- Proceso de inscripción para asistir a la performance ‘Máquina esquizofrénica’ de Joan Morey 11 Diciembre 2018
- December 13, 2018, 7 pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
- November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
- November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
- October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
- October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
- Wakelet archive of social media content
December 8, 2017: Tom Jeffreys highlighted the exhibition in his "Looking Back: Paris" roundup for frieze magazine – illustrated with two works included in the show by Nicholas Mangan and Alexandra Navratil.
"A little less academic, but no less rigorous, was ‘4,543 milliards’ (4,543 billion), curated by the Barcelona-based Latitudes (co-founded by frieze contributing editor Max Andrews) at CAPC, Bordeaux. Subtitled ‘The matter of matter’, the exhibition provided a material, geological and political response to the building’s former life as a warehouse for colonial commodities and, by extension, the complex entanglement of culture, money, politics and ecological impact. Marble from Trump Tower (Amie Siegel’s "Strata", 2017) was exhibited alongside partially-burnt documents rescued from a fire at the Bordeaux municipal archives and a 1939 mock invitation to the ‘Museum of Standard Oil’, actually MoMA’s new building, issued by the then-publications director, Frances Collins (unsurprisingly fired soon after). Combining archival materials with work by 30 artists, big ideas with specificity and nuance, this was exactly the kind of exhibition I would want to return to again and again. If the selection of the next artistic director the Venice Biennale were a democratic process, I’d be voting for Latitudes."
November 28, 2017: Frank Browning, Paris-based Contributor to the Huffington Post author, and former NPR Correspondent, reviewed the recently opened retrospective of Beatriz González and concluded his article with a short mention:
"Meanwhile, around the corner at CAPC there’s an intriguing assembly of stones, papers, paintings, photographs and projections that unite geo-physics, sculpture, and art history, including the conversion of the building itself from a one-time commodities warehouse into its current life as a museum.
Entitled “The Matter of Matter,” [missing "4.543 billion" years, the age of the Earth, and the first part of the exhibition title] it includes the work of 30 artists, assembled and mounted by a Spanish team, Max Andrews and Mariana Cánepa Luna. They call themselves Latitudes [wrongly published with two "T"]; they aim to excavate the world we inhabit daily, be it through the history indigo mining in Mexico and southern France (vital for fine pottery and coloring bluejeans) or oil extraction in Venezuela, gas infused sculptures or open pit diamond mining in southern Africa. All that we do, all that we eat, all that we create derives from one form of excavation or another. Simple truism as it may seem, Latitudes takes us into the intimacies of our relation with this earth and calls us to meditate on our physical and aesthetic relation to the steadily warming round rock that is our home."
September 20, 2017: Emmanuel Labails of RCF Radio did a 9-minute interview with Pedro Jiménez Morras, Head of Press of CAPC, who discussed the premises of the exhibition and some of its works. (Listen between minute 4:39 and 13:36).
August 19, 2017: Bea Espejo's ‘Cambio de tiempo’, on the Spanish national cultural supplement Babelia, in El País newspaper begins:
˝A ese pensamiento geológico del tiempo conduce la exposición 4.543 millones. La cuestión de la materia en el CAPC de Burdeos. La muestra aborda obras de arte, colecciones e historias culturales con relación a procesos ecológicos y la escala geológica del tiempo. En total, más de 35 artistas que dan valor a las discontinuidades, a las derivas y a las ausencias. La muestra almacena el tiempo como una batería almacena la energía. Y lo hace en varias capas de lectura. Una de ellas es el tiempo que lleva Latitudes, la oficina curatorial de Mariana Cánepa Luna y Max Andrews, trabajando en este proyecto, seguramente el más complejo y ambicioso, aunque esta investigación en torno a las complejas relaciones entre la ecología y el arte contemporáneo está en la base de todos sus proyectos desde 2005. Aquí no pueden ser más rotundos. Abordan la cuestión de la materia desde el lado más inmaterial, que es la memoria. Para ello, estudiaron a fondo el contexto de la ciudad bajo un programa de residencias del museo. Hablamos, pues, de un proyecto de investigación, algo que se traduce en cada pequeño gesto que recoge la muestra, y que lo expande todo. De ahí las relaciones de algunas obras con el departamento de zoología de la universidad (Ilana Halperin), el Museo de Bellas Artes (Stuart Whipps, o el préstamo de Alfred Roll), así como los muchos documentos y objetos que se incluyen de los archivos Métropole, de la Gironde y la colección geológica de la UFR Sciences de la Terre et de la Mer, de la Universidad de Burdeos.˝
July 12, 2017: Catherine Darfay's ‘Le CAPC remonte le temps’ on the local newspaper "Sudouest", was the first feature. The article was illustrated with a with an image showing Amy Balkin's ‘Today’s CO2 Spot Price’ (2009) chartering the daily price of carbon dioxide emissions allowances in the world’s largest carbon market —a changing value documented in this blog post.
