The September 2023 monthly Cover Story “The Pilgrim in Ireland” is now up on our homepage: www.lttds.org

“During the last two weeks of August, we traveled to Ireland alongside the artist Eulàlia Rovira as part of the second chapter of the residency exchange project The Pilgrim.” → Continue reading (after September 2023 this story will be archived here).

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

Sunset on our way to Mallorca aboard the Cecilia Payne ferry, 6 June 2023.

With the summer in full flow, and thoughts turning to holidays, we once more share a series of behind-the-scenes moments and encounters: trips, dinners, kind messages, postal surprises, follow-ups of artists we have worked with, and serendipitous situations that have happened in the background of our more visible curatorial practice seen on our website or in the Longitudes section. Plus some further notes and inspiration beyond our Instagrams – here and here.  

For earlier OUT OF THE OFFICE posts, check out the posts from 2008–9, 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20, 2020–21 and 2021–22. All photos are by Latitudes unless stated otherwise in the photo caption.

September 2022: Between September and November, we mentored Matheus Calderón, winner of the first [ON RESIDENCE] residency, an online curatorial mentorship programme awarded to young Peruvian curators organised by TROPICAL PAPERS, and supported by Artus.

As one of the mentors, we embarked on six bi-monthly conversations focusing on what values are at stake today in our profession. Through sincere dialogue, we discussed the multiple realities of being an independent curator both in Lima and Barcelona, and we accompanied Matheus in shaping his approach to his forthcoming group exhibition project “El rodeo (el velo, la mancha o la grieta)” [working title]. Our conversations progressively became a space to share, pause and reflect during a time of ongoing political and societal tension in Lima in autumn 2022. 

Introductory Zoom with Tropical Papers, Latitudes and Matheus on 31 August 2022.

early September 2022: We submitted the essay “Soil for Future Art Histories”, which was commissioned for the forthcoming catalogue “Futuros Abundantes”, a group exhibition organised by Thyssen-Bornemisza Art Contemporary (TBA21) at C3A Centro de Creación Contemporánea de Andalucía, Córdoba. Subsequent edits and translation rounds in October–November, and publication release in January 2023.

13 September 2022: Received a copy of Kunsthalle Wilhelmshaven’s catalogue “By The Sea. Land Art, Performance and Minimal Art” including photos Latitudes provided of Jan Dibbets’s “6 Hours Tide Object with Correction of Perspective” (2009).

Page spread of “By The Sea. Land Art, Performance and Minimal Art” with Jan Dibbets’ 2009 project.

19 September 2022: Final episode of “Incidents (of Travel)” with Jorge Satorre. By complete chance, this episode takes place on September 19, 2022, exactly ten years later to the day of the first tour commissioned for the first phase of Incidents (of Travel), a day Latitudes spent with Minerva Cuevas around Mexico City’s city centre on the 27th anniversary of the deadly 1985 earthquake. 

→ incidents.kadist.org

Visiting the Plaza de las Tres Culturas in Tlatelolco with Minerva Cuevas, the first of five “Incidents of Travel” itineraries around Mexico City, 19 September 2012. Photo: Eunice Adorno.

Episode #20 culminates Latitudes’ collaboration with KADIST, producers of 20 fantastic episodes published online between 2016 and 2022 as part of their programme of online projects.

The dispatch went live on October 26, 2022. Read here.

27 September 2022: Published “‘Minor’ Ornithologies. Laia Estruch”, a podcast hosted by Latitudes’ curator, writer (and lifelong birder) Max Andrews for TBA21 on st_age. Accompanying Laia Estruch’s performance project “Ocells Perduts V67” (2022) for TBA21 on st_age, the podcast takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries. It features Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor, who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – “minor” ornithologies.

→ Listen here (34' 03'')

→ Transcript here

8 October 2022: Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, Laia Estruch and Irina Mutt led a workshop as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and auditory modalities. This workshop culminated a series of encounters, part of Latitudes’ ongoing Parahosting at PUBLICS, that have taken place over the summer in collaboration with PUBLICS Youth, an education initiative for Helsinki-based 18-21-year-olds.

