Above and below: Lola Lasurt at the Biblioteca Pública Arús. 
    (Above) Lúa and Mariana admiring the serendipitous finding of "El Espejo equivocado" painting at the Club Billar Barcelona. An almost spooky, yet incredibly fitting find. 

    (Above) With Rafel Bianchi and Gina Giménez unpacking Gina's works and spreading them around the former textile factory Can Trinxet, L’Hospitalet de Llobregat. 

    Silkscreened outfits for the runners finally ready to be worn throughout the weekend. Photos: Robert Llimós.

    Runners pass by Galeria dels Àngels. Photo: Gabriela Moragas.
     Testing the resistance of a pair of Levi's jeans in preparation for Wilfredo Prieto "Pantalones Rotos" at the Mounted Unit of the Barcelona City Police.


    29 September–2 October 2016: Opening and guided visits around the five "Composiciones" interventions by Lúa Coderch (at the Club Billar Barcelona); Regina Giménez (at the former textile factory Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (at the Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (at the Mounted Unit of the Barcelona City Police) in unique sites across the neighbourhoods of the city. Their projects offered moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

    Storify archive of social networks posts. Photographs here.

    Guided tour by Lúa Coderch in her intervention at the Club Billar Barcelona.

    Guided tour by Gina Giménez to ARCOwalks group in Can Trinxet. 

     Speaking for the radio at the Mounted Unit of the Barcelona City Police.

     
     TV presenter Josep Paris modeled Robert Llimós' 1972 updated runners design during the weekly cultural TV programme Àrtic. Photo: Àrtic.

     Double spread on "Composiciones" in the cultural supplement "Tendències" by national newspaper El Mundo. Photo: Vanessa Graell.

    26 October 2016: Launch of Rasmus Nilausen book "Soups & Symptoms" at Múltiplos, which includes an essay by Max Andrews. For the event, Rasmus and Max served up a carrot soup (potage crécy) and requested questions from friends, family and collaborators which would be accepted as long as they fitted onto Jacob's Cream cracker.

    The catalogue was produced thanks to the funding from Premi Art Nou 2015, Art Barcelona, Associació de Galeries d’Art Contemporani in collaboration with the Institut de Cultura de Barcelona, García Galeria (Madrid) and Estrany de la Mota (Barcelona). It can be purchased in La Central.

    Max and Rasmus prepare the carrots for a large pot of Potage Crécy, questions are written on a Jacob's Cream crackers (that will later accompany the soup) and book launch at Múltiplos.


    3 November 2016: Runway show at La Capella with some costumes from the 1980s and 90s designed by actor and impresario Victor Guerrero. Part of the activities programmed on the occasion of the exhibition.

    Photos: Latitudes.

    8 November 2016: Mariana Cánepa Luna's review on Ana Jotta's exhibition published on art-agenda, focused on "her ongoing series 'Notas de rodapé' [Footnotes] [which] provide a key to understanding the semantic complexity of her work. It comprises a selection of the eclectic bits and pieces which Jotta has gathered for decades and that coexist in her studio alongside works that she has fabricated." Continue reading


    23-24 November 2016: Latitudes participated in a two-day summit "You are such a curator!" organised by the Curatorial Programme of De Appel, Amsterdam. With contributions by Mira Asriningtyas, Lucrezia Calabro 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), Ariane Loze, Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme, Huib Haye van der Werf, and others. We took the opportunity to extend our stay on the occasion of the Amsterdam Art Weekend 2016, which included the opening of Jordan Wolfson's at the Stedelijk and the Open Studios at the Rijksakademie.


    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 Summer 2017. Full report here.

      Photos: Carina Erdmann/De Appel.

    November-December 2016: Two of Latitudes' projects ("Composiciones" commissions for the Barcelona Gallery Weekend and "El misterio de Caviria" by Antoni Hervàs) are shortlisted for the best exhibition of the year by the TV culture programme Tria33. The audience casts their votes online until January. Antoni Hervàs won with 40% of the audience votes. "Composiciones" ends in the third position with 17% of the votes.



