15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux
|Xavier Ribas, detail of diptych num 7 'Caliche Fields' (2010), 22 Pigment prints on Harman Baryta paper 33 x 50 cm. Courtesy the artist and ProjecteSD, Barcelona. |
Wednesday, 15 November 2017
CAPC musée d’art contemporain Bordeaux
7, rue Ferrère, 33000 Bordeaux, France
Keynote by science historian Jean-Baptiste Fressoz (Paris)
Conversation between artists Xavier Ribas (London) and Ângela Ferreira (Lisbon)
Roundtable discussion moderated by Latitudes (Barcelona)
Free event. Simultaneous translation French/English.
Conference programmed in the context of the exhibition '4.543 billion. The matter of matter', CAPC musée d’art contemporain Bordeaux, 29 June 2017–7 January 2018. Curated by Latitudes.
The work of many of the artists in the exhibition '4.543 billion. The matter of matter' explores the shared history of human activities and Earth systems. Yet this comes with a critical and political inflexion of the universalizing notion of the Anthropocene, the proposed geological ‘epoch of humanity’ that would cast all of the mankind as being responsible for the alarming damage caused by modernizing and capitalizing nature.
With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—this event hosted by Latitudes ('4.543 billion' curators Max Andrews and Mariana Cánepa Luna), sees art practice and historical research intertwining with environmental and geological narratives, and vice versa. Both Ribas and Ferreira make art that resists the generalising story of the Anthropocene that Fressoz unmasks in his book 'The Shock of the Anthropocene. The Earth, History and Us' (co-authored with Christophe Bonneuil, Verso Books, 2016). Echoing the meticulous historical approach of Fressoz, both Ribas’s and Ferreira’s projects in the exhibition deal with case studies with a very specific place and politics. Addressing mineral agency and colonial extraction, the artists will discuss their approaches to work that has sprung from diamonds in South Africa (Ferreira) to nitrate in Chile (Ribas).
As Fressoz & Bonneuil have written, the Anthropocene “signals the return of the Earth into a world that Western industrial modernity, on the whole, represented to itself as above earthly foundation … Environmental history, natural anthropology, environmental law and ethics, human ecology, environmental sociology, political ecology, green political theory, ecological economics, etc., are among the new disciplines that have recently begun to renew the human and social sciences, in a dialogue with the sciences of nature.” The dialogue during the event will seek to discover what might happen when artists, curators, exhibitions and museums come into the mix of such emerging practices. What is at stake when artists venture beyond the conventional separation of humanities from sciences, and into environmental art history, cultural ecology, decolonial activism, and so on?
|Entrance to the exhibition at the CAPC. Photo: Latitudes/RK.|
Jean-Baptiste Fressoz, formerly a lecturer at Imperial College, London, is a historian of science, technology and environment. He is based at the Centre national de la recherche scientifique, Paris, the largest governmental research organisation in France and the largest fundamental science agency in Europe. He is the author, with Christophe Bonneuil, of 'The Shock of the Anthropocene' (Verso, 2016). “This bold, brilliantly argued history of the Anthropocene epoch is a corrective to cosy thinking about humanity’s grave disruptions to Earth systems. Christophe Bonneuil and Jean-Baptiste Fressoz draw on climate science, economics and technological history to reveal how, starting in eighteenth-century France, imperial narratives that saw people and planet as a ‘totality to be governed’ laid the conceptual basis for the crisis. They call for a ‘new environmental humanities’, and a shift away from market-based approaches that feed the beast.” – Barbara Kiser, Nature.
Ângela Ferreira’s works in the exhibition form part of a series titled “Stone Free” (2012) in reference to the 1966 hit song performed by Jimi Hendrix (1942–70). “Stone Free” creates correspondences between two voids below the ground, two ‘negative monuments’ as the artist has termed them: Chislehurst Caves, in southeast London, and Cullinan Diamond Mine in Gauteng Province, South Africa.
Chislehurst Caves is a man-made network of underground tunnels mainly worked in the late 1700s yet dating back to as early as 1250. The tunnels were excavated in order to mine chalk and flint. Following their use as an air-raid shelter during the second world war, the tunnels were transformed into a venue for rock concerts in the 1960s and 1970s. The Jimi Hendrix Experience played there in 1966 and again the following year, bringing Hendrix’s unique countercultural synthesis of social realism and psychedelic spiritualism based on African and indigenous-American imagery into the literal underground.
Cullinan Diamond Mine (known as Premier Mine from its establishment in 1902 until 2003) is famed for being the source of the largest gem-quality rough diamond ever discovered, in 1905. Most of the gems cut-and-polished from this stone were used to adorn the Crown Jewels of the United Kingdom. The recent history of the diamond industry is inextricable from that of settler colonialism in southern Africa and a commodity cartel established by the De Beers corporation founded in 1888 by British imperialist Cecil Rhodes (1853–1902), two years before he became Prime Minister of the Cape Colony. De Beers owned all of the major mines in South Africa, as well as controlling global distribution until it began a recent sell-off of its less productive mines to the Petra Diamonds group, including divesting itself of Cullinan in 2008.
Ferreira was born in Maputo, Mozambique, in 1958, and lives in Lisbon, where she teaches Fine Art at the Lisbon University.
