Selección de reseñas, videos y entrevistas sobre el proyecto COLAPSO de Joan Morey


Natàlia Farré, ‘Sumisión y frío en la Modelo’, El Periódico, 15 de enero 2019.
Maria Palau, ‘Angoixats a la Model’, El Punt Avui, 13 de enero 2019, pág 23.

Conxita Oliver, ‘El món performatiu de Joan Morey, a revisió’, eltemps.cat, 13 desembre 2018 (Catalán).


Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", núvol.com, 6 desembre 2018 (Catalán).



María Muñoz, ‘Sobre el poder, la performance y el deseo’, Metal magazine, 4 diciembre 2018 (Castellano).




"Joan Morey presenta "Col·lapse. Cos social", programa Taquilla Inversa, L'H digital Mitjans de Comunicació de L'Hospitalet, 29 novembre 2018 (4'57'', Catalán).


Entrevista ‘Joan Morey, artista i performer mallorquí’ con Tania Adam, programa ‘Terrícoles’, canal betevé, 13 novembre 2018 (27', Catalán).
Vanessa Graell, ‘Anatomía de la ‘performance’’, El Mundo, 27 septiembre 2018 (Castellano).
Maria Palau, ‘Contra l'abús de poder’, El Punt Avui, 23 setiembre 2018 (Catalán).
Núria Juanico, ‘L’entrada a l’univers sinistre de Joan Morey’, Ara.cat, 25 setiembre 2018 (Catalán).


CONTENIDO RELACIONADO:
  • 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




Reviews of the exhibition "4.543 billion. The matter of matter" at the CAPC musée, Bordeaux

As the ‘4.543 billion. The matter of matter’ exhibition concluded on January 7, 2018, at the CAPC musée in Bordeaux, we finished archiving all the social media posts visitors, the museum and ourselves have published – see our Wakelet feed below – since research phase to the exhibition itself, and below share the most relevant print and online reviews.
Wakelet collection of the "4.543 billion" exhibition.

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, 2017Frank 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.


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




Reseñas sobre la exposición "No temeré mal alguno" de José Antonio Hernández-Díez en el MACBA

A una semana de concluirse la exposición de José Antonio Hernández-Díez en el MACBA (finaliza el 26 de junio), hacemos revisión de la cobertura de prensa más relevante que ha recibido (por orden cronológico) y que encontraréis bajo la pestaña "Contenidos relacionados" en la sección final de ésta y en todas nuestras páginas, espacio desde donde también compartimos entradas al blog.

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.

Contenido relacionado:




Photodocumentation of the five commissions 'Composiciones' now on flickr

'Composiciones', five new commissions for the Barcelona Gallery Weekend, 1–4 October 2015.

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.


 Map of the five locations for the temporary projects. 

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.






#BarcelonaGalleryWeekend
#Composiciones

Related content:


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.




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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


+ info: 
The Dutch Assembly and programme details here.




Pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona

Selección de artículos recientes entorno al pasado, presente e (incierto) futuro del Centre d'Art Contemporani de Barcelona:

"Fontcuberta dice que cancelar el Canòdrom es un paso hacia un sistema artístico "totalitario", La Vanguardia, 6 Febrero 2012 (incluye video acción reivindicativa)

Roberta Bosco, "Los artistas visuales consideran pedir la dimisión de Ciurana", El País, 6 Febrero 2012

Bea Espejo, "El Canódromo en blanco", El Cultural, 6 Febrero 2012

(...) A las 16h, una manifestación convocada por la Asociación de Artistas Visuales de Catalunya pretende presionar a los políticos y hacerlos cambiar de opinión. Se leerá un manifesto y se pintarán de blanco los cristales del Canódromo, como se hace con los escaparates de los establecimientos cerrados. – Bea Espejo

Fotos: Latitudes | www.lttds.org


Se empiezan a pintar los cristales del Canòdrom...