    January 2017: Issue of frieze magazines includes Max Andrews' "Salon Selectives" text in the Opinion section, discussing "How open are open calls?":

    "While competition organizers typically trumpet the volume and cosmopolitanism of applications received an ebullient endorsement, others may rue the sheer amount of collectively wasted effort made by the also-rans. (In Spain, Bilbao-based studio Taller de Casquería estimated that the hours involved in the 1,715 submissions received for the Guggenheim Helsinki open call for designs represented over €18 million worth of speculative work.) In Gary Hustwit’s 2011 documentary film, Urbanized, Rem Koolhaas stated that such competitions were a ‘complete drain of intelligence’, inviting mass creative thinking with the guarantee that the vast majority of it will be discarded. This addiction in the field of architecture appears to be gaining traction in contemporary art as a means not only of generating exhibitions but of programming institutions."

    The text was the January Cover Story on our website.


    25 January 2017: Presentation of Antoni Hervàs' La Capella publication at the Antic Teatre in the background of one of his scenographic drawings dedicated to Gilda Love (this was the second time this had been displayed in this space, following the recording in May last year of Gilda performing, a video later included in the exhibition). The evening was followed by the "Desplume" monthly cabaret show.




    16 February 2017: A moving evening seeing Toni Hervàs receive the Premi Ciutat de Barcelona for visual arts exhibition of the year at the Sala de Consell de Cent in the Barcelona City Hall. The jury recognised "the artist's research in linking Greek mythology with the Barcelona cabaret scene from the 1960s–80s and for the recuperation of its vitality."

    Toni receiving the award from Barcelona mayor Ada Colau and during his speech. Photos: Latitudes.

    1 March 2017: Launch of the fourth 'Incidents (of Travel)' episode, in which Galician curator Pedro de Llano met Lisboeta artist Luisa Cunha in Lisbon. 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.
    Above: captures from the project website.

    2 March 2017: Opening of Joana Hurtado Matheu's "Nostalgic Dissidence" exhibition mentored by Latitudes as part of the Barcelona Producció 2016 season. Repairs and conservation work in the Baroque cupola had delayed the opening by three months, so we were all pleased the day finally arrived. 

      Working on the exhibition layout.

    Francesco Arena's "Mare della tranquillità" (2013) is activated by a performer. "An old wooden table, taken from the family dining room, has been cut into four pieces to form the corners of a much bigger new table. Enlarged with inserts of metal, its size evokes the table on which, on May 7, 1945, the signing of the German surrender ended World War II in Europe. The work is the support for a participative action which consists of walking back and forth on the five-metre table a total of 155 km, the length of the Berlin Wall. Every day during the two months of the exhibition someone will get up on the table and, wearing shoes that have never touched the ground and holding a tally counter, walk from one end to the other 596 times." (exhibition wall label by the curator)

    Photos: Pep Herrero/La Capella and Marc Llibre Roig.

    January 2017: The artist Alexandra Navratil pots an image of the work she will present in the forthcoming exhibition "4.543 billion" due to open June 29 at the CAPC musée in Bordeaux.


    22–24 March 2017: Third trip to Bordeaux. Packed with meetings. Three months to go to the opening of "4.543 billion" exhibition. In two weeks deadline to submit the texts for the gallery guide. 

     Running through each work through our sketch up exhibition rendering with the curatorial, collections, registrar, press and installation teams.

    23 March 2017: Meanwhile in Barcelona, Toni Hervàs wins yet another award – for the best exhibition of the year, and given by the Catalan Association of Art Critics. 

    Hervàs during the award ceremony. Photo: ACCA.

    April 2017: A bit of a website refresh – these things are so darn tedious yet they feel so good when they are done and dusted!


    26 April 2017: Fifth 'Incidents (of Travel)' episode online narrating the encounter between curator Simon Soon and artist Chi Too. Their offline day took place in April 2016, when they visited the Malaysian 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."