“A History of Detonations” (2014) is a glimpse at an extensive body of work by Xavier Ribas devoted to exploring the legacy of the mining of sodium nitrate in northern Chile, which boomed from the 1870s until the early-twentieth century when it was discovered how to make the compound synthetically. Comprised of photographs taken by the artist during research visits, alongside vintage postcards and press prints bought on the internet, Ribas’s poster sequence takes us from Chile to London to the surface of Mars. The mining and trade of Chilean sodium nitrate was led by a class of British ‘gentleman capitalists’—aristocrats, bankers and merchants. The extraction of the resource not only industrialized the arid Atacama Desert at one end of the commodity chain, and enriched country estates at the other, but through its use as a chemical fertilizer and a component of explosives, it would radically alter a whole series of seemingly disparate geographies, bodies and institutions.
Ribas was born in Barcelona, 1960, and lives in London. He is a lecturer at the University of Brighton and associate lecturer at the Universitat Politècnica de València. http://www.xavierribas.com/
Latitudes is a Barcelona-based curatorial office initiated in 2005 by Max Andrews (1975, Bath, United Kingdom) and Mariana Cánepa Luna (1977, Montevideo, Uruguay). They are the curators of the CAPC exhibition ‘4.543 billion. The matter of matter’, and led the related month-long residency programme ‘Geologic Time’ that took place in September 2017 at the Banff Centre for Arts and Creativity. During 2009 Latitudes developed ‘Portscapes’, a series of ten public commissions in the Port of Rotterdam, the Netherlands (2009); in 2010–11 it was a partner organisation in the exhibition ‘The Last Newspaper’ (New Museum, New York) and in 2011 was the guest curator of the project space of the Museo de Arte Contemporáneo de Castilla y León (MUSAC) in León, Spain. More recent curatorial projects include the solo exhibition ‘José Antonio Hernández-Díez. I will fear no evil’, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona (2016); ‘Compositions’, site-specific commissions for two editions of the Barcelona Gallery Weekend (2015 & 2016); and editing the online curatorial reportage initiative ‘Incidents (of Travel)’ developed in partnership with Kadist (initiated in 2016).
‘4.543 billion’ is the contribution of the CAPC musée to the cultural season Paysages Bordeaux 2017.
|Views of the exhibition at the CAPC musée. Photos: Latitudes / RK.|
- CAPC website (French, English, Spanish) http://www.capc-bordeaux.fr/programme/4543-milliards
- Sediments of the Geologic Time 4-week residency at the Banff Centre for Arts & Creativity 10 October 2017
- SAVE THE DATE: 29 June, 19h. Private view of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d'art contemporain de Bordeaux 30 May 2017
- Cover Story – May 2017: "S is for Shale or Stuart; W is for Waterfall, or Whipps" May 2017
- Cover Story – May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux 10 May 2016.
- Second research trip to Bordeaux 16 July 2016
Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend
This and following photos: Carina Erdmann/De Appel.
The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
We also visited a few exhibitions and attended a few events programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
Abstracted images by Claudia Martínez Garay.
San Serriffe art book shop in the red light district.
- The story behind José Antonio Hernández-Díez's 'San Guinefort' (1991) 29 March 2016
- David Jablonowski's "Hype Cycle" at Fons Welters, Amsterdam 14 December 2014;
- Report from the Amsterdam Art Weekend, 27–30 November 2014 now on Storify 2 December 2014;
- The Dutch Assembly, ARCOmadrid, 15–19 February 2012.
A report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016
[The following text was originally published on Frieze Blog on 9 March 2016].
Co-presented by the Center for Curatorial Studies, Bard College with the LUMA Foundation, the four-day symposium ‘How Institutions Think’ [pdf of the programme] met to reconsider the habits and rhetorics of contemporary art institutions and curatorial practice. The event, held at the Parc des Ateliers, Arles, from 24–27 February, was developed in partnership with a long list of collaborators (Valand Academy of Arts, Gothenburg, Sweden; Afterall Books and the Exhibition Histories programme at Saint Martins, London, UK; Goldsmiths, London; the V-A-C Foundation, Moscow; and de Appel art centre, Amsterdam).
Taking its title from the 1986 book by British anthropologist Mary Douglas, the symposium played out on the site of the future LUMA Arles, a 20-acre former railway yard that includes a new building designed by Frank Gehry scheduled to open in summer 2018 as exhibitions spaces, archives, residency and study facilities, as well as a restaurant, hotel and park. Introduced by CCS Bard’s Paul O’Neill and LUMA founder Maja Hoffmann, the presentations were hosted in the recently-restored L’Atelier des Forges spaces in the middle of this construction site. O’Neill took the work-in-progress status outside as an invitation for the more than 30 speakers and around 150 delegates to debate not only what the future of art institutions in general might be, but more immediately, how new ways of operating could underpin this nascent institution in the south of France.
Yet what transpired was something far more pervasive. An amplification of the noun ‘institution’ and the verb ‘instituting’ soon engulfed not only a discussion of art and academic establishments, but law, governance, and the psyche of the French state, post-November 2015 Paris attacks. The grim predicament of a Europe in the depths of the refugee crisis – as the symposium took place, at the other end of the country, Calais’s ‘Jungle’ camp was being dismantled – became the lens for considering nothing less than the spectral institution that is Western European colonial imperialism. In the first evening’s fragmented keynote by Zahia Rahmani, the writer and historian gave an account of the ‘Made in Algeria’ exhibition of colonial cartography she has curated for the MuCEM museum in Marseilles. She argued that we cannot plausibly think about the future of any institution without confronting the terrible failures and opprobrious injustices of the past, most glaringly what she characterised as the ‘toxicity’ of Western Europe’s colonial system.