 
Lectura del manifiesto (leer aquí, en catalán) por Joan Fontcuberta, Presidente de l'Associació d'Artistes Visuals de Catalunya (AAVC):

 

Los medios entrevistan a Francesca Llopis, Vocal de l'Associació d'Artistes Visuals de Catalunya (AAVC):


...y una hora después...llegan los camiones de BCN neta



Elena Vozmediano, El día después, blog 'Y que tú lo veas', 3 febrero 2012

Acció en defensa del Canòdrom com a Centre d’Art Contemporani, blog Associació d’Artistes Visuals de Catalunya

Roberta Bosco, "Moritz Küng, el director amordazado", El País, 1 Febrero 2012


"El arte en Barcelona", Cartas al director, La Vanguardia, 23 Enero 2012

Elena Vozmediano, El neodirigismo catalán, blog 'Y que tú lo veas', 21 Noviembre 2011


CONTENIDOS RELACIONADOS:
  • 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'

In their May issue, Shanghai-based Art World Magazine featured 'The Last Newspaper' (New Museum, 6 October 2010–9 January 2011) exhibition focusing on Latitudes' 10-week-long editorial project and re-publishing and translating four articles originally published in issues: #2 The Last Gazette (focus article on Hans Haacke's "News" by Julienne Lorz), #5 The Last Monitor (an essay on paperweights and newsstands by Harley Spiller), #6 The Last Observer (interview with Wolfgang Tillmans by Lorena Muñoz-Alonso), #7 The Last Evening Sun (focus article on Luciano Fabro's 'Pavimento-Tautologia' by Simone Menegoi) and #8 The Last Journal (an interview with Rirkrit Tiravanija by Desiree B. Ramos).
  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

Following is a selection of press reviews that has appeared in relation to 'The Last Newspaper' exhibition (New Museum, 6 October 2010–9 January 2011), in particular those who focused on Latitudes' edition of a weekly newspaper as catalogue-in-formation:

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.]

This is tomorrow, 'The Last Newspaper', 5 December 2010:

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

Link al artículo aquí. Extracto del texto de Javier Díaz-Guardiola publicado en la web del ABC.es, 6 Mayo 2010:

"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.


Así, la oficina curatorial Latitudes colaborará con el artista catalán Martí Anson, que, con el proyecto «Mataró Chauffeur Service», se convierte –convenientemente dado de alta y pertrechado como tal– en taxista, para trasladar su coche tuneado como un Spanish cab hasta Londres y empleando la Sala de Turbinas como aparcamiento del mismo. Durante los días que dure el festival, el vehículo se transformará en sala de proyecciones de los vídeos de creadores como Jan Dibbets, Roman Keller o Bik van der Pol, con los que ha trabajado Latitudes. La ruta del viaje y sus andanzas pueden seguirse en el blog http://lttds.blogspot.com Es su particular manera de celebrar estos últimos diez años que serán analizados este fin de semana en las páginas de ABCD."




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)

Above Latitudes' poster for 'No Soul for Sale' (see posters by other participants here).

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

Related info:




Newsletter #21 - March 2010


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
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Latitudes en La Vanguardia artículo 'De profesión, Comisario'

lavanguardia2enero2010-web

"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.




'NO SOUL FOR SALE': Press Coverage


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

http://www.e-flux.com/shows/view/6898

Holland Cotter, 'Restoring the ‘Eek’ to Eking Out a Living', New York Times, 24 June 2009
http://www.nytimes.com/2009/06/25/arts/design/25soul.html?_r=1&scp=1&sq=restoring%20the%20eek&st=cse
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
http://nymag.com/daily/entertainment/2009/06/saltz_glimpse_arts_near-future.html

Laura Meli, 'The Anti-commerce, Pro-art “No Soul for Sale” Festival', 25 June 2009
http://www.nyartbeat.com/nyablog/2009/06/the-anti-commerce-pro-art-no-soul-for-sale-festival

Time Out Art, 25 June 2009
http://www3.timeoutny.com/newyork/tonyblog/2009/06/no-soul-for-sale-at-x-initiative