(📷 ↑↓) PUBLICS Youth with Irina Mutt during their workshop in Lammassaari, 3 August 2022. Photos: Micol Curatolo.

18 October 2022: Organised a casual networking dinner to mingle with local art professionals with a group visiting from the Netherlands, Belgium, Denmark and Switzerland. Organised by the Mondriaan Fund, the Orientation Trip 2022 took them this time to Portugal and Spain.

Foto: Haco de Ridder.

21 October 2022: Post looking back at the first anniversary of MACBA exhibition “Panorama 21. Apunts per a un incendi dels ulls”, highlighting works by Antoni Hervàs, El Palomar, Claudia Pagès and Rosa Tharrats, four artists that participated in Panorama and whose shows in Frankfurt, Donostia and Marseille present work produced or derived from their MACBA presentation. 

Installation view of “Akaal / Selene \ Uluru” (2021) in Bombon Projects’ stand in Art-O-Rama, Marseille, August 2022. Photos: © Aurélien Meimaris.

Antoni Hervàs, “Under the firelight, the ash shines like glitter”, 2021-2022, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artist.

El Palomar, Schreber is a Woman, 2020, installation view Frankfurter Kunstverein 2022, Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: the artists.

Still from the video interview with Claudia Pagès about her video work “Gerundi Circular” (2021) (in Spanish with Basque subtitles).

26 October 2022: New and concluding dispatch of Incidents (of Travel) led by Jorge Satorre in Barcelona, narrated by Latitudes, creators and editors of the project since 2012. This is the 20th episode published by Kadist as part of their online programme since 2016 and also marks the 10th anniversary of the project.

Below are some photos that for one reason or another, didn't make it to the final selection of 31 images.

→ incidents.kadist.org

incidents.kadist.org/barcelona

Tara McDowell and Nino Kvrivishvili. Photo courtesy of these and three below by Tara McDowell.

View of Nino Kvrivishvili’s pop-up exhibition at the Textile shop on Queen Tamar Ave. 17, Tbilisi. 

Curator Data Chigholashvili in Nino Kvrivishvili’s exhibition at the Textile shop on Queen Tamar Ave. 17 in Tbilisi.

 

Opening of Nino Kvrivishvili’s exhibition at the Textile shop on Queen Tamar Ave. 17 in Tbilisi. Left to right: Nino Kvrivishvili (artist), Salome Zourabichvili (President of Georgia), Aleksandre Utmazyan (the shop owner) and Data Chigholashvili (curator). 

In March 2022, Nino and Data participated in Haus der Kulturen Welt’s programme “They Are There, Sometimes” where Nino presented her Incidents itinerary around Tbilisi (video, from min. 36:09).

 Nino and Data participated in Haus der Kulturen Welt’s programme “They Are There, Sometimes” where Nino presented her Incidents itinerary around Tbilisi (video from min 36:09).

Premio Laie DART 2022 de la Crítica (Laie DART 2022 Critics Award): “The Melt Goes On Forever: The Art and Times of David Hammons” (EEUU, 2021). Directed by cultural journalist Judd Tully and filmmaker Harold Crooks, the documentary focuses on the elusive figure of African-American artist David Hammons, whose artistic practice spans six decades and foregrounds social criticism in the United States.

1 February 2023: Newsletter out announcing our next research and residency project “The Pilgrim” in collaboration with Askeaton Contemporary Art in Co. Limerick, Ireland, and involving the artists Eulàlia Rovira, Ruth Clinton and Niamh Moriarty. 

→ More details here.

Left to right: Eulàlia Rovira (photo: Aníbal Parada), Ruth Clinton (photo: Colm Keating) and Niamh Moriarty (photo: Cian Flynn).

22–24 February 2023: During ARCOmadrid we are jurors, alongside Markus Reymann (co-director TBA21), and Marta Cardoso, of the first Six Senses Sustainable Art Award given to an artist whose work honours an awareness around sustainability and environmental urgencies. We studied and discussed the work of more than 40 artists whose work is presented at the art fair and unanimously decided to award Zé Carlos Garcia (1973, Aracajú, BR) for his presentation at the stand of Buenos Aires’s gallery PASTO. 