‘Is institution building still desirable?’ wondered artist Céline Condorelli in her presentation the following day as she evoked All our tomorrows (2015), her installation that humbly corralled the symposium’s setting, comprised a large hanging curtain inspired by the ‘poor architecture’ of Lina Bo Bardi’s SESC Pompéia, the social and cultural centre established in São Paulo.
Reflecting on his own transformative experiences made while directing the 2014 edition of the São Paulo Biennial, Charles Esche – Director of the Van Abbemuseum in Eindhoven, Netherlands – astutely articulated both the decisiveness of Western Imperialism’s poisonous effect on the rest of the world, and the nervousness about whether anyone can even venture to be hopeful about the future. Esche persuasively argued that Western museums must make decolonialisation fundamental to their missions and no longer a marginal issue by analysing the entrails of neoliberalism’s ‘dogged persistence’ and, soothsayer-like, intuitively sensing the ‘weak signals’ of a more just politics.
Sociologists Luc Boltanski and Arnaud Esquerre spoke of France’s deep investment in what they termed the ‘economy of enrichment’ in observations that were particularly prickly given the art-destination place-making unfolding on the very site of the symposium. They submitted that the luxury brands that dominate the image of the country abroad enjoy a close but officially-unacknowledged complicity with heritage and culture. They argue that this compound myth of the French art de vivre accounts for the country consistently being the globe’s most visited tourist destination, yet also that, less innocuously, France’s defiance of normative economic rules about price and value make it both a haven for inequality as well as unusually susceptible to instability. Put candidly, the presence of refugee and terrorists is not conducive to tourism and handbag sales. Later, speaking about ‘turbo-fascism’ and a transition to ‘necropolitics’ (a term coined by philosopher Achille Mbembe regarding the politics of sovereignty over life and death), philosopher Marina Gržinić contended that we are living in a time of war in which our institutions battle to preserve this ‘good life’ at any cost.
In the context her work directing the SBG Gallery in Montréal, Canada, curator Pip Day discussed Canada’s settler-colonialist legacy, the evasions allowed by conceiving of decolonization as merely a metaphor, and her advocacy of the work of First Nation artists such as Maria Hupfield. Bassam El Baroni, an independent curator based in Alexandria, Egypt, later presented a paper that threaded a bewilderingly dense route through a tangle of cognitive philosophy and ‘prometheanism’. Yet Day’s case studies, as well as those discussed by Mélaine Bouteloup, curator of Paris’s Bétonsalon, regarding the recently opened Villa Vassilieff which is now the second site of that institution, helped to link such abstraction to more practical curatorial and artistic thinking-in-action that addresses the past while creating new knowledge.
Yet it was through the presentations by writer Dave Beech and especially architect Keller Easterling that the symposium actually approached something resembling a strategy to address what had been almost uniformly painted as the shameful, broken state of the contemporary institution. According to both Beech and Easterling, we should be paying keener attention to infrastructure rather than institution per se. Following her book Extrastatecraft: The Power of Infrastructure Space (2014) Easterling’s bruising and exhilarating contention was that an enveloping urban medium (including preposterous towers, mall sprawl, special-trade-zone legal lacunae) defies consideration as a thing and is better thought of as a global operating system, a ‘disposition’ that thrives on saying one thing and doing quite another.
At the start of the symposium artist Liam Gillick – one of LUMA’s luminary consultants alongside Tom Eccles, Hans Ulrich Obrist, Philippe Parreno and Beatrix Ruf – had asked somewhat rhetorically, ‘can an institution be thought collectively on this scale?’ It was clearly not only Charles Esche who looked out at the spine of what will be a 24,000 square metre Frank Gehry-designed tower and noticed that the institution’s die was cast already – and thanks to an architect long synonymous with the art museum as an importunate form of trophy. Following Keller’s strategic spatial repertoire of ‘counterbalances’, ‘interplays’, ‘toggles’, ‘incentives’ and ‘ratchets’, as well as her talk of heeding the dynamics of joke-telling or dough-tending, she implied that if we are going to formulate a resilient future for art institutions, we had better start feeling our way – and get a whole lot more canny.
Max Andrews is a contributing editor of frieze and, with Mariana Cánepa Luna, runs Latitudes, an independent curatorial office based in Barcelona, Spain.
- 'Near-Future Artworlds Curatorial Disruption Foresight Group' seminar convenes in its third iteration in Birmingham's Eastside Projects, 15 November 2015 11 November 2015
- Tutors of the 2015 International Curatorial Retreat, 9–13 May, Bari (Italy) 17 May 2015
- Photoreport and storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014 25 June 2014
- Workshop for Curating Lab 2014: Imagining an institution 1 July 2014
- Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and field trip to Hong Kong (16–20 June) 30 May 2014
Symposium participants: In the Shadow of the Hand, Sacha Kahir, Caleb Waldorf, Max Andrews of Latitudes, Angeliki Roussou, WHW (What, How and For Whom?).
9.30am | Arrival and coffee
The Shock of Victory is a programme consisting of an exhibition, a symposium organised in partnership with the University of Edinburgh and digital publication. Taking place exactly one year after the Scottish Independence Referendum of 18 September 2014, the programme proposes artistic approaches, techniques, provocations and motivations in a post-referendum reality departing from Scotland, but certainly not constrained by it.
The underpinning emphasis is on the ‘organisational turn’, a shift from hierarchical to self-organised models of organisation. In particular the focus is on the potency of radical (artistic) practices and ideas, which propose imaginative ways of organising – collectivism, anarchism, activism, networks, and self-organising. Can we think of a new artistic landscape that might have been formed? How do we organise ourselves in such times?
