Longitudes

Latitudes' redesigned portfolio – projects since 2005


After weeks and long hours facing the screen and mining hard disks, we've uploaded Latitudes' redesigned portfolio, at last! Go to download page and choose format:

For desktop/laptop/tablet view (83pp, 30.9 MB)
For mobile (164pp, 15.8 MB)
For print (164pp, 155.3 MB)


The pdf gathers a selection of projects produced since 2005 and includes a refreshed version of our biographies – which have also been updated on our website.

We have also included short individual biographies available for download as pdf – see below highlighted in yellow.

PDF designed and edited by Latitudes.

RELATED CONTENT:

Lawrence Weiner tote bag and sugar sachets at the McManus Museum and Galleries in Dundee

Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.

The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.


Photo: Creative Learning Team McManus.

RELATED CONTENT:

Lawrence Weiner's THE CREST OF A WAVE tote bag in the Tate Archive and exhibited at The McManus Museum and Galleries, Dundee

Limited edition tote bag designed by Lawrence Weiner in 2015. Photo: Latitudes.

We're delighted to share that Latitudes' limited edition tote bag, exclusively designed by Lawrence Weiner to commemorate Latitudes' 10th anniversary in 2015, is now part of Tate Archive.


Latitudes' donation is presented as part of Tate's "ARTIST ROOMS: Lawrence Weiner" exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.

ARTIST ROOMS is a touring collection of over 1,600 works of modern and contemporary art. The collection is displayed in museums and galleries across the UK and is jointly owned by the National Galleries of Scotland and Tate.


Photos: Latitudes.


Weiner's tote silkscreening process. Photo: Print Workers.

The Dundee presentation will include the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.

A booklet of the exhibition, the invitation card, and an audio rendition of the statement (the track can be listed to here) based on a track by Ned Sublette and The Persuasions are also featured in Dundee.

(Above and below) Installation of Lawrence Weiner's "THE CREST OF A WAVE" at Fundació Suñol, Barcelona, October–November 2008. Photo: Latitudes.

Weiner with his work at the Fundació Suñol. Photo: Jean-Pierre Moulis.

One part of Lawrence Weiner's ‘THE CREST OF A WAVE’ project at the Fundació Suñol in 2008 consisted in an ephemeral sculpture distributed a few days prior to the exhibition opening. 300,000 7-gram sachets of sugar were printed and distributed throughout the most emblematic cafes around Barcelona. Photo: Latitudes.

100,000 sugar sachets ready for distribution. Photo: Latitudes.

Front and back of the 7-gram sugar sachet with Weiner's statement. 
(Above and below) The last element of the project manifested as an intimate event realised by the sea during the opening week: an iron horseshoe was wrapped in a cotton cloth and was tossed upon a wave’s crest. Photos: Jean-Pierre Moulis.


"Influential conceptual artist, Lawrence Weiner uses language as his medium. His text work takes many forms, but the core principle remains the same – his ideas should not be confined to the gallery but taken up by the viewer.

Adopting this principle, The McManus has worked with the artist to present his texts in different forms. One cycle of wall texts will be presented in Scots – translated by distinguished author James Robertson. Texts, a selection of posters, drawings, artist books, and ephemera will also be installed within museum displays around the building – the text resonating alongside Dundee’s rich collections of natural history, archaeology, world cultures, industrial machinery and the spectacular architecture of The McManus itself." (text from Tate's website)


Latitudes' full set of artists' totes were exhibited in 2015 at the Asia Art Archive in Hong Kong as part of Ingrid Chu's 15th-anniversary programme "15 Invitations | a short history of the art book bag". Photo: Asia Art Archive.

RELATED CONTENT:

Cover Story—February 2018: Paradise, Promises and Perplexities


Latitudes' home page www.lttds.org 

The February 2018 Monthly Cover Story "Paradise, Promises and Perplexities" is now up on www.lttds.org – after this month it will be archived here.