William Pym, Artforum Scene & Heard, 'Whatever Works', 26 June 2009
http://www.artforum.com/diary/#entry23170 (text)
http://www.artforum.com/diary/id=23170#readon23170 (more images)

Sunday, 28 June, 2009 (images)
http://www.16miles.com/2009/06/no-soul-for-sale-festival-of.html

23 June 2009, www.designboom.com
http://www.designboom.com/weblog/cat/10/view/6793/no-soul-for-sale.html

Ceci Moss, 'Dispatches from No Soul For Sale: More Highlights!', 29 June 2009
http://rhizome.org/editorial/2732




Production of Jan Dibbets '6 Hours Tide Object with Correction of Perspective' (2010) in pictures and the press


This past Sunday 8 February started very early for Latitudes – we were on the beach of the Maasvlakte, Rotterdam, before first light with cameraman Fijko van Leeuwen in readiness for the filming of the new 2009 version (forty years later to the month) of Jan Dibbets' 1969 '12 Hours Tide Object with Correction of Perspective' (see previous post here). The resulting film, titled '6 Hours Tide Object with Correction of Perspective' is the first of Portscapes projects, commissioned by the Port of Rotterdam in collaboration with SKOR and curated by Latitudes.


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!

More on Latitudes website including details of the screenings of the resultant film (in Summer 09 – see post here).

You may see the 'making of' film here (part 1) and here (part 2).

Photos: SKOR/Paloma Polo; and Latitudes.




Süddeutsche Zeitung reports the "malaise" of Spanish contemporary art

Last weekend an article on the Spanish art landscape appeared in the German newspaper Süddeutsche Zeitung (pdf 248KB), which was later reported and summarised in English by Jennifer Allen in Artforum.com's International News Digest (week 12 January 2008).

According to the writer, Merten Worthmann, the Spanish art scene lacks experimentation and this is effecting Spanish galleries as well as ARCO, the country's main art fair. The whole discussion as to why Spanish contemporary art is not where it should be on the international map is not an easy one to tackle. The truth is, there is not one reason – there are as many as there are challenges. Although a lot has been achieved in the last 30 years of democracy and today we have many museums and art centres, the question is now not just about more, but about improving and investing in the existing quality.

Here is a 'shopping list' for starters: renewed focus on debate and theory with productive confrontations; targeted resources for medium-scale institutions; engaged art magazines and cultural supplements with less 'press release-y' or purely descriptive writing; simplification and modernisation of the 'cultural-export' model of funding and bureaucracy to reflect contemporary practice; wider transparency in selection processes for key curatorial positions; pragmatic vocational teaching at graduate level (and a life for post-Picasso art history); a competitive postgraduate art practice programme that meets the international standards of Amsterdam's Rijksakademie or Frankfurt's Städelschule; improved teaching of foreign languages; fiscal benefits to autónomos (self-employed) on a par with other EU countries...

The list continues. Without trying to sound profound or political, changes have to be made from within through sheer initiative, and that, alongside rabid generosity, is surely the way forward. It is certainly not all doom and gloom (we would not be here otherwise!), but the current economic climate will certainly focus the minds as well on the 'values that we value'. Onwards 2009!
Here is Artforum's summary...

REPORT FROM SPAIN (Artforum.com, International News Digest)
 
In anticipation of ARCO, the Süddeutsche Zeitung’s Merten Worthmann delivers a mixed report from Spain. According to Worthmann, the young Spanish arts scene is missing some experimentation—a deficiency that has had a negative impact on both galleries and the Madrid-based fair. Moreover, the Centre d’Art Santa Mónica—which has featured exhibitions by younger artists—will be closing at the end of January, according to a directive from the Catalan minister of culture. “Barcelona is a kind of anti-Berlin,” says Bartomeu Marí, head of Barcelona’s MACBA. “A city that doesn’t know how to attract any artists.” For Worthmann, the closure of Santa Mónica is a sign of a larger malaise. “The Spanish arts scene suffers from its weak connection to central Europe, the center of the market, and of discourses,” writes Worthmann, who cites the lack of both an international public and a national network. “To be an artist in Spain is a handicap, both inside and outside the country,” artist Jorge Galindo told the newspaper.