Max Andrews from Latitudes will offer a perspective on recent cultural politics in Barcelona. Looking in particular at visual art institutions, the 'open submission' format has become a pervasive tool. As an extraction of a democratic process, such an apparently accountable mechansim can nevertheless be complicit in a neo-liberal agenda, undermining institutional robustness and advocating continual 'present-ness'.
Other independent and self-organised realities do of course exist, and following recent municipal elections the political tide offers the promise of change. With reference to art practices that have connected with specific moments of Catalan social history, some contemporary case studies show a thinking around site, scale, longevity and depth – and perhaps reveal a connection with Scotland.
Organised in partnership with the University of Edinburgh.
Co-convened by Dr Deborah Jackson.
Funded by The University of Edinburgh’s Innovation Initiative Grant.
CCA, 350 Sauchiehall Street, Glasgow G2 3JD, UK
Two texts by Manuel Segade and Max Andrews analyse the current Spanish art scene 16 October 2013
Photoreport and storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014
The public symposium "When Does an Exhibition Begin and End?" (14 May 2014) was part of this year Curating Lab 2014 programme organised by NUS Museum. The event, convened and moderated by Heman Chong and Latitudes, counted with the participation of Shabbir Hussain Mustafa (Curator, National Gallery Singapore), Charles Lim (artist); Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao.
Addressing the format of the exhibition in terms of duration and process, the public symposium "When Does an Exhibition Begin and End?" consisted of two complimentary sessions that reflected on exhibitions' capacity to articulate its own making and incorporate its own history. In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the symposium will further ponder on how the exhibition and today's art institutions are undergoing similar transformations. Should exhibitions embrace or resist becoming more like broadcasting or live-publishing? "When Does an Exhibition Begin and End?" considered how exhibitions produce knowledge through the format of conversations between curators and artists.
Curatorial Intensive participants live-tweeting the proceedings. Photo: Luca E.C.
Group working on the mapping of concepts throughout the symposium. Photo: Luca E.C.
Map 1 by Curatorial Intensive participants. Photo: Latitudes.
|Map 2 by Curatorial Intensive participants. Photo: Latitudes.|
Workshop for Curating Lab 2014: Imagining an institution, 1 July 2014.
"Hauntological trajectories in “When Does An Exhibition Begin And End?”" by Amanda Lee Koe on Art Asia Pacific's blog, 23 July 2014.
"Curating Lab: When Does an Exhibition Begin and End?" by Bruce Quek on Radian, 18 August 2014.
Public Symposium "When Does an Exhibition Begin and End?" on 14 June 2014 at the National Library, Singapore
A public symposium part of Curating Lab 2014
Level 5 - Possibility, National Library Building, Singapore
Free admission with registration, please write to [email protected]
Is an ongoing production of discourse and research accountability increasingly expected of curators? Are artists engaging differently with new channels for the documentation and distribution of their work and what contextualises it? Should exhibitions embrace or resist becoming more like broadcasting or live-publishing? "When Does an Exhibition Begin and End?" will consider how exhibitions produce knowledge through the format of conversations between curators and artists.
In the first session Shabbir Hussain Mustafa (Curator, National Gallery Singapore) and artist Charles Lim will talk about their ongoing professional collaboration including Lim's long-term SEA STATE project and the related solo exhibition In Search of Raffles’ Light (NUS Museum, 24 October 2013–27 April 2014). Mustafa and Lim will address these projects' engagement with the maritime history of Singapore in its intersection with the present while speculating about their approach to future exhibitions, including their forthcoming collaboration for the Singapore Pavilion at the 2015 Venice Biennale.
In the second session Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) will discuss their recent project "The Disappearance" (CCA, 5–6 April 2013), which took place during the dismantling of a previous exhibition "as a durational event unfolding over two days including a continuous series of manifestations". Rujoiu and May will be joined by participating artist Shubigi Rao to discuss her project "Visual snow" (2014), presented during "The Disappearance" as an ongoing part of her biographical study of "the reclusive S. Raoul".
Within the context of Curating Lab 2014, "When Does An Exhibition Begin and End?" will be treated as an occasion to reflect on the role of a symposium and its public within curatorial practice. It will count on the engagement of Curatorial-Intensive participants who will be live-tweeting proceedings, mapping concepts of the discussions, and devising an approach to documenting and reporting the day for those not physically present.
The symposium is convened and moderated by artist, curator and writer Heman Chong and Barcelona-based curatorial office Latitudes (Max Andrews and Mariana Cánepa Luna).
Organised by: NUS Museum
Institutional Partner: Centre for Contemporary Art, Singapore
Supported by: National Arts Council
Venue Sponsor: National Library Board, Singapore
Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and field trip to Hong Kong (16–20 June)
|Curating Lab 2012. Courtesy: NUS Museum.|
Alongside artist, curator and writer Heman Chong, Latitudes will lead the first phase of Curating Lab 2014 (11–14 June), a curatorial intensive in which 15 participants engage with the practice of exhibition-making through lectures and tutorials concluding with a field trip to Hong Kong (16–20 June).