The jury stated: “We were intrigued to discover the practice of Zé Carlos García and to learn how his enchanting carved and turned wooden sculptures are embedded in such an inventive and resourceful approach to art, environmental responsibility, decolonial practice, and land restoration. The wood he uses comes from a small tract of a forest he oversees in Brazil where non-native trees such as pines and eucalyptus were once planted by Swiss settler colonists to give the landscape a more European feel. Over the centuries these thirsty species have had a detrimental effect on the indigenous ecosystem and Zé has been removing the invasive species over the last decade, repurposing the resultant wood as a resource for his art practice, while bringing back native trees to the Mata Atlántica.”

Zé Carlos Garcia holding the sign announcing his award (above) and the award (below). Photos ARCOmadrid 2023.

Zé Carlos Garcia. Photo: Max Andrews.

The catalogue “Futuros Abundantes / Abundant Futures”, accompanying the homonymous exhibition in Córdoba, was also launched during ARCOmadrid. The 336-page book includes Latitudes’ newly commissioned essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] – read an abstract here (in Spanish). 

(Above and below) Launch of Futuros Abundantes in ArtsLibris during ARCOmadrid 2023. Photos: IFEMA / ARCOmadrid.

“Futuros abundantes / Abundant Futures” catalogue, copublished by TBA21 and Turner, 2023. Photos: Enrico Fiorese.

After a few work sessions over Zoom, we attended the first IRL Gallery Climate Coalition (GCC) gathering on February 22nd. This inaugurates the soft launch of the new formation of GCC Spain, a new national working group aligned with GCC’s core environmental targets and commitments. 

GCC is an international membership non-for-profit organisation with over 800 members from 40 countries, providing environmental sustainability guidelines for the art sector, whose primary targets are to facilitate a reduction of the visual art sector’s greenhouse gas emissions by a minimum of 50% by 2030 (in line with the Paris Agreement’s goal of keeping global warming to below 1.5°C) and promote zero-waste practices. More info. 

GCC Spain is a newly formed semi-autonomous volunteer team (joining working groups in Berlin, Italy, Los Angeles, London, and Taiwan) that works to develop a dedicated platform of environmental resources for Spanish-based art organisations and professionals.

Informative gathering about GCC Spain at ARCOmadrid on @galleryclimatecoalition. Photo: Max Andrews.

@acercacomunicacion's Instagram Story.

March 2023: As part of Latitudes’ ongoing environmental commitment, and as new members of the Gallery Climate Coalition, we publish the first edition of our Environmental Responsibility Statement on our website (extended version here) and submit individual calculations of our Carbon Footprint from 2019 (our baseline from which reductions will be made) and 2022 to the Gallery Climate Coalition (GCC). Below is a simple graphic showing the comparison of the two years. Latitudes’ carbon emissions were 17.4tCo2e in 2019 and 3.8tCo2e in 2022. 

Our 2023 Strategic Climate Fund is €190. This is calculated by multiplying our 2022 carbon footprint (3.8tCo2e emissions) by €50 per tonne. We set these funds aside to be spent on low-carbon purchasing options that would otherwise be unaffordable for us.

beginning of May 2023: Checking out the Arxiu Històric de la Ciutat de Barcelona (aka Casa de l'Ardiaca), the Cathedral and its cloister, MACBA, and more with “The Pilgrim” guest resident artists Niamh Moriarty and Ruth Clinton. Aptly, as their work has often been related to the Transatlantic relations between Ireland and the United States, their stay coincides with a visit of the Obamas (and Steven Spielberg and Tom Hanks) to Barcelona to catch the beginning of Bruce Springsteen's tour.

Throughout the Spring, Latitudes researched documentation in the city archives with the hopes of finding evidence of Askeaton's Pilgrim, browsing certificates of docking in the Port of Barcelona, licences of the board of health, details of boat captain promotion, health patents, and plague-free certificates. With little to no factual data on Askeaton’s Pilgrim – besides his name (Don Martínez de Mendoza), his date of death (Askeaton, 1784), that he was a Barcelona merchant from the mid-18th Century who had a flagship called Isabella, and a daughter called Beatrice (¿Beatriz / Beatriu?) – we weren't able to find further evidence of his existence.