    'Incidents (of Travel)' is a chartered day-long itinerary as an alternative to the standard studio-visit, inviting an extended conversation between a curator and an artist. Previous destinations have included Chicago, US; Jinja, Uganda; Suzhou, China; and Lisbon, Portugal. Produced by Kadist; photographs and video by Awang Ketut; site built by The Present Group.



    Above: captures from the project website.

    3 May 2017: Conversation with Korean-born, Berlin-based artist Haegue Yang at the Fundació Tàpies, Barcelona. The evening discussion analysed Yang's practice from the perspective of historical development and cyclic fluctuations, asked, as phrased by sociologist and economist Giovanni Arrighi – what is accumulative, what is cyclical, what is new? 

    Photos: Fundació Han Nefkens.

    May 2017: After three intense weeks of jury process, eighteen selected projects of Barcelona Producció 2017 grant scheme are announced. We begin the year-long mentoring process of three projects out of the seventeen selected projects this year as part of the Barcelona Producció 2017 production grants. David Mutiloa's SYNTHESIS (18 July–25 September 2017) is first to occupy La Capella's 15th-century exhibition space. The other two projects mentored by Latitudes are a publication by Anna Moreno and an exhibition "Artengo2000" at the small exhibition space by Camille Orny and Magda Vaz.

     Jury searching for a solid wifi spot to watch video documentation sent by an applicant.

    12 June 2017, in Basel: Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings of Christopher Knowles. The publication is made to accompany his solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. The exquisite short-run publication is designed and printed by Barcelona-based independent publishers and Riso printers Do The Print. Read on.

     Photos: Latitudes

    Photo via @gal_NB


    12 June, in Barcelona: Following the announcement of the awardees of the 2017–18 season of Barcelona Producció production grants, we visit David Mutiloa's temporary studio in Hangar. Mutiloa is the first artist to open the season and his exhibition "SYNTHESIS" will take place in the central nave of La Capella from July 18. 

    "Using sculpture, video projections and human presence, David Mutiloa’s exhibition Synthesis proposes that this condition has led to the appearance of pharmacologically managed depression, “an illness of responsibility”. It has also induced a terrible form of boredom – the spectre of both the boundless outsourcing of undesirable labour to the developing world and automation leading to a world without work. – Text from the gallery guide, written by Latitudes (pdf here). 

    Here is a short video documenting the exhibition.

     Photos: Latitudes

     
    19 June–2 July: We're off to Bordeaux for the installation and opening of "4.543 billion. The matter of matter" exhibition in ten days. After two years of preparation, it's a truly exciting moment to see it all coming together.  

    —> Press release here
    —> Ongoing archive of social media posts here.

    Lucy Skaer's 26 coal and resin sculptures after Brancusi's 26 different editions of "Bird in Space".

    Deciding the layout of Félix Arnaudin's incredible suite of photographs kindly lent by the Musée d'Aquitaine Bordeaux.

    Photovoltaic panels charging the batteries that power Nicholas Mangan's double video projection "Ancient Lights" (2015). 

     Anne Garde's photos documenting Richard Serra's "Threats of Hell" (1990) production from Dillinger Hütter (Germany) to its exhibition at the CAPC nave, to its current location at a private collector home on the banks of the Garonne, where it changed its name to a happier "Hopes of Paradise".
     Part of the CAPC installation team having a coffee break enjoying Stéphane's awesome chocolate cake.
     Rayyane Tabet's mobile pieces arriving from Hamburg at the CAPC.
    Registrar thick checklist file.
     François measuring Lara Almarcegui's works before placing them on the wall.

     Construction of the warehouse and jetty. Statements of works by engineer and architect Claude Deschamps.
     Christophe moving the 600kg rock by Hubert Duprat to the entrance.
     Pascal lighting the exhibition.

    Christina Hemauer and Roman Keller stretching their new work "Untitled (Blue)" (2017), for a work focused on indigo and colonial trade. 

    Christina Hemauer and Terence Gower listening to Pep Vidal explaining his sculpture work "19-metre tree cut in 7 equal volumes" (2015). 