Curating Lab 2014 is an eight month-long programme offering final year students, recent graduates and young curators exposure into contemporary curatorial perspectives and practices. Organised by NUS Museum with support from Singapore's National Arts Council, participants are firstly involved in a week-long curatorial intensive completed with an overseas field trip to Hong Kong. This first phase is followed by internship assignments to contemporary art spaces in the city (July–December 2014), and concludes with a final exhibition project in January 2015.
|Courtesy: NUS Museum.|
Curating Lab 2014 will focus on contemporary art and curatorial practices that engage with the exhibition as a site of knowledge production; one that is multifarious, relational and participatory providing scopes for intents and slippages, opened to interpretative articulations and re-articulations, subjected to varying contexts of exhibition-making and the very audiences that perform and shapes its production. Lectures and workshops will be led by Heman Chong and Latitudes to explore concepts of knowledge production in the realms of art, fiction, journalism, theory and other possibilities.
As part of Curating Lab 2014's curatorial-intensive, the public symposium "When Does an Exhibition Begin and End?" on 14 June (3–5pm, Level 5 of the National Library Building), will bring together Singapore-based artists and curators Shabbir Hussain Mustafa (Curator, National Gallery Singapore), artist Charles Lim; Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao, to discuss their recent and ongoing projects. Addressing the format of the exhibition in terms of duration and process, the symposium will consist of two complimentary sessions that will reflect on the exhibition's capacity to articulate its own making and incorporate its own history. In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the symposium will further ponder on how the exhibition and today's art institutions are undergoing similar transformations.
"When Does an Exhibition Begin and End?" will count on the engagement of Curating Lab 2014 participants who will be live-tweeting proceedings, mapping concepts of the discussions, and devising an approach to documenting and reporting the day for those not physically present.
The symposium is convened and moderated by Heman Chong and Latitudes.
This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Report from the 2013 congress of the International Association of Curators of Contemporary Art (IKT) in Madrid, 18–21 April
"Curating Value", the topic of this year's symposium organised by Brussels-based independent curator Zoë Gray, included the participation of Barnabás Bencsik (the recently forced-out director of the Ludwig Museum in Budapest), French artist Pierre Bismuth, Spanish curator and consultant María de Corral, London-based curator and theorist Dr. Simon Sheikh and Greek artist and Athens Biennial co-director, Poka-Yio.
Following is our photo diary documenting a few moments of these five days in Madrid alongside the organisers' schedule, starting the Pre-Congress programme on Thursday afternoon with a first meeting at Espacio Trapézio at the Mercado de San Antón and ending on Monday morning with the Post-Congress programme which included studio visits to Fernando Sánchez Castillo and Cristina Lucas.
Friday, 19th April 2013
Buses depart from Plaza del Emperador Carlos V/ Atocha (opposite the renowned El Brillante bar) for Centro de Arte Dos de Mayo (CA2M) in Móstoles.
IKT Members Forum. Opening of the congress, welcome and greetings.
Exhibition visits: Pop Politics: Activismos a 33 revoluciones curated by Iván López Munuera and Hailil Altindere curated by CA2M Director, Ferran Barenblit.
Buses depart for Fundación Banco Santander (Boadilla del Monte) to visit the exhibition "Out of the House. Contemporary Art Cranford Collection", curated by Anne Pontégnie and Muriel Salem.
Buses depart for Ivory Press. Exhibition visit: Ilya & Emilia Kabakov.
Walk to Galería Liebre. Exhibition visit: Ideas y presupuestos. Curator: Martí Manen.
Ideas and budgets for possible artworks by artists Sebastian Beyro, Black Tulip, Bonus Extra, Kalle Brolin, Priscila Fernandes, Guillem Juan Sancho, Sandra Paula Fernández, Ana García Pineda, Luis Pérez Calvo, Iratxe Jaio & Klaas van Gorkum, Laramascoto, Connie Mendoza, Carlos Motta, Carl Palm, Pepo Salazar, Yes.
Visit to the Tabacalera Espacio Promoción del Arte. Exhibition visit: José Manuel Ballester “Bosques de Luz”. Curators: María de Corral and Lorena Martínez de Corral.
Saturday, 20th April 2013
Caixaforum. Exhibition: 'Maestros del Caos. Artistas y Chamanes'.
Walk to Medialab Prado, Calle Alameda 15, which officially opened its doors a day before our visit.
Exhibitions: Generaciones 2013. Proyectos de Arte Caja Madrid.
Albert Oehlen, Moderne Farbkonzepte. Curator: Christian Domínguez.
Lunch offered by La Casa Encendida in their terrace.
Buses depart for Matadero Madrid, Plaza de Legazpi 1, 28045 Madrid.
Archivo de Creadores de Madrid, offering "physical and online documentation on 150 young artists or collectives of 17 different nationalities with links to the city of Madrid."
IKT Symposium “Curating Value” at the Cineteca.
IKT General Assembly in the Auditorio 200, Museo Nacional Centro de Arte Reina Sofía (MNCARS).
One of the issues to discuss during the General Assembly was to decide on the next venue/city to host the IKT Congress 2014 and 2015. The members voted that CCA Derry-Londonderry would host the 2014 event (the bid included visiting the biennial Eva International in Limerick) and that Vienna's Kunsthalle Wien to host the following year.
Here Johan Lundh co-director of CCA Derry-Londonderry during his presentation for Derry-Londonderry to host the 2014 IKT Congress.
Exhibition visits: Colección I. 1900-1945; Colección II. 1945-1968; Colección III. 1962-1982; Cristina Iglesias; Robert Adams. el lugar donde vivimos. Una selección retrospectiva de fotografías; La invención concreta. Colección Patricia Phelps de Cisneros; and Azucena Vieites. (Programa Fisuras).
Afternoon gallery visits around c/ Doctor Fourquet:
NoguerasBlanchard, with the exhibition "Can’t Hear My Eyes" curated by Niekolaas Johannes Lekkerkerk.