Giving Ruth and Niamh a “phantom tour” of the Panorama exhibition a year and a half after its closing. Here Eulàlia explains her work “La perla”.

6 May 2023: After a few initial days in Barcelona, “The Pilgrim” guest resident artists Niamh Moriarty and Ruth Clinton present their work around relics, rubbings, and translation, alongside “The Pilgrim” co-curators Askeaton Contemporary Arts (ACA) (Michele Horrigan and Sean Lynch) at Eulàlia Rovira’s studio. What began as a vermut+talk event extended into pizzas for lunch, afternoon beers, and rolled into dinner.

→ Social Networks archived here.

10 May 2023: Max Andrews and Mariana Cánepa Luna of Latitudes qualified to be in the first cohort of Active Members of the Gallery Climate Coalition (GCC). To achieve this status we demonstrated that we have implemented environmental sustainability best practices in line with GCC’s guidelines.

→ More info. 

→ Environmental Policy Statement here.

16–18 May 2023: Work trip to València to visit Antoni Miralda’s exhibition “Miralda. Honeymoon: Unclassified” at Bombas Gens, curated by its artistic director Sandra Guimarães. The show centres on his “Honeymoon Project” (1986-1992), a series of intercontinental ceremonial actions around the romance and subsequent marriage between two historical monuments: that of Christopher Columbus, in the port of Barcelona, and the Statue of Liberty, in New York Bay. Max of Latitudes will review it for frieze’s October issue (online in June). 

(Above) The “Zapato Góndola” (1990–2023) was exhibited in Bombas Gens’ patio. It has been remade in fibreglass in València, taking advantage of its fallas craft expertise. The heel now is removable becoming a gondola, and it's lighter than the original one made of wood. 

The exhibition mostly comprised of letters and ephemera gathered throughout the 40 years of the making of the project, from its presentation in the 1990 Spanish Pavilion to the many drafted letters, invitations, posters and drawings of potential ideas for floats, parades and even a prenup.

Also took the opportunity to visit Bombas Gens’s solo show of Carlos Bunga and the collection reading by El último grito, as well as IVAM’s shows dedicated to Lebanese artist Aref El Rayess, Danish Asger Jorn, and the design collective La Nave. At Centre del Carme Cultura Contemporània (CCCC) we met Diego Díaz and Clara Boj who showed us Permea teaching spaces, the first MA Programme in Experimental Mediation and Education through Art and guided us through CCCC’s shows. We also visit the commercial galleries House of Chappaz, Galería Set Espai d'Art, Galería Luis Adelantado, Tuesday to Friday, and Galería Jorge López. We had an overdue catch-up over noodles with old-time artist friend Fermín Jiménez Landa and finally met the curators Julia Castelló and Ali A. Maderuelo in the flesh, who on June 8th opened “[DOSMILVINT-I-U] [DOSMILVINT-I-TRES] = 1 encuentro” at IVAM, the culmination of a two-year programme comprising workshops, conferences, performances, mediations with artists Diego Navarro and Darío Alva, Claudia Dyboski, Marina González Guerreiro, Álvaro Porras, and M Reme Silvestre. In 2021 Latitudes nominated them for the 11th Edition of the Premio Lorenzo Bonaldi per l’Arte – EnterPrize but this was the first time met in person! 

early June 2023: Submitted a profile text on America-born Scotland-based artist, researcher, writer, and educator Crystal Bennes’ new project to be exhibited at Talbot Rice Gallery, Edinburgh, in February 2024. The text will be included in the forthcoming publication “Betwixt 2024”, the next iteration of publications of the Freelands Artist Programme. Involving tapestry, sculptural installation, video, and performance, Bennes’ new project addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton. 

Design study for a Jacquard weaving titled “pecunia non olete” (2023) featured on Latitudes’ homepage as the June 2023 cover story. Courtesy Crystal Bennes.