- “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
Compartimos una vez más el registro fotográfico de la exposición y el archivo de redes sociales (reseñas, instagrams, tweets) que diferentes usuarios han ido publicando a lo largo de los tres meses que ha durado la exposición.
Recordad que quedan dos activides más: el 22 de junio, 19h, se proyectará "Vampyr" de Carl Theodor Dreyer (1932, Francia y Alemania, 75 min, b/n, sin sonido) dentro del ciclo "Sombras y silencios o los fantasmas que vuelven como la primera vez" que comisaría el cineasta Andrés Duque para la exposición y el sábado 25 de junio, 19h, Nieve Fuga realizará un concierto en vivo en la sala de exposiciones en el contexto de la programación #MACBAesviu, un collage sonoro inspirado en las obras de la exposición.
“Las obras de José Antonio Hernández-Díez toman el MACBA”, eldiario.com, 17 marzo 2016.
“El MACBA acull una exposició amb instal·lacions experimentals de José Antonio Hernández-Díez”, Vilaweb.com, 17 març 2016.
Núvol, video by Ester Roig, 17 març 2016.
Sonia Ávila, "José Antonio Hernández-Díez mira a su pasado”, El Periódico, 17 marzo 2016.
Carlos Sala “Cuando el video era el rey”, La Razón, 18 marzo 2016.
Griselda Oliver, "Viu o mort. El gos d’Antonio Hernández-Díez", Núvol.com, 19 març 2016.
Eugènia Sendra, “Com recuperar la fe perduda”, revista Time Out, 23 març 2016.
Javier Díaz-Guardiola, “La obsolescencia artística programada también existe”, ABC Cultural, 25 marzo 2016.
Antoni Ribas Tur, "Nova iconografia religiosa i un gos sant, al Macba”, www.ara.cat 29 març 2016.
Jaume Vidal Oliveras, "Hernández-Díez, líbranos de todo mal", El Cultural, El Mundo, 1 abril 2016.
Maria Palau, "Art, vida i mort", El Punt/AVUI, 7 abril 2016.
Roberta Bosco, "Arqueología contemporánea", El País (Catalunya),17 abril 2016.
- Video del artista explicando ‘San Guinefort’, pieza de la colección MACBA.
- Quadern Portàtil #32: José Antonio Hernández-Díez, ‘No temeré mal alguno’, por Latitudes. Descarga gratuita en pdf o en epub.
- Graphic communication of the exhibition 'José Antonio Hernández-Díez. I Will Fear No Evil' at MACBA (11 April 2016)
- The story behind José Antonio Hernández-Díez's 'Saint Guinefort' (1991) 26 March 2016
- Public programmes related to the exhibition 'José Antonio Hernández-Díez. I Will Fear No Evil' at MACBA 18 March 2016
- Photodocumentation of the exhibition.
- Storify archive of tweets, instagram posts, reviews, etc...
- Works of Hernández-Díez at MACBA's collection.
We just uploaded photos of the five new commissions "Composiciones" on Latitudes' flickr. These projects by artists active in the Barcelona art scene complemented the first Barcelona Gallery Weekend (1–4 October 2015) programme of exhibitions and events.
Each intervention responded to site and context-specific private and public location outside the contemporary art circuit – a private psychoanalytic library, the former home of the director of a ceramics factory, a public botanical collection, the home of a former priest and an invertebrate fossile collection.
Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Composiciones offered moments of interruption, intimacy and immersion throughout the weekend.
Commissions by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella). Details of each project and locations.
Also on our website (highlighted in yellow where to locate it) you'll find the links to the audio and video documentation of the three talks led by Dora García as part of her intervention at the Biblioteca del Campo Freudiano. We recommend you read a nicely written account of these three sessions (in Spanish) by two of its participants.
On the same page and under 'Related content' you will find links to the press coverage related to 'Composiciones'. The most extensive and in depth review so far has been this considered and detailed blog entry by Barcelona-based art critic and curator Fede Montornés, which of course made us really happy.
And last but not least, we gathered the many tweets, instagram, press links, etc. that appeared in the last few weeks in Storify.
Storify – Social media archive
Details of the Barcelona Gallery Weekend programme.
Instagram of the Barcelona Gallery Weekend
PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015
NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 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.
(ES) Bea Espejo, "ARCO 2012, cifras y letras", El Cultural online, 23 November 2011
- Gone with the wind: on the 'art crunch' and the Centre d'Art de Barcelona, the saga continues... 16 December 2008
- Notas presentación de Latitudes expuestas durante las "Jornadas internacionales de debate para El Canòdrom, el nuevo Centro de Arte en Barcelona", 6–7 Julio 2009 (10 julio 2009)
- Jornadas entorno al Canòdrom, el futuro Centro de Arte en Barcelona, 6–7 Julio 2009 (3 julio 2009)
Latitudes' 'The Last Newspaper' exhibition featured in the May issue of Shanghai-based magazine 'Art World Magazine'
Thank you to Michelle Ding from Art World Magazine and to all the writers for giving permission to reprint in Chinese.
Photos: Latitudes | www.lttds.org
Selection of press coverage of Latitudes' weekly newspaper for 'The Last Newspaper' exhibition at the New Museum
Holland Cotter, 'Art and News, Intersecting in the Digital Age', The New York Times, 7 October 2010:
"And at the behest of the New Museum a print-savvy group called Latitudes from Barcelona is issuing another tabloid, this one weekly and edited from the third-floor gallery, that will double as an exhibition catalog. That publication would, of course, be the ideal place for the curators and participating artists to go on the record, at un-Twitterish length and polemical breadth, about the viability of analog journalism — and analog art — in the digital age. (...) Meanwhile the Latitudes news team — Max Andrews and Mariana Canepa Luna are the editors — has invited everybody and anybody, meaning you and me, to submit editorial suggestions and pitch stories, either in person or by e-mail ([email protected]). In the loosey-goosey spirit of the show, their paper will change names weekly, from the “The Last Post” to “The Last Gazette” to “The Last Register,” etc. But a genuinely “last newspaper” is still nowhere in sight. And you read that here."
Danielle Aronowitz, 'New Museum exhibit is black and white and read all over', Columbia Spectator, 8 October 2010:
(...) "A second group, Latitudes—a curatorial organization based in Barcelona, Spain—will compile, edit, and publish a weekly newspaper that will catalogue information about the exhibit and the contributing artist groups over the next 10 weeks. To emphasize its importance, [exhibition curator Richard] Flood referred to this publication as “the journal of the exhibition.”
Luc Sante, 'Disappearing Ink', The New York Review of Books's blog, 1 November 2010:
(...) and a tabloid, edited by the Barcelona-based curatorial office Latitudes, that has been variously called The Last Post, The Last Gazette, and The Last Register. (...) The tabloid, which focuses on newspapers, as well as on the show itself, is rather puckish. The Last Gazette includes, for example, a record of a quixotic attempt by Ines Schaber to approach the underground facility in western Pennsylvania where the photo agency Corbis keeps its archive of some 70 million pictures. The story evokes the cold-war espionage genre—an unremarkable setting masks a culture of such militant secrecy that the best the author could manage is a murkily distant photo of the facility’s parking lot. Its meandering text and bland snapshots, on the other hand, evoke the whimsical record-keeping of 1970s conceptual art, which is rather more in keeping with the spirit of the show.