     One of the many guided visits for press, staff, friends of the museum during the opening days. Photo: Latitudes/RK.

    11–14 July 2017: Installation of "SYNTHESIS" in La Capella. David Mutiloa's solo exhibition is the first of the 2017–18 season of Barcelona Producció. Opening on July 18, on view until September 25.

    "In the modern office workplace, spatial design and brand communication have evolved in step with novel notions of management, business efficiency and a labour market that progressively favours flexibility and adaptability. The typical Western office worker – their physiology as well as their psychology – has also been overhauled. Twentieth-century time-and-motion studies first standardised and rationalised the salaried worker’s time and space. And today the twenty-first-century worker is increasingly a co-working independent contractor who navigates an entirely dissolved working-week structure, continuous competitive ‘disruption’ and the so-called ‘gig economy’." – Text by Latitudes from the exhibition sheet.

    Scheme to help assemble the platform.

     Artist at work.



    24–26 July 2017: Trip to Copenhagen to visit the impressive solo exhibition by John Kørner, "Altid Mange Problemer" at Kunsthal Charlottenborg, curated by Marie Nipper—the largest exhibition of his works to date. Max Andrews of Latitudes has been invited to contribute an essay for his forthcoming monograph published by Roulette Russe which is due to come out in November 2017. Max has previously written on John's work for his 2006 exhibition "Problems" at Victoria Miro Gallery in London. Our first visit to Copenhagen to see John's work was precisely the subject of our first blog post in September 2006!

    Everything in Copenhagen seemed to have turned yellow – we knew John's love for the colour (first image below), but also Mark Leckey's exhibition at the x-room of the Statens Museum fur Kunst, seemed to have been inspired by "the Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 


    Mark Leckey's exhibition ‘He Thrusts his fists against the posts but still insists he sees the ghosts’ recreated the ramps underneath the M53 motorway bridge in Ellesmere Port. 

    Example of the "Nyboder yellow" hue – the historic row house district of former Naval barracks in Copenhagen. 

    27 July 2017: Visit Ricardo Bofill's Walden7 and his nearby studio Taller de Arquitectura with Anna Moreno. Moreno was awarded a grant of Barcelona Producció 2017 to produce the publication "The Drowned Giant", a project focusing on a performance–happening staged by Bofill in 1970 to promote his unrealised architectural project La Ciudad en el Espacio in Moratalaz (Madrid). The publication will be launched in late November 2017 and is mentored by Latitudes. As part of Moreno's ongoing research on Bofill's practice, she has been living in Walden7 for the past month in order to carry research for a forthcoming commission for the Spring 2018 exhibition "Beehave" at the Fundació Miró. 


     (Above) Taller de arquitectura studio. (Below) Walden7 in Sant Just Desvern (Barcelona).



    At the time of writing, we are frantically preparing for what will be an intense September. On September 10 we'll travel to Banff, where Latitudes will be Lead Faculty of the month-long residency programme "Geologic Time" at the Banff Centre for Arts and Creativity which will bring together 10 curators/artists/writers from around the world to discuss geological formations and timescales, while speculating about a more expansive and longer-term view of art, exhibitions, and their institutions. We will be “thinking with” geology (beyond the depiction of the landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art. 

     Julius Schoppe (1795–1868), “Illustration of giant stone near the Rauenschen Mountains near Fürstenwalde”, c. 1827. Public domain – Wikimedia Commons.

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    Cover Story – June 2017: "Moth light—Absent Forms"


    The June 2017 Monthly Cover Story ""Moth light—Absent Forms"" is now up on www.lttds.org after June it will be archived here

    "The Latitudes-curated Exposition Internationale des Arts Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne opened at Meessen De Clercq, Brussels, in February 2011. More a series of five interlinked solo presentations than a conventional thematic group exhibition, it featured the work of Kasper Akhøj, Martí Anson, Maria Loboda, Charlotte Moth and Sarah Ortmeyer." 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. 