6–8 June 2023: Trip to Mallorca as guests of Art Palma Contemporani’s event Art Summer Palma. Honouring our environmental commitment, we traveled to the island and back by ferry as foot passengers. As the ferry dropped us in Alcúdia, we visited the nearby Pollença (galería Maior, Coster Art i Natura) and then took the bus to the Palma, paying a visit to Es Baluard before joining the official programme visiting the galleries Pep Llabrés, Xavier Fiol, Kewenig, M77, Aba Art Lab, Fran Reus, Baró, Pelaires, PGallery, L21 Home and L21 by foot.

(Above and three below) Views of Pollença from Coster Art in Natura, the artist-led initiative by pollensí Amador Magraner (third photo down) that began in 2022.

Works by Susana Solano and Eva Lootz (above and below).

Ludovica Carbotta ceramic oven in progress.

Amador showing us one of his sculptures “Germinacions” which began in the 1990s.

View of the collection reading curated by Agustín Pérez Rubio at Es Baluard.

Wonderful Maria Lai 1981 action “Legare Collegare” registered in video and photography on view at Es Baluard, Palma, and some more works in the M77 gallery, a new space in Palma of the Milan-based gallery.

Solo exhibition by Adrià Maryordomo (portrayed) at Galeria Fran Reus, Palma. 

12 June 2023: The National Council for Culture and Arts (CONCA) plenary agreed to carry out a survey of Catalunya-based Art Critics and Curators, a tool to analyse the state of our profession from the economic, cultural, professional, and social points of view. An expert committee formed by representatives of ACCA, the Catalan Art Critics Association (amongst them Mariana of Latitudes, who recently became an ACCA member), the Platform of Catalan Artists (PAAC), and the Association of Cultural Management Professionals of Catalunya (APGCC) gathered at Palau Moja to share their feedback to create the most comprehensive possible survey, the results of which are aimed to be completed at the end of 2023.

Photo: Miquel-Àngel Codes Luna / ACCA.

19 June 2023: Zoom launch of GCC Spain, the Spanish chapter of the Gallery Climate Coalition. The event was an opportunity to introduce the London-based founders to Spanish professionals and explain the current and future challenges the Spanish volunteer team is taking on. 

→ Watch the video here (40 min.)

→ Read the press release (in Spanish)

27 June 2023: Attending Joan Morey’s performance “POSTMORTEM. Pour en finir avec le jugement de dieu” (2006–2007) at Fundació Palau as part of the Poesia + festival. Performed by Sònia López, the piece was the first of a cycle of performances presented as part of Morey’s solo show curated by Latitudes at Fabra i Coats: Centre d'Art Contemporani de Barcelona back in 2018. 

A better photo of the 2018 performance below.

Joan Morey, “POSTMORTEM. Pour en finir avec le jugement de dieu” (2006-2007). Performance reenactment as part of the exhibition “COLLAPSE. Desiring Machine, Working Machine”, Contemporary Art Centre of Barcelona - Fabra i Coats (2018). Photo: Noemi Jariod. Courtesy of the artist.

28 June 2023: Visit to TERSA, the publicly-owned company that manages Barcelona's Metropolitan Area waste management, transforming residues into energy by incineration (this waste-to-energy plant generated 142.013 MWh of electricity in 2022). We go around the Integrated Waste Management Plant (PIVR) at Sant Adrià del Besòs, which includes two plants: the Waste-to-Energy Plant, and the Mechanical-Biological Treatment Plant, managed by Ecoparc del Mediterrani. This location processes what citizens throw into the grey containers – the remaining waste that cannot be reused or recycled (not paper, glass, plastic, or organic matter), whose process generates twice what's needed to supply the electricity grid of the city. The visit was organised as part of the public programme of the exhibition “Ciutat de sorra” [City of sand] by David Bestué at Fabra i Coats: Centre d'Art Contemporani.

29 June 2023: Max Andrews’ review of Antoni Miralda’s exhibition at Bombas Gens (València) is published online on frieze.com (on print in the October 2023 issue).