Valerie Seckler, 'Hyper-local Newspaper as Museum Piece? Not exactly', The Urban Times, November 2010:
“How is a museum, such as New Museum, no longer (just) in the artwork display business?” asks an editorial in The Last Post. “Is it a producer, a publisher or a distributor? Should a museum or a newspaper be a community, a platform or a network, for example?” The newspapers themselves are hybrids: actual publications and art object. (...) “The Last…” newspaper series comprises “final” editions with names like “The Last Observer,” “The Last Monitor,” and (the first edition) “The Last Post.” They are dedicated to illuminating “The Last Newspaper” fine art on exhibit. Some of the reportage ranges beyond it. (...) “The Last Post” itself is an arch reference to the never-ending practice of posting 21st century news online. “The Last Post’s” Oct. 6th edition’s screaming front page headline makes the humorous proposition: “Ink vs Link.” Smaller decks stacked below it read: “Lippmann vs Dewey, Fact vs Interpretation, Editor vs Curator,” and conclude with the query: “How do you get your information?”
Adam Chadwick, 'Art and journalism …sometimes a fine line…', http://fittoprintfilm.wordpress.com, 1 December 2010:
This past Saturday members of the group Latitudes – an independent Barcelona-based curatorial office – hosted an event for the “Fit to Print” production team at the New Museum in the Bowery neighborhood of lower Manhattan. (...) I was too intrigued by the wall-to-wall displays of vintage newspaper front pages in one of the rooms. It was hard not to examine the way in which newspapers implemented multiple sub-headlines back in the early part of the twentieth century. In a way, many start-up news websites are creating similar sub-heads to draw reader attention in the vast wild west of search engine optimization. This would be a topic our guest speaker, Jason Fry, would speak about during our panel discussion.
[Read an edited transcription of the event here.]
Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers.
'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... is the evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited during a 10 week editorial residency by Latitudes. Produced from a micro-newsroom placed on the third floor of the museum the tabloids will be an archive in formation companioning The Last Newspaper’s exhibition, artworks and events, as well as being a platform for critical reflection on the wider agency of art and artists with respect to concerns about how information is produced, managed, recorded, re-ordered, and disseminated.
With kind permission from Latitudes we are reproducing two selected text from their catalogue/newspapers, written by The Last Newspaper London correspondent and 'this is tomorrow' features editor Lorena Muñoz-Alonso (continue reading...)
Kristin M. Jones, 'Chronicles of a Medium in Crisis', The Wall Street Journal, 16 December 2010:
(...) Via a micronewsroom, Latitudes, a Barcelona-based curatorial team, produced a tabloid whose name changed each week. The spirited articles include stories on artists, filmmakers and topics ranging from ProPublica to the history of cast-iron newsstand paperweights; its issues will be bound together after the show ends in lieu of a catalog. The editors commissioned profiles and interviews related to the show but also solicited story ideas, headlines inspired by personal events and other information from the public.Read more articles and reviews here.
Artículo en abc.es sobre el 10º aniversario de Tate Modern y el proyecto 'Mataró Chauffeur Service' de Martí Anson en colaboración con Latitudes
"Un taxi de ida y vuelta"
El evento, de carácter gratuito y abierto a todo el mundo, iniciativa del artista Maurizio Cattelan y comisariado por Cecilia Alemani y Massimiliano Gioni, llevará por nombre «No Soul for Sale. A Festival of Independents», y entre los más de sesenta espacios de arte independientes convocados (de White Columns de Nueva York a e-flux de Berlín o la Mountain School of Arts de Los Ángeles) habrá participación española, y no nos referimos a su director, Vicente Todolí.
Poster for 'No Soul for Sale: A Festival of Independents' Turbine Hall Tate Modern, London, 14-16 May and mention in 'The New York Times' (22 April)
The project was briefly mentioned in Carol Vogel's article 'Inside Art' in The New York Times last Thursday (scroll down until you find the heading 'Tate Modern Free-for-All').
"...The Spanish artist Martí Anson will drive two curators, who make up the collective Latitudes, from their base in Barcelona to London by taxi and park inside Turbine Hall. “That will be their space,” Mr. Gioni said. Mr. Anson has designed the car and his chauffeur’s uniform."