MaisterraValbuena, with the exhibition "Entre lo fugitivo y lo infinito" curated by Anja Isabel Schneider.
García Galería with the exhibition "En la zona gris" curated by Virginia Torrente.
Helga de Alvear with an exhibition of works by Prudencio Irazabal.
Fúcares, with the exhibition "Escópico-Esconder(se)-Escaparcurated" by Juan Francisco Rueda.
Visit to artists studios at Rampa in the Carabanchel neighbourhood, Madrid.
Bus departs for Colección Inelcom at the Ciudad de la Imagen, Pozuelo de Alarcón, Madrid. Artistic direction of the collection: Vicente Todolí.
The circa 3,000m2 headquarters at Ciudad de la Imagen, hold 72 works by 24 artists, including Pavel Büchler, Anthony McCall, Markus Schinwald, Ernesto Neto, Sophie Calle, Kader Attia, Candice Breitz, Ceal Floyer, Fiona Tan and Fernando Bryce's 'Work in Progress' (2006) a suite of 80 ink drawings (below).
Monday, 22th April 2013
Visit artists studios: Fernando Sánchez Castillo and Cristina Lucas.
Espacio Valverde group show included a work by Antonio R. Montesinos, one of the members of Rampa.
AVE back to Barcelona... end of journey.
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Latitudes participates in the fifth annual March Meeting organised by Sharjah Art Foundation, 17–19 March 2012, Dar Al Nadwa, Heritage Area, Sharjah
The March Meeting and related events are free and open to the public. Registration is recommended at [email protected] Read more here.
March Meetings 2012
Dar Al Nadwa, Heritage Area
United Arab Emirates
Segunda parte de las jornadas 'PRODUCIR, EXPONER, INTERPRETAR. Estrategias y conflictos en la práctica curatorial', Matadero, Madrid, 25-27 Septiembre
Lugar: Matadero Madrid, 25, 26 y 27 de septiembre 2009
Participan: David Arlandis / Javier Marroquí (Comisarios independientes, Valencia); David Armengol (Comisario independiente, Barcelona); María Bella (Comisaria de Intermediae, Madrid); Álex Brahim (Comisario independiente, Barcelona); Amanda Cuesta (Comisaria independiente, Barcelona); Beatriz Herráez (Comisaria, Centro Cultural Montehermoso Kulturunea, Vitoria); Latitudes (Comisarios independientes, Barcelona); Iván López Munuera (Comisario independiente, Madrid); Manuela Moscoso (Comisaria independiente, Madrid); RMS La Asociación (Comisarios independientes, Madrid); Manuel Segade (Departamento de exposiciones, CGAC, Santiago de Compostela); Virginia Torrente (Doméstico, comisaria independiente, Madrid); Leire Vergara (Comisaria independiente, Bilbao).
Véase curriculum de los participantes aquí.
Dirigen: Tania Pardo (Comisaria MUSAC); Manuela Villa (Responsable de contenidos de Matadero Madrid y Coordinadora general de La noche en blanco)
Paseo de la Chopera 14, 28045, Madrid
T: 915 177 309
Author, futurist and critic Bruce Sterling (b. 1954) is based in Austin, Texas and Serbia. Best known for his eight science fiction novels, he has also written short stories, book reviews, design criticism, opinion columns, and introductions for books ranging from Ernst Juenger to Jules Verne. His non-fiction works include 'The Hacker Crackdown: Law and Disorder on the Electronic Frontier' (1992), 'Tomorrow Now: Envisioning the Next 50 Years' (2003) and 'Shaping Things' (2005). He is a contributing editor of WIRED magazine. He also writes a weblog and runs a website and Internet mailing list on the topic of environmental activism and postindustrial design. In 2005, he was the Visionary in Residence at Art Center College of Design in Pasadena. He has appeared on ABC’s Nightline, BBC’s The Late Show, CBC’s Morningside, on MTV and TechTV, and in publications including Time, Newsweek, The Wall Street Journal, The New York Times, Fortune, Nature, I.D., Metropolis, Technology Review, Der Spiegel and La Repubblica.
Latitudes presented a paper entitled MyLife/SecondSpace: A “Web 2.0” paradigm for artistic and curatorial practice? at 'Qui. Enter Atlas – International Symposium of Young Curators' under the theme 'Art in the Landscape of the Media' coordinated by artist Dara Birnbaum 3–5 June 07 GAMeC, Bergamo.
Since as recently as 2005, there has been an unprecedented surge of entrepreneurship and innovation – fuelled by vast speculative venture capital investments largely in Silicon Valley – concerning so-called Web 2.0 applications. We’ve all heard of, and probably use, facilities such as YouTube, eBay, Wikipedia, del.icio.us, Skype, MySpace, flickr, Facebook, Second Life and so on – but what are some of their common attributes? How might they be reflected in artistic practice, curatorial practice – and the art industry? Sidestepping Nicolas Bourriaud’s Relational Aesthetics (1998 – a long time ago in the wide world of the web) we looked at projects such as Allora and Calzadilla’s Radio Re-volt (2004); Rirkrit Tiravanija’s Untitled (the air between the chain-link fence and the broken bicycle wheel) (2005); the exhibition Spinning the Web – the eBay Connection; and CAC TV, the initiative of the Centre for Contemporary Art in Vilnius, through the behavioural and terminological tropes of web 2.0. As a conclusion, we addressed the technosocial definition of objects and users developed by Bruce Sterling in his book Shaping Things (2005).