“A giant high-heeled shoe with Venetian gondola trimmings stands in the courtyard of Bombas Gens Centre d’Art like a monument to fairy-tale slippers. Yet, this is a true-to-size stiletto, made to fit a 93-metre-tall debutante who stands in New York’s harbour: the Statue of Liberty. Created in 1990 by Antoni Miralda as a wedding gift for Liberty’s proposed symbolic marriage to another monument of similar vintage, the Columbus Monument in Barcelona, the original shoe was taken down the Grand Canal before forming the centrepiece to the artist’s Spanish Pavilion at that year’s Venice Biennale. This replica, fabricated by a Valencian fallero craftsman, is destined for the collection of the Museo Reina Sofía, Madrid.” 

→ Continue reading here.

July 2023: Further schedule and reading prep for our end-of-August research trip to Dublin, Sligo, Askeaton, and Limerick, the second part of The Pilgrim residency exchange. 

RELATED CONTENT:

• Latitudes’ writing – exhibition reviews, artist profiles, interviews, catalogue essays, features, and opinions. 
• Latitudes’ "out of office" 2021–22 season, 1 August 2022
• Latitudes’ "out of office" 2020–21 season, 2 August 2021
• Latitudes’ "out of office" 2019–20 season, 3 August 2020
• Latitudes’ "out of office" 2018–19 season, 1 August 2019
• Latitudes' "out of office" 2017–18 season, 2 August 2018
• Latitudes "out of office" 2016–17 season, 1 August 2017
• Latitudes' "out of office" 2015–16 season, 1 August 2016
• Latitudes' "out of office" 2014–15 season, 7 August 2015
• Latitudes' "out of office" 2013–14 season, 31 July 2014
• Latitudes' "out of office" 2012–13 season, 31 July 2013
• Latitudes' "out of office" 2011–12 season, 31 July 2012
• Latitudes' "out of office" 2010–11 season, 1 August 2011
• Latitudes' "out of office" 2009–10 season, 30 July 2010
• Latitudes' "out of office" 2008–9 season, 30 July 2009

The July–August 2023 monthly Cover Story “Honeymoon in Valencia” is now up on our homepage: www.lttds.org

“In April this year, the streets of Valencia witnessed a remarkable sight: a colossal high-heeled shoe, adorned in the fashion of a Venetian gondola, paraded its way to the Bombas Gens Centre d’Art.” 

→ Continue reading (after August 2023 this story will be archived here).

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

The June 2023 monthly Cover Story “X” is now up on our homepage: www.lttds.org

“Earlier this year, Latitudes was commissioned to write a text on the work of the America-born Scotland-based artist, researcher, writer and educator Crystal Bennes for the latest edition of the Freelands Artist Programme. ” 

→ Continue reading (after June 2023 this story will be archived here).

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

In February 2023, Latitudes was commissioned to write a text on the practice of Crystal Bennes. “Betwixt 2024”, the next iteration of publications of the Freelands Artist Programme, will be out in February 2024, coinciding with an exhibition of Bennes’ work alongside 19 other artists from across the UK

Involving tapestry, sculptural installation, video, and performance, Bennes’ new project will later be exhibited at Talbot Rice Gallery, Edinburgh. It addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton. 

The Freelands Artist Programme supports and grows regional arts ecosystems by fostering long-term relationships and collaborations between emerging artists and arts organisations around the UK. Between 2022–24, Freelands is working with four organisations – g39 in Cardiff, PS2 in Belfast, Site Gallery in Sheffield, and Talbot Rice Gallery in Edinburgh. Over the two years, each of these organisations is supporting a cohort of five artists to take part each year – each artist participating in the programme receives an annual grant of £5k, as well as the opportunity to take part in talks, workshops and other programmed events and a budget for travel, additionally, some organisations offer studio space and/or exhibitions. 

Dr Crystal Bennes is an American artist, researcher, writer and educator based in Edinburgh, Scotland. Her practice is grounded in long-term projects that foreground archival research, durational fieldwork and material experimentation. Recent bodies of work include an ongoing photographic exploration of an artificial island in Sweden created entirely out of radioactive waste from industrially-produced synthetic fertiliser and the experimental recreation of a nineteenth-century hay meadow based on a myth of unintentional plant migration from Italy to Denmark.