Anson will be give a talk on Friday 14 May, 2.30–3pm
- More details on http://www.lttds.org/projects/current/nosoulforsaletate/nosoulforsaletate.html
- Web of 'No Soul for Sale'
- Press Releases (by Latitudes and Tate) here
- Latitudes' temporary office at the New York edition (24-28 June) by The Bruce High Quality Foundation
Newsletter in English | Newsletter en Español
Latitudes awarded the GAC 2010 curatorial prize. News in the press: ADN.es (25.02.2010); El Periodico, (26.02.2010); El Punt, (26.02.2010), Cultura21.cat (in catalan, 26.02.2010), El País (26.02.2010).
Portscapes exhibition continues until 25 April at the Museum Boijmans Van Beuningen, Rotterdam.
New Latitudes' YouTube Channel with 'Portscapes' videos.
Check also our Latitudes' blog at www.lttds.org/blog for further news
Facebook fan page here
Flickr photosets herePrevious newsletters click here
"Reflexiones entorno a una figura cada vez más influyente en el mundo del arte", artículo por Teresa Sesé, La Vanguardia, 2 Enero 2010, pp. 38-39. Incluye comentarios de Cuauhtémoc Medina, Tania Pardo, Valentín Roma, Rafael Doctor, Rosa Martínez, Latitudes (Max Andrews & Mariana Cánepa Luna) y Chus Martínez.
Following is a selection press articles, blogs, announcements and slideshows links related to 'NO SOUL FOR SALE – A Festival of Independents' which took place between 24–28th June in New York (if we missed any materials, please do share the link with us!).
p.s. Some sources are confused about the nature of Latitudes' space in the festival. Just to clarify, we didn't built a faux Burger King, the 'scenario' – assembled entirely thanks to The Bruce High Quality Foundation – comprised real dining furniture from the abandoned 1983 Burger King from Governors Island (see photo-documentation of the original site taken by two photographers invited in 2003 by Public Art Fund – images 2 and 3 of the slideshow).
e-Flux, June 15, 2009
Holland Cotter, 'Restoring the ‘Eek’ to Eking Out a Living', New York Times, 24 June 2009
and slideshow here http://www.nytimes.com/slideshow/2009/06/24/arts 20090625_SOUL_SLIDESHOW_index.html
Jerry Saltz, 'Saltz: Glimpse Art’s Near Future at No Soul for Sale', 24 June 2009
Laura Meli, 'The Anti-commerce, Pro-art “No Soul for Sale” Festival', 25 June 2009
Time Out Art, 25 June 2009
William Pym, Artforum Scene & Heard, 'Whatever Works', 26 June 2009
http://www.artforum.com/diary/id=23170#readon23170 (more images)
Sunday, 28 June, 2009 (images)
23 June 2009, www.designboom.com
Ceci Moss, 'Dispatches from No Soul For Sale: More Highlights!', 29 June 2009
Production of Jan Dibbets '6 Hours Tide Object with Correction of Perspective' (2010) in pictures and the press
Soon after Dibbets and Theo Tegelaers from SKOR arrived and, with bulldozer driver Jan Vader at the ready and van Leeuwen up on the hydraulic lift, the 'square' was marked out and the camera was ready to roll.
A bus with special guests and press arrived just in time to see the beginning of the raking action, and after a brief hail storm, the tide rose rapidly on cue around 12.30 to inundate the 'perspective correction'. A spectacular morning on the Dutch coast! Many thanks to everyone involved.
Critic Rutger Pontzen wrote about the event in the Dutch paper De Volkskrant and Ruud van Haastrecht's article appeared in Trouw (articles below). Also see features in Schuttevaer, BM/DeStem and Metropolis M.
NRC Handelsblad published a good "making of" slideshow here.
The event was photographed for the Port of Rotterdam by Freek van Arkel and for SKOR by Paloma Polo. Our big thanks to both!