The invited curators were: Binna Choi, Sebastian Cichocki, Tom Morton, Nina Zimmer, Sarah Carrington, Ovul Durmusoglu, Manuela Moscoso, Huib Haye Van Der Werf, Cecilia Alemani, Craig Buckley, Ana Vejzovic Sharp, Elena Filipovic, Nav Haq, Latitudes
Jury for the Lorenzo Bonaldi – Enter Prize: Giacinto Di Pietrantonio, Dan Cameron and Ralph Rugoff
Little Egret (Egretta garzetta)
Grey Heron (Ardea cinerea)
Purple Heron (Ardea purpurea)
Great Egret (Ardea alba)
Cattle Egret (Bubulcus ibis)
Glossy Ibis (Plegadis falcinellus)
Eurasian Spoonbill (Platalea leucorodia)
Greater Flamingo (Phoenicopterus ruber)
Mallard (Anas platyrhynchos)
Eurasian Marsh Harrier (Circus aeruginosus)
Greater Spotted Eagle (Aquila clanga)
Grey Francolin (Francolinus pondicerianus)
Black-winged Stilt (Himantopus himantopus)
Little Plover (Charadrius dubius)
Kentish Plover (Charadrius alexandrinus)
Red-wattled Lapwing (Vanellus indicus)
White-tailed Lapwing (Vanellus leucurus)
Wood Sandpiper (Tringa glareola)
Common Sandpiper (Actitis hypoleucos)
Temminck's Stint (Calidris temminckii)
Black-headed Gull (Larus ridibundus)
Caspian Tern (Sterna caspia)
Laughing Dove (Streptopelia senegalensis)
Eurasian Collared Dove (Streptopelia decaocto)
Rose-ringed Parakeet (Psittacula krameri)
Pallid Swift (Apus pallidus)
Indian Roller (Coracias benghalensis)
Eurasian Hoopoe (Upupa epops)
House Martin (Delichon urbica)
Meadow Pipit (Anthus pratensis)
Red-throated Pipit (Anthus cervinus)
White Wagtail (Motacilla alba)
Citrine Wagtail (Motacilla citreola)
Blue-headed Wagtail [sp] (Motacilla flava)
Grey Wagtail (Motacilla cinerea)
White-cheeked Bulbul (Pycnonotus leucogenys)
Red-vented Bulbul (Pycnonotus cafer)
Purple Sunbird (Nectarinia asiatica)
House Crow (Corvus splendens)
Asian Pied Starling (Sturnus contra)
Common Myna (Acridotheres tristis)
Bank Myna (Acridotheres ginginianus)
House Sparrow (Passer domesticus)
Indian Silverbill (Lonchura malabarica)
All images: Latitudes | www.lttds.org
Some images from today and yesterday of the preparations for the Sharjah Biennial 8 which opens on Wednesday 4th April. The RSA Arts & Ecology/Latitudes for the Biennial in collaboration with the American University of Sharjah takes place on the 5th, 6th and 7th. Here is the programme:
‘Still Life: Art, Ecology and the Politics of Change’
Sharjah Biennial 8, 4 April – 4 June 2007
Symposium: 5–7 April 2007
Venue: Expo Centre, Sharjah
Symposium Organisers: Max Andrews and Mariana Cánepa Luna (Latitudes, Barcelona)
Michaela Crimmin (Royal Society for the encouragement of Arts, Manufactures & Commerce, RSA, London)
Roderick Grant (American University of Sharjah, AUS)
Amir Berbic (American University of Sharjah, AUS)
Tarek Talat Al-Ghoussein (American University of Sharjah, AUS)
Jeremy Bendik-Keymer (American University of Sharjah, AUS)
Symposium Coordinator in Sharjah: Sharon Ahimaz (Sharjah Biennial team)
Offset of 70 tonnes of Carbon.
The conference language is English.
The Symposium, which forms part of the Sharjah Biennial, aims to explore specific aspects of the relationship between culture and ecology - not least the challenges and the contradictions. The event will profile the extraordinary work taking place in architecture, the visual arts, across new technologies, in design and on screen. Discussions will involve artists, academics and students, architects and designers, people living locally and a number of key contributors from other continents. It draws from and will build on previous discourse - capturing the perspectives of people who are addressing ecological issues on a daily basis. The Symposium bravely takes place in a country which is prepared to look to the future and the changes we are all going to have to make.
THURSDAY 5 April
9.30 – 10am: Refreshments and Orientation
10 – 10.15am: Welcome by Jack Persekian (Artistic Director SB8) and Michaela Crimmin(Director RSA Arts and Ecology).
10.15 – 10.45am: Keynote speaker: ‘Ecology and the Politics of Change’, Bruce Sterling, Author, journalist, editor and critic, Texas and Serbia.
10.45 – 12.00: Panel Discussion: The lure of the 'eco'
Eco-art, eco-fashion, eco-tourism, eco-politics, eco-activism, eco-village ... In almost every aspect of how and where we live, work and play, the eco has embedded itself. How has what we mean by ecology transformed and evolved through the practice of everyday life?