"This month marks ten years since the opening of Greenwashing, curated by Latitudes and Ilaria Bonacossa. Subtitled Environment: Perils, Promises and Perplexities, this exhibition at the Fondazione Sandretto Re Rebaudengo, Turin, addressed the melding of corporate agendas and individual ethics in the wake of the exhaustion of traditional environmentalism." Continue reading

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

RELATED CONTENT:


Archive of Monthly Cover Stories
Cover Story – January 2018: I'll be there for you, 2 January 2018
Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
Cover Story – July 2017: 4.543 billion 3 July 2017
Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
Cover Story – April 2017: Banff Geologic Time 3 April 2017
Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
Cover Story — February 2017: The Dutch Assembly, five years on 1 February 2017
Cover Story – January 2017: How open are open calls? 4 January 2017


    Latitudes contribution to Kadist Art Foundation's 'One Sentence Exhibition'


    To visit the exhibition,
    please check ose.kadist.org

    Recognizing that not everyone can visit Kadist Art Foundation venues in Paris or San Francisco, Kadist recently inaugurated a series of online projects with artists and curators around the world.

    First of these initiatives is the One Sentence Exhibition (OSE), for which the foundation invites curators to write or choose a single sentence, making each word in the sentence a hyperlink to an image, video, text or website. As a result, the One Sentence Exhibition becomes a compact architecture, accompanying the reader as they explore far-reaching corners of the internet. 

    Following on from the contributions by Rudolf Frieling (Media Arts Curator at SFMOMA) and Nato Thompson (Chief Curator at Creative Time) to OSE series, Latitudes has chosen the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" by Lawrence Weiner in English, Spanish and Catalan, commissioned for his 2008 solo exhibition THE CREST OF A WAVE at the Fundació Suñol in Barcelona.

    Sugar packets where freely distributed during the duration of the exhibition around Barcelona. Photo: Pierre-Jean Moulis.

    Originally distributed as a free ephemeral sculpture on 300,000 sugar sachets and presented on the wall of the exhibition space, Weiner’s striking typographic rendition of the statement triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language.
     
    Lawrence Weiner tote bag. Available from http://www.lttds.org/totes/weiner/

    The statement is also silkscreened on the commemorative limited edition tote bag that celebrated Latitudes' 10th anniversary in Spring 2015.

    As elaborated by Latitudes in the exhibition guide, "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE indicates an object record of early human technologies (woven textiles, reusable protection for the hooves of working animals) and a marine setting. Weiner’s phrase facilitates a richly ambiguous material and symbolic universe. Why is the horseshoe wrapped? What story, personal or historical, might account for the event that is described? The artist’s statement leaves such questions open for us to consider. It is known that muslin and calico was brought to Spain by the Arab traders in the 1st Century. After the Conquest of Hispania during the 7th Century, facilitated by the Muslim cavalry’s more agile horses, cotton was cultivated by the Moors in Spain. Barcelona’s industrialization in the late 1700s and early 1800s was driven by the printing of calico and later the spinning and weaving of cotton. [1]


    Poster of the exhibition at Fundació Suñol's Nivell Zero space, Barcelona.

    In the manner of a biography of substances, such as Mark Kurlansky’s books Cod and Salt, A CLOTH OF COTTON... thus triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language. [2]" (...) 

    (...) The statement is distributed on a sugar packet throughout a selection of Barcelona bars and cafés during the city's Mercè Festival and for the duration of the exhibition – a sweet gift to accompany one’s café con leche,
    cortado, carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets – sugar production technology too was spread into Spain by Moorish occupation – Weiner’s striking typographic rendition of the phrase in red and yellow (the colours of both the Catalan and the Spanish flag) is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form.


    View of Lawrence Weiner's piece at the patio space of Fundació Suñol, Barcelona.

    (...) On the five metre-high wall of the exterior space [of  Fundació Suñol’s Nivell Zero] we read A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE painted in Catalan, Spanish and English. The use of the same stencil font as the sugar packet layout suggests a method of functional and clear application which reinforces the fact that Weiner is dealing with the language in terms of modification and use. [3] The word for a company which produces typefaces – a foundry – neatly preserves a link to a time when type was cast from metal, in much the same way as horseshoes are made from iron."

    Ceremony of the 2008 ACCA (Art Critics Association) awards which granted Fundació Suñol the best art programme of the year – a season that included two projects curated by Latitudes.

    [1] See J.K.J. Thomson, A Distinctive Industrialization: Cotton in Barcelona 1728-1832, Cambridge University
    Press, 2003.

    [2] Salt: A World History, Walker and Co., 2001; Cod: A Biography of the Fish That Changed the World, Walker
    and Co., 1997.

    [3] The font is FF Offline Regular, designed by Roelof Mulder in 1988.

    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.

    Archive Cover Story (May): Here’s to horseshoes: Lawrence Weiner and Sergi Aguilar


    May 2015 Cover Story dedicated to Lawrence Weiner and Sergi Aguilar.