Ferran Barenblit, who was until recently the director of Santa Mónica, and who now heads the art center Dos de Mayo outside Madrid, believes that Spain doesn’t have enough international pull and has lost its “exotic” status in the ever-expanding European community. “Barenblit can be very critical with respect to the homegrown arts scene,” writes Worthmann. “But he holds the unclear reception from outside the country responsible for the lack of resonance.” Chus Martínez, who headed the Frankfurt Kunstverein before recently heading to Barcelona to direct the MACBA collection, adds some “geopolitical” arguments. “Germans, for example, orient themselves above all toward the United States and, since reunification, strongly toward the east,” Martínez told the newspaper. “Spain long existed on the outside. We were never a stop on the Grand Tour, nor could we profit later from the Marshall Plan.” The Franco dictatorship, which ended just over thirty years ago, also played a major role in the isolation of the country’s artists. Despite the end of the dictatorship, many artists still leave the country. And despite the rise of several spectacular exhibition sites—MUSAC in León, MACBA in Barcelona, Herzog and de Meuron’s Caixaforum in Madrid, Gehry’s Guggenheim in Bilbao, and Madrid’s Matadero, a multidisciplinary center that will be fully complete in 2011—few institutions have managed to create a “solid profile.” “For regional politicians, often the architectural gesture was more important than the ongoing maintenance of an ambitious program,” writes Worthmann, who adds that museum directors are often at the mercy of changing ruling parties of the government. Despite new directives for running museums from the minister of culture, the sudden closure of Santa Mónica as an art center is a case in point.
As for ARCO, a public initiative dating from the 1980s, the new director Lourdes Fernández will be decreasing the number of Spanish galleries in order to increase international participation at the fair. Last year, the fair dedicated more space to curatorial projects featuring artworks with an experimental edge. “And the display window has long functioned in both directions,” writes Worthmann. International collectors acquire Spanish art while Spanish collectors are increasingly acquiring works by international artists. In 2009, all purchases may well be welcome, whatever the artist’s origin.
On another note, Matt Elmore from the The Art Newspaper has also written about the Barcelona art scene, though giving a much more simplistic and superficial account - including mistakes such as the "Santa Monica space as a visual arts centre devoted to Catalan artists...", when only one of the three exhibition spaces it had was penciled for Catalan or Spanish artists. See archive of previous shows to see exhibition history between 2003-9.
Following is a selection of the press reviews, radio and TV programmes that have covered the four part project 'THE CREST OF A WAVE' by Lawrence Weiner on view at Fundació Suñol until Saturday 15 November:
- Frederic Montornés, 'Lawrence Weiner', Exit Express #39, Noviembre 2008, p. 38 (Castellano, pdf, 228 KB)
- Violant Porcel, 'En la cresta de la ola', Suplement Culturas, La Vanguardia, 05.11.08 (Castellano, pdf, 108 KB)
- Pilar Parcerisas, 'Una de cotó, ferro i sucre', Suplement Cultura, Avui, 01.11.09 (Catalan, pdf, 280kb)
- 'La Cresta d'una Ona' Canal Cultura TV (video link, Catalan, 2min 23sec)
- iCat FM Radio (Catalan, mp3 audio, 1min 27sec, 684kb)
- Joana Hurtado, La cresta d’una ona, Time Out, semana 17.10.08 (Catalan, jpg, 124kb)
- Roberta Bosco, '300,000 sobres de azúcar para una creación artística', El País, 10.10.08, p.39
- 'Layers of Lawrence Weiner in Barcelona', www.FlashArtOnline.com, 09.10.08
- Montse Frisach, 'Sobres de sucre artístics', Avui, 08.10.08, p.42 (Catalan, pdf, 284kb)
[Images: Jean-Pierre Moulis, the artist and Latitudes]
The first part of the project coincided with the 24th September festivities of the patron saint of Barcelona: La Mercè (see post 23.09.08). 300,000 white sugar sachets were distributed throughout emblematic cafés, restaurants and bars of the city [locations: http://www.mapme.com/map/thecrestofawave] to sweeten our conversations.
Exhibition runs until Saturday 15 November. A 16 page booklet has been printed for the ocasion.