Klara and the Bomb, her first photobook—charting connecting threads between the U.S.’s nuclear weapons research, women programmers, the invention of modern computers, and nuclear colonialism—was published by The Eriskay Connection in 2022. She recently completed an AHRC-funded practice-based PhD in fine art at Northumbria University researching the histories and uses of gendered representations of nature in the sciences and exploring feminist critiques of physics. Between 2022–2024 she is a resident at Talbot Rice Gallery as part of a Freelands Foundation Artists programme. Together with Tom Jeffreys, she edits The Peninent Review.

Freelands Foundation is a London-based non-profit organisation set up in 2015 by Elisabeth Murdoch, supporting UK-based artistic practice through residencies, workshops, screenings and resources for teachers and educators; an annual Freelands Award to an organisation championing mid-career women artists. 

Title: “Betwixt 2024”

Publisher: Freelands Foundation

Release date: February 2024

Writers: include Precious Adesina, Alice Bucknell, Susannah Dickey, Rosalie Doubal, Lara Eggleton, Colette Griffin, Maria Howard, Beth Hughes, Latitudes, Ingrid Lyons, Khanyisile Mbongwa, Zakiya McKenzie, Theo Reeves-Evison, Jenny Richards, Lucy A. Sames, Cindy Sissokho, Jamie Sutcliffe, Kandace Siobhan Walker, Sunshine Wong, and Mark Peter Wright.

RELATED CONTENT:

We are pleased to announce that Max Andrews and Mariana Cánepa Luna of Latitudes have successfully qualified to be in the first cohort of Active Members of the Gallery Climate Coalition (GCC). To achieve this status we had to demonstrate that our organisation had implemented environmental sustainability best practices in line with GCC’s guidelines.

This initiative marks an evolution in GCC’s strategy from awareness raising and community building to one focusing on the near-term tangible progress of members following three key actions:

• Completing a CO2e report or audit (our 2019 and 2022 infographics will soon be published here).
• Establishing and maintaining a Green Team (Latitudes is also on the founding committee of GCC Spain).
• Publishing an Environmental Responsibility Statement.

As part of the initiative, GCC provides qualifying members with a badge (see below) to recognise and celebrate the actions taken. These badges are year-stamped and members have to re-submit annually to retain the latest Active designation. 

Active Membership is neither a certification of sustainability nor a claim that we are doing things perfectly and have all the answers — none of us are at this point. Yet it does entail transparency in the assessment, reporting, and reduction of climate impact, the setting of targets in line with science, and the search for working solutions.

We encourage all of our peers and colleagues to visit the Gallery Climate Coalition website to learn more about the initiative and how to get involved.

Moreover, Latitudes is part of the founding committee of the recently formed volunteer team, GCC Spain. To get involved, please contact: [email protected]

Active Membership Press Release, 10 May 2023.

RELATED CONTENTS:

• Latitudes’ Environmental Policy Statement – Extended version here.
• Cover Story, March 2023: Art, Climate, and New Coalitions, 1 Mar 2023
• Gallery Climate Coalition (GCC) en el Estado español, 25 January 2023
• Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
• “‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
• 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
• Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
• Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
• Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
• Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
• Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
• Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
• Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
• Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
• Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
• Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
• Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
• Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008.

May 2023 cover story on www.lttds.org

The May 2023 monthly Cover Story is now up on our homepage: www.lttds.org

“This month Latitudes welcomes artists Ruth Clinton & Niamh Moriarty to Barcelona as part of the pilot residency exchange project The Pilgrim. Ruth & Niamh will be talking about their work in Barcelona on 6 May, alongside project co-curators Michele Horrigan and Sean Lynch of Askeaton Contemporary Arts, in an event hosted at Eulàlia Rovira’s studio.” 

→ Continue reading (after May 2023 this story will be archived here).

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

Spread of UOVO magazine #14, a 500-page issue + two CDs guest edited by Latitudes, 2007. Photo: Alexis Zavialoff.