    Related Content:

    Cover Story #2: Beneath the Connaught Road West flyover, Hong Kong, 19 January 2013 (4 May 2015)

    Cover Story #1: Wilfredo Prieto's work "Grease, Soap, Banana" (2 April 2015)

    Latitudes participates in the "Readers Circle: 100 Notes–100 Thoughts" programme organised by the Maybe Education and Public Programs of dOCUMENTA (13) (31 August 2012)

    dOCUMENTA (13) artists and Latitudes (24 August 2012)

    Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani de Castelló (25 October 2009)

    Latitudes' "out of office" photo album 2008-9 (30 July 2009)

    SAVE THE DATE: 8 October, Lawrence Weiner, Fundació Suñol, Barcelona (29 August 2008)

    'UN PAÑO DE ALGODÓN ...' de Lawrence Weiner (22 September 2008)




    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.

    Gustav Metzger's RAF / Reduce Art Flights campaign initiative changes URL to www.reduceartflights.lttds.org


    The website established for RAF / Reduce Art Flights in conjunction with the Latitudes-curated group exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities' can now be found at a sub-domain of our site www.reduceartflights.lttds.org. The previous URL (reduceartflights.com) is no longer in operation.

    The content is the same however, the main feature being a 12 minute interview with Gustav Metzger, initiator of the campaign, conducted by Emma Ridgway (now curator at RSA Arts & Ecology) as well the catalogue entry text by Max Andrews of Latitudes.



    Page of the exhibition catalogue. Purchase the book via Motto.

    Jordi Mitjà at Bòlit, Centre d'Art Contemporani in Girona

    "From Excess. Recipes for an architecture of accumulative thought" is the title of Jordi Mitjà's contribution to the group show In construction. Recipes from Scarcity, Ubiquity and Excess, the inaugural show – in two temporary spaces – of BÒLIT, the soon-to-open Centre d'Art Contemporani in Girona, Spain, directed by Rosa Pera.


    Mitjà's project comprises the installation Espai Diògenes (see images above; last two from Santiago Cirugeda's Niu project); the documentary cycle Diogenes Cinema and Anatomia Diògenes, a beautiful publication published by Crani (www.crani.org) that compiles photographic material accumulated in the Empordà region between 1988 and 2008.

    Mitjà's Espai Diògenes continues the investigative spirit of previous projects such as the film Concèntric. Poble petit, infern gegant (presented in 2006–7 at Espai Zero1, Olot) drawing on found documents, films from amateur film-makers, articles, books, notes, photographs, etc., that he has been gathering from abandoned sites, rubbish, or simply given by friends or family throughout the past years. Mitjà is as persuaded by these materials as he is curious to dissect the history and stories behind each found object. Espai Diògenes presents an esquisite selection of works (collages, slide projections, objects including slide projectors, photographs, films...) in a nest-like space, "a defence structure, a protection from the outside world, an infinite skin" (1) - "nests" recalling the claustrophobic spaces created by those that suffer from Diogenes syndrome.
    Capella de Sant Nicolau
    Plaça de Santa Llúcia s/n
    17007 Girona
    Exhibition dates: 10 October 2008 - 11 January 2009

    (1) 'Runa', by Jordi Mitjà. In "Anatomia Diògenes. Obres inèdites acumulades entre 1988-2008. Ed. Crani, October 2008.

    Inauguración proyectos derivados del Premi Miquel Casablancas 2008, Centre Cívic Sant Andreu, Barcelona

    Todas las fotos: Latitudes. Ver más en esta galería.

    Mañana se presentarán los tres proyectos derivados de la edición 2008 del Premi Miquel Casablancas: la presentación de la edición de 'Vade Retro' de Jordi Mitjà y Joan Morey y 'De tú a tú. Tres puntos colega' de BErreaCUandoPUedas y Alex Brahim y la exposición La, la, la, la: sobre ganar y perder comisariada por Aimar Arriola y Latitudes.

    La, la, la, la: sobre ganar y perder
    reúne una selección de trabajos de Verónica Aguilera, Fermín Jiménez Landa, Daniel Rodríguez Castro y Oriol Vilanova que reflexionan entorno a la representación social del binomio éxito o fracaso, tanto en la vida privada como en la pública.