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.




Press coverage: Lawrence Weiner's 'THE CREST OF A WAVE', Fundació Suñol, Barcelona


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:
Full list of press clippings, press releases, etc. related to the exhibition and a slideshow of the project. Download the small publication of the exhibition (Catalan, Spanish and English, pdf, 600 KB).

[Images: Jean-Pierre Moulis, the artist and Latitudes]




Lawrence Weiner at the Nivell Zero, Fundació Suñol, Barcelona (until 15 November 2008)


The second and third parts of the project 'THE CREST OF A WAVE' by Lawrence Weiner will be presented this evening at Nivell Zero (image above): an adaptation of the sentence painted on the exterior wall of the courtyard in Catalan, Spanish and English. In the interior space the same statement was recorded within a catchy musical composition based on a track by Ned Sublette and The Persuasions.

The last element of the project took place as a small event realised by the Mediterranean on October 6, 2008: an iron horseshoe was wrapped in cotton cloth and was tossed upon a wave's crest.

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.

Press coverage:

Avui, 8 October 2008 in Catalan 
El Punt, 8 October 2008 in Catalan
Time Out17–23 Octubre 2008, in Catalan
FlashArtOnline, 09.10.08
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
08008 Barcelona
T. (+34) 934 961 032
www.fundaciosunol.org
 Monday to Saturday, 16–20h

– –

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




Final dates 'Stake in the Mud...' film programme screenings

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

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:




Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen.

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

 

Francis Alÿs (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich.

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.




'Greenwashing' in Artforum Critics' Picks

Below you can read the review of the 'Greenwashing. Environment: Perils, Promises and Perplexities' exhibition by Emily Verla Bovino in Artforum Critics' Picks. The project website (www.greenwashing.lttds.org) has also been updated with links to press articles (ongoing) and a photogallery with a selection of installation shots.

- - -

"Greenwashing"
Fondazione Sandretto Re Rebaudengo
Via Modane, 16
February 29–May 18


“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.”

Emily Verla Bovino





'Greenwashing' en El Cultural (13 Marzo 2008)

Ibon Aranberri 'Light over Lemoniz (without shockwave)', 2000–4. 
Cortesía del artista e Isabella Bortolozzi, Berlin.

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:

"Greenwashing se ocupa de un tema pujante, la situación del medioambiente en el mundo, y cómo su título indica lo hace desde una óptica tan amplia como determinada. Greenwashing es un neologismo que define la injustificable apropiación de las virtudes medioambientales por parte de la industria, los estamentos políticos o las organizaciones, con la finalidad de crear una imagen positiva de sus actividades o productos y una imagen mistificadora que distraiga la atención respecto a sus propias responsabilidades e impactos medioambientales negativos. Green significa verde, washing, lavar, y podría traducirse por “lavar con verde” o, más irónicamente, por “el verde lava más blanco.”

El comisariado ha sido un trabajo colectivo entre Ilaria Bonacossa, jefa de exposiciones de la Fondazione, y el estudio Latitudes, formado por Max Andrews y Mariana Cánepa Luna, colaboradores del programa Arts & Ecology, autores del libro Land, Art: A Cultural Ecology Handbook, organizadores en la Bienal de Sharjah de un simposio sobre el tema y editores de un número de la revista UOVO, de Turín, con el tema Ecología, Lujo & Degradación. Cito esta parte de su curriculum porque sin el conocimiento previo del temario tratado, difícilmente podrían haber llevado a cabo una lectura que, sin ilustrar tesis preconcebida alguna, resulte tan rica, tan alertadora e instructiva, en el mejor sentido del término. Tampoco para la Fondazione, que ha dedicado esfuerzos en esos aspectos desde 2001." 






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