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    Cover Story – March 2017: Time travel with Jordan Wolfson


    The March 2017 Monthly Cover Story "Time travel with Jordan Wolfson" is now up on www.lttds.org after March it will be archived here.  

    "The film that lends its image to this month’s cover story – Jordan Wolfson’s Landscape for Fire, 2007 – was featured in the Latitudes-curated film programme A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008, which premiered in April 2008 at the Museo Tamayo, Mexico City, before touring several venues in Spain, Switzerland, the Netherlands and the U.K. 

    Landscape for Fire responded to a 1972 film of the same name by Anthony McCall in which the British artist, best known for his “solid light” works, attempted to integrate performance, installation, sculpture and images in movement. Thirty-five years on, Jordan had re-staged this work of the past as though it were a ritual, the repetition of which invoked the almost mystical aura that often surrounds the art of the late 1960s and early 1970s." Continue reading by clicking the grey bar underneath the image

    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, and are archived here.


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    Cover Story – February 2017: The Dutch Assembly, five years on


    The February 2017 Monthly Cover Story "The Dutch Assembly, five years on" is now up on www.lttds.org after February it will be archived here.  

    "Five years ago this month ‘The Dutch Assembly’ took place. In 2012, the Netherlands was the guest country of ARCOmadrid and with the collaboration of the Mondriaan Fonds and the Embassy of the Netherlands in Spain, Latitudes convened this representation of Dutch art organisations. (...) ‘The Dutch Assembly’ transpired in the teeth of a storm surrounding the slashing of the Dutch cultural budget by a State Secretary of Culture (Halbe Zijlstra) who openly flaunted his disdain for the arts. (...) How have the participating organisations faired in the last five years?" Continue reading...

    Cover Stories' are published on a monthly basis on Latitudes' homepage and highlight past, present or forthcoming projects, research, writing, artworks, exhibitions or field trips related to our activities, and are archived here.


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    Last chance to read the August 2016 Monthly Cover Story "Fermínlandia"


    Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" on www.lttds.org (after August 2016 it will be archived here)

    "
    Five years ago, in August 2011, Fermín Jiménez Landa initiated the surrender, conquest and defence of a small nameless island using the power of music. With the help of local fishermen he had taken a portable generator, two tripod-mounted loudspeakers, and an mp3 player out into the Aegean Sea and planted the equipment on this uninhabited Greek island. Its new national anthem played again and again until the batteries ran out. You can just make out the two loudspeakers sitting atop the grassy rock in this photograph by Fermín." Continue reading...

    Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


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




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


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

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

    —> Continue reading...

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

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




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

     Pages with the story behind Plaça dels Àngels.

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

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

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

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

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

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

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


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

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



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    Archive of our first Cover Story (March): Wilfredo Prieto, ‘Grasa, jabón y plátano’ (2006)


    As recently announced in this channel, we have re-designed our website. This has meant improving a few tech and editing things and introducing new sections such"cover story": a monthly focus on an artwork, artist, book, site or trip we've experienced in our recent past, accompanied by a short text. 

    Our first cover story centers on Wilfredo Prieto's work "Grease, Soap, Banana" presented in 2007 in the group show "Extraordinary Rendition". Above you find the full picture, below details. Enjoy!
     


    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.




    Looking back – Visiting Robert Smithson's 'Spiral Jetty' (1970) on 7 September 2004


    A decade ago today (!) we were lucky enough to visit Robert Smithson's most iconic earthwork 'Spiral Jetty' (1970). The water level of the Great Salt Lake was well down and the surface of the counterclockwise spiral was not only visible but also walkable. As we walked alone in the blazing heat we felt as if we were disappearing into the black basalt, pink salt and silent haze. Our visit to the site was completed a few days later visiting his 'Retrospective Works 1955-1973' at Los Angeles' MOCA, curated by Eugenie Tsai with Connie Butler. Happy memories.
     

    Related posts:

    Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London (12 March 2012)

    Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews (28 March 2012)

    Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme (14 September 2011)

    Portscapes: Jorge Satorre returns an ice-age boulder back to Sweden (18 January 2010)



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




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