    El título de la exposición toma inspiración de un concreto episodio de la historia popular y política reciente: la victoria de España en el Festival de Eurovisión de 1968 con la canción 'La, la, la' interpretada por Massiel. La canción iba a ser interpretada por Joan Manel Serrat, quien se negó a participar pues no se le permitió cantarla en catalán. Finalmente, con la mediación del régimen franquista, su comprometida letra fue sustituida por una versión más edulcorada en castellano, cantada por Massiel y que finalmente ganó el concurso. Recientemente se ha sugerido que los votos pudieron ser amañados por Franco y el escándalo ha saltado a la palestra internacional, e incluso Cliff Richard – que quedó segundo lugar por un voto con su popular y oportuno 'Congratulations!' (Felicitaciones!) – ha pedido ser reconocido como justo ganador. Más allá de la anécdota, esta irónica historia de victorias y derrotas resulta un buen ejemplo de la relatividad de los logros y fracasos en sentido amplio.

     
    La exposición se presenta en el contexto de un certamen para artistas menores de 36 años y en un contexto internacional donde ha aumentado considerablemente la orientación hacia los premios de reconocimiento en la esfera de la cultura, desarrollando una economía de la producción cultural y del prestigio. ¿Es posible que premios como este refuercen la suposición de que el prodigioso éxito sólo se logra a una temprana edad?, ¿necesita el sistema artístico que los artistas reciban reconocimientos públicos para ser considerados de interés?, ¿provoca esto que los artistas sean más estratégicos respecto a sus opciones? y finalmente ¿cómo se mide y representa dicha glorificación en la práctica artística?





     
    Los participantes no examinan el fenómeno del valor ni del juicio en el mundo artístico directamente sino que mediante distintos discursos narrativos y soportes técnicos extrapolan su análisis a esferas como la representación de estos valores en monumentos históricos, los concursos de mascotas y de belleza, el ambiente de jerarquía corporativo y universitario e incluso lo llevan a un terreno aún más abstracto y poético: la caída como el inevitable vencimiento de la fuerza de gravedad.

     
    La presentación de las obras en una estructura horizontal, a modo de tarima, alude a la disposición de los juegos de mesa o incluso a altares, podios o hitos construidos para conmemorar un suceso, ya sea una victoria o una derrota histórica, arquitecturas efímeras o permanentes que formalmente se acomodan de modos similares aunque conmemoren ocasiones tan distintas.


    Exposición: 29 Noviembre – 17 Enero 2009
    Artistas
    : Verónica Aguilera (ES/DE, 1976), Fermín Jiménez Landa (ES, 1979), Daniel Rodríguez Castro (ES, 1984), Oriol Vilanova (ES,1980)

    Comisariado
    : Aimar Arriola & Latitudes

    Dirección
    : c/Gran de Sant Andreu, 111 | 08030 Barcelona | Mapa


    Descargar
    el folleto de la exposición (textos Catalán/Castellano).

    Blog de Sant Andreu Contemporani aquí.

    Update: PORTSCAPES, a programme of art interventions in the port of Rotterdam, The Netherlands


    As announced on a previous post from 27 May, at the invitation of the Amsterdam-based agency SKOR and the Port Authority of Rotterdam, Latitudes is curating a series of artists projects throughout the next year, coinciding with the beginning of the construction of 'Maasvlakte 2' (MV2), an entirely new area of land being reclaimed as a 2,000 hectare expansion to the already existing port of Rotterdam [51° 55' N 4° 29' E], the largest seaport in Europe.

    Following site visits and meetings in May, July, September and last week, 13 Rotterdam-based and international artists have been invited to visit the area and to develop project proposals to take place throughout 2009.


    PORTSCAPES
    will approach Europe’s largest port as a vast exhibition venue to be experienced through itineraries and destinations and will involve projects and
    events, lectures and workshops, screenings and temporary sculptures, etc. It will be introduced during Art Rotterdam (5–8 February 2009) by a ‘prologue’ publication designed by Ben Laloua / Didier Pascal, and a website. A cluster of projects will take place in April coinciding with the official presentation of MV2 and in September, coinciding with Wereldhavendagen (World Port Day on the 4, 5 and 6 September) and the Rotterdam Architecture Biennial (24 September 2009–10 January 2010).

    PORTSCAPES is commissioned by the Port of Rotterdam Authority advised by SKOR (Foundation Art and Public Space) and is curated by Latitudes.

    More on Maasvlakte 2: www.maasvlakte2.com
    More on the Port of Rotterdam: www.portofrotterdam.com
    More on SKOR: www.skor.nl

    Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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    Latitudes
    2005—2019