Cover and back cover of the exhibition catalogue “Greenwashing” (Archive Books, 2008), Fondazione Sandretto Re Rebaudengo, Torino. The 192-page full-colour catalogue embraced environmentally-conscious design with a degree of irony, each of the book's thirteen sections was printed on a different 'eco-paper' such as Shiro Alga Carta (produced by harvesting algae from the Venetian lagoon), KeayKolour Recycled Honey or Shiro Tree Free Naturale, alongside their corresponding eco-credentials. Photo: Latitudes. 

Pages of Lara Almarcegui's first monograph “Lara Almarcegui. Projects 1995–2010” (Archive Books, 2011) covering 15 years of her artistic practice, with commissioned texts by Cuauhtémoc Medina and Lars Bang Larsen, and an introduction by Latitudes. Photo: Latitudes.

In terms of related public-realm commissions, we worked with Danish artist Tue Greenfort for The Royal Society of Arts’ pioneering Arts & Ecology programme (2005–2008) and curated ten public art projects around Europe’s largest seaport, the Port of Rotterdam (“Portscapes” in 2009–2010). We have also organised thematic curatorial residencies around geological agency (“Geologic Time”, Banff Centre, 2017) and a touring film programme on the legacy of Land Art (“A Stake in the Mud a Hole in the Reel”, 2008–2009).

Last but not least, since 2008 we have been custodians of the website of RAF/Reduce Art Flights, a reference resource about the campaign initiated by the late Gustav Metzger (1926–2017).

Latitudes’ environmental impact is small, yet we acknowledge that the largest impact comes from flights and the disproportionate mobility practices of the sector we work in. We believe that art and culture have a role to play in bringing about ambitious change, applying best practices and setting a positive example to position the climate crisis at the centre of the political and social debate.

In January 2023 we became individual members of the Gallery Climate Coalition (GCC) and began to work with colleagues to set up the Spanish volunteer team, GCC España, that meets regularly to track progress on environmental targets and actions. 

Editors of Rotterdam-based magazine Fucking Good Art were ‘embedded’ in the port's Yangtzehaven for a month in the summer of 2009 from where they produced ‘Portscapes_ON AIR Station Maasvlakte’, a series of audio walks, field recordings and conversations with guests from different disciplines for the “Portscapes” website. Photo courtesy: FGA.

Latitudes requests external collaborators opt for train or alternative low-carbon transit and freight options in line with GCC’s guidelines (as well as Gustav Metzger’s RAF/Reduce Art Flights campaign) and this is reflected in work contracts. We hope to lead by example in implementing a sustainability strategy in the planning of exhibitions from an early stage, and whenever curating projects we always try to build the minimum necessary temporary architecture and ensure that any exhibition-related production is entirely locally tuned. We ask that collaborators use no plastic or other single-use materials when transporting works or for events.

Latitudes’ website runs on sustainable energy. According to websitecarbon.com (see stats below), LTTDS.org produces 16.76kg of C02 equivalent per year, roughly the amount of carbon that one tree would absorb in the same time, and it consumes 44kWh of energy (equivalent to 280km in an electric car). 

• Gallery Climate Coalition (GCC) en el Estado español, 25 January 2023
• Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes / Abundant Futures”, 22 Jan 2023
• “‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age, 27 Sep 2022
• Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 Aug 2021 
• 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
• Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
• Group exhibition, “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, France, 29 June 2017–7 January 2018
• Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
• Solo exhibition, “Christina Hemauer & Roman Keller: United Alternative Energies”, Kunsthal Aarhus, Århus, Denmark, 22 January–3 April 2011
• Public realm commissions, Portscapes, Port of Rotterdam, the Netherlands, throughout 2009
• Custodians, Reduce Art Flights (RAF) website (2008–ongoing)
• Touring film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and other venues, April–October 2008
• Group exhibition “Greenwashing. Perils, Promises and Perplexities”, Fondazione Sandretto Re Rebaudengo, Torino, February–May 2008
• Convenors, “Art, Ecology and the Politics of Change”, 3-day symposium during the Sharjah Biennial 8, 5–7 April 2007
• Editors, “UOVO #14: Ecology, Luxury and Degradation”, 2007
• Editor, “LAND, ART: A Cultural Ecology Handbook” (2006)
• Curator, Tue Greenfort, Arts & Ecology public realm commission in London, 2005–2008