Sarah Rich (Managing Editor, Worldchanging and inhabitat.com, a weblog covering sustainable design and green building, Seattle)
Sergio Vega (Artist, Gainesville; participating in Sharjah Biennial 8)
Siobhan Leyden (producer and presenter of the daily talk show ‘Siobhan Live’ on Dubai Eye radio, 103.8 FM)
Stephanie Mahmoud (Marketing and Management student, AUS)
Chair: Jeremy Bendik-Keymer (Philosophy teacher in the Department of International Studies, AUS)
12 - 12.45pm: Film Programme Excerpt: Riverglass: A River Ballet in Four Seasons. Andrej Zdravic, 1997 (41 mins)
"Riverglass presents the 'materiality' of the river Soca. A symbol of importance in Slovenian culture, the film presents the force and clarity of the water from the point of view of the river itself, a Gaian perspective possibly. In its content and development of specialist filming equipment it recalls other film-makers landscape interventions (for instance Michael Snow's La Region Centrale (1970) or Robert Beaver's The Stoas, (1991-97)." – Mark Nash
12.45 – 2 pm: Lunch Break
1.45 – 3.00pm: Parallel Seminars:
I. Emergencies and Risk
What is the role of architects, designers and artists concerning housing and communities? With increasing pressure on resources and space, and an increasingly volatile political climate how can we move from coping with aftermaths to try to mitigate risk before crises? Can design and architecture be a political act?
Susi Platt (Architecture for Humanity's leading post-Tsunami reconstruction designer, Sri Lanka)
Michael Rakowitz (Artist, New York; participating in Sharjah Biennial 8)
Moderator: Mehdi Sabet (Associate Professor, Architecture & Interior Design, School of Architecture and Design, AUS)
II. Resources: Truth and Materials
How far are recycled or sustainable materials a consideration for artists, designers and architects? How do such considerations affect our experience/percepetion of materiality in art and the built environment? And how does this relate to wider questions of resources—water, energy, etc.?
Mona El Mousfi (Sharjah Biennial architect and Assistant Professor, School of Architecture and Design, AUS)
Tomás Saraceno (Artist and architect, Frankfurt; participating in Sharjah Biennial 8)
3.00 –3.30pm: Coffee Break
3.30 – 4.15pm: Feedback and Group Discussion
4.15 – 5.15pm: In Conversation. ‘Kumar Shahani: Politics and the ecology of change’
Mark Nash (curator of Sharjah Biennial 8 film programme; Director of the MA Curating Contemporary Art at the Royal College of Art, London) and Geeta Kapur (Critic and Curator, New Delhi, and member of the Jury for the 2007 Sharjah Biennial 8 Art Prize) in conversation about the work of Indian filmmaker Kumar Shahani.
7.00 – 7.45pm: Presentation by OMA/ Rem Koolhaas, Reinier De Graaf at Qanat Al Qasba
8.00pm: Film Programme Excerpt held at Qanat Al Qasba: The Form of the palace of Matsumae-kun’s Brothers 1, 1988 - Oki Hiroyuki – (17 min)
8.30pm: Film Programme Excerpt held at Qanat Al Qasba: The Char Adhyay, 1997 - Kumar Shahani – (110min)
FRIDAY 6 April
Welcome by Michaela Crimmin, RSA Arts and Ecology Director, London
4 – 5.30pm: Panel discussion: Offsetting / Upsetting. 'Art vs. issues'
Much work in the field of art and ecology has emerged in the field of remedial actions in industrial sites. Today carbon trading and offsetting are, more abstractly, being proposed as a way of restoring the balance of the atmosphere. How might these two motions be linked? How or should the work of some artists might generally be regarded as a form of offsetting or redressing? How do some artists desire tangible palliative results, while others offer strategies of friction or resistance? What is more important, the issues or the art?
Koyo Kouoh (Cultural producer, Arts Manager and Programming Consultant, Dakar)
Peter Fend (Artist, Berlin; participating in Sharjah Biennial 8)
Charles Esche (Director, Van Abbemuseum, Eindhoven and member of the Jury for the 2007 Sharjah Biennial 8 Art Prize)
Chair: Stephanie Smith (Director of Collections and Exhibitions, Curator of Contemporary Art, Smart Museum of Art, University of Chicago)
5.30 – 6pm: Break
6 – 7pm: Jonathan Watkins (Co-curator, Sharjah Biennial 8 and Director Ikon Gallery, Birmingham) and Cornelia Parker (Artist, London; participating in Sharjah Biennial 8) to introduce Parker's project for Sharjah Biennial 8: Video interview with Noam Chomsky
Followed by Q+A from the audience.
7.30pm: Film Programme Excerpt held at Qanat Al Qasba: Darwin's Nightmare, Hubert Sauper, 2004 (107 min),
SATURDAY 7 April
4.30pm: Welcome back by Michaela Crimmin, RSA Arts and Ecology Director, London
4.30 – 5.30pm: Artists' presentation: e-Xplo with Ayreen Anastas (Artists US/Austria; participating in Sharjah Biennial 8)
5.30 – 7pm: Panel discussion: Urban Planning and the future city.
What is the future of the city as a habitat for humanity? Increasingly dense housing, commercial, cultural, infrastructural and civic spaces seem to contradict our desire for space, openness and freedom. What lies ahead for the city as a living, symbiotic form of inanimate structure and animate inhabitants?
Samir Srouji (Artist, Palestine; participating in Sharjah Biennial 8)
Rula Sadik (General Manager, Design and Planning, The Design Group, Nakheel, Dubai)
Samer Kamal (Founder, Bee’ah, Sharjah Environmental Company, Sharjah)
Chair: George Katodrytis (Architect; Professor of Architecture, School of Architecture and Design, Professor of Architecture, AUS)
7.30pm: Film Programme Excerpt held at Qanat Al Qasba: The Journals of Knud Rasmussen, Norman Cohn, Zacharias Kunuk, 2006 (112 min)