Avui, 8 October 2008 in Catalan
El Punt, 8 October 2008 in Catalan
Time Out17–23 Octubre 2008, in Catalan
Exit Express by Frederic Montornés
Avui by Pilar Parcerissas, 1 November 2008
La Vanguardia by Violant Porcel, 5 November 2008
Nivell Zero at Fundació Suñol
c/ Rosselló, 240
T. (+34) 934 961 032
Above: Installation at Nivell Zero–Fundació Suñol of 'A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE', Cat. #929, 2006–2008. Courtesy the artist. Below: Lawrence Weiner with a horseshoe wrapped around a cloth of cotton. Courtesy the artist/Latitudes. All photos: Latitudes
19 October, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition 'Richard Long and Simon Starling', 4 October - 23 November, 2008)
25 October, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')
Both of these screenings will present a selection of the material that conformed the programme, as follows:
Part 1 (duration 32' in Bristol and 52' in Móstoles)
· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by: Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.· Nancy Holt (1938 Worcester, US. Lives in New Mexico,US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" NOTE: Only screened at the Centro Dos de Mayo
Part 2 (duration 1h 15min)
· Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
· Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
· Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
· Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
· Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
· Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
· Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
· Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
· Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
· Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
· Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''
Read all press material that has appeared to date here and also view a slideshow of some screenings here.
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“Cyclus Offset,” “KeayKolour Recycled May,” “Shiro Alga Carta”: A series of “all natural,” “ecological” papers color the catalogue for “Greenwashing” in a muted rainbow of earthy greens, yellows, and pinks. Designed by the exhibition’s curators—Ilaria Bonacossa and Latitudes’s Max Andrews and Mariana Cánepa Luna—the volume offers its own version of “green sheen.” Are the Fondazione and the organizers self-consciously engaging in the same banal posturing they set out to critique? Or do they see the printing of an art catalogue on recycled paper as a step in the direction of philosopher Félix Guattari’s exhortation to “think transversally,” toward a reconciliation of the nature/culture dichotomy? Like most of the show’s twenty-five participating artists, the organizers are uncompromising in their ambiguity: They neither propose grand solutions nor shy away in passive resignation. An ambitious project that occasionally falters, “Greenwashing” is largely successful in broadening and interrogating the narrow views that dominate environmentalist debates.
Works by Jorge Peris, Lara Almarcegui, and Chu Yun provide the most exemplary models of this approach. For Fairy, 2008, Peris bolted slabs of wet clay to the walls of a back room, transforming the space’s frigid architecture into a musty den of soft, sweating walls kept moist by a network of sprinklers. Like Peris’s installation, Almarcegui’s slide show and postcards, titled A Wasteland: Rotterdam Harbour, 2003–2018; Genk, 2004–2014; Arganzuela Public Slaughterhouse, Madrid, 2005–2006; Peterson Paper Factory, Moss, 2006–2007, documents microenvironments that are at once constructed and deconstructed, simultaneously additive and subtractive. In A Wasteland—wilderness by design—the artist negotiated with municipal authorities and landowners to preserve the atmosphere of disuse in a selection of urban lots, sparing them from the restoration and clean-up of urban planners. In Chu’s Constellation, 2006, various appliances set to “sleep” mode are arranged in a dark room. Their twinkling red, blue, and green lights are the stars of a heaven inhabited by obsolete electronics, including VHS players and soon-to-be-outmoded technologies, like CRT television monitors. While Chu’s work evokes what Andrews calls the “‘What can I do?’ responses to climate change,” it also explores the seductiveness of the spectacular apocalypse scenarios frequently invoked in environmentalist rhetoric. Such eschatological visions aren’t the province of environmentalists alone, however. As Noam Chomsky affirms in Cornelia Parker’s video, Chomskian Abstract, 2007: “About a third of the population probably believes it doesn’t matter what we do about global warming . . . because Jesus is coming and so . . . what’s the difference? . . . Those of us who are saved will rise to heaven, and everyone else will be massacred—and it’ll be wonderful.”
A continuación una selección del artículo 'Verde es el color del dinero' de Mariano Navarro que se publicó en el suplemento 'El Cultural' de 'El Mundo' el 13 Marzo 2008: