Longitudes

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Text on Crystal Bennes in the “Betwixt 2024” published by the Freelands Foundation

 

Betwixt 2024 publication. Courtesy of the Freelands Foundation.


In February 2023Latitudes was commissioned to write a text on the artistic practice of Crystal Bennes for “Betwixt 2024”, publication produced by the Freelands Foundation as part of their Freelands Artist Programme initiative supporting emerging artists across the UK since 2018.

The book has now launched, coinciding with the opening of an exhibition taking place across four sites in central and north London between 17–23 February 2024, in which Bennes participates alongside 19 other artists based in Belfast, Cardiff, Edinburgh, and Sheffield.

For the occasion, Bennes presents “When Computers Were Women” (2021), a project on the connections between the histories of computational and weaving technology, that stemmed from a residency at CERN (the European Organisation for Nuclear Research) in 2018 when she was struck by the formal similarities of the computer programming punchcards she saw in a cabinet and an older form of data-processing technology: the punch cards used to control the rods and hooks that raise the warp threads of looms fitted with Jacquard devices.

The artists featured in the “Betwixt 2024” publication are Adebola Oyekanmi, Adele Vye, Alaya Ang, Beau W. Beakhouse, Christopher Steenson, Crystal Bennes, Dorothy Hunter, Gail Howard, Jacqueline Holt, Kedisha Coakley, Kirsty Russell, Maria de Lima, Phoebe Davies, Rian Treanor, Sadia Pineda Hameed, Susan Hughes, Tara McGinn, Theresa Bruno, Thulani Rachia, Tyler Mellins and Zara Mader.

Writers in the publication are Alice Bucknell, Beth Hughes, Candice Jacobs, Cindy Sissokho, Colette Griffin, Ingrid Lyons, Jamie Sutcliffe, Jenny Richards, Kandace Siobhan Walker, Khanyisile Mbongwa, Lara Eggleton, Lucy A. Sames, Maria Howard, Mariana Cánepa Luna, Mark Peter Wright, Max Andrews, Precious Adesina, Rosalie Doubal, Sunshine Wong, Susannah Dickey, Theo Reeves-Evison and Zakiya McKenzie.

Published in 2024, 370 pages. Designed by Kristin Metho.

Available for £15 (plus shipping) here.

(Above and below) Crystal Bennes, “When Computers Were Women” (2021). Courtesy of the artist.


A month later, on March 16, 2024, Bennes will present her new project “O (Copper, cotton, cobalt, crude, naphtha, bauxite, palm)” (2023) at Talbot Rice Gallery in Edinburgh, culminating her two-year residency there and at the Edinburgh College of Art on the Freelands Artist Programme. Involving tapestry, sculptural installation, video, and performance, her 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.

Latitudes’ text will also be available on the Talbot Rice Gallery website and in the gallery booklets, available for £2 at the venue. 

Crystal Bennes, Fragment from “O (Copper, cotton, cobalt, crude, naphtha, bauxite, palm)”, 2023. Courtesy of the artist.

A Classicist with a PhD from King’s College London, Dr Crystal Bennes previously worked in the U.S. Senate and as an architecture and design journalist before retraining as an artist. She studied for an MFA at Aalto University, Helsinki, and École Nationale Supérieure des Beaux-Arts, Paris, and obtained a practice-based PhD at Northumbria University, Newcastle.

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. 

Recent exhibitions include Platform: Early Career Artist Award, Edinburgh Art Festival (2023); Flora Italica, Thorvaldsens Museum, Copenhagen (2023); Mauvaise Herbes, Centre Photographique d’Ile-de-France; No Island is an Island, Landskrona Foto International Festival; and Hermes and the Veil, Gallery North, Newcastle (all 2021).

Klara and the Bomb (2022) 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, and it was shortlisted for the Photo Text Book Award at Les Rencontres d’Arles in 2023. 

Between 2022 and 2024 she was a resident at Talbot Rice Gallery as part of a Freelands Foundation Artists programme. Together with Tom Jeffreys, she is the editor of The Peninent Review.


RELATED CONTENT:

  • Latitudes’ writing since 2005.
  • Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli, 27 Oct 2023
  • Text on Crystal Bennes for the Freelands Foundation Artists programme, 31 May 2023
  • Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
  • Max Andrews reviews Bruno Zhu’s exhibition “I am not afraid”, Cordova, Barcelona, 30 Mar 2022
  • Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022 
  • New publication: “Things Things Say” now available, 28 Feb 2022
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Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid

   February 2024 cover story on www.lttds.org


The February 2024 monthly Cover Story “Climate Conscious Travel to ARCOmadrid” is now up Latitudes’ homepage: www.lttds.org

“As part of its wider Climate Conscious Travel campaign, Gallery Climate Coalition and its International Volunteer Team, GCC Spain, are collaborating with ARCOmadrid on the initiative #TrainToARCOmadrid to encourage more climate-conscious travel choices when traveling to the art fair, which this year runs from 6–10 March 2024. ” 

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

Cover Stories are published monthly 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.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024 
  • Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023 
  • Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
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Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive

   January 2024 cover story on www.lttds.org


The January 2024 monthly Cover Story “Curating Lab 2014 – Curatorial Intensive” is now up on our homepage: www.lttds.org

“As we start 2024, for one reason or another we find ourselves pausing to reminisce about Curating Lab 2014–Curatorial Intensive, which took place in June 2014, and which was organised by NUS Museum, Singapore, with support from the National Arts Council of Singapore. ” → Continue reading (after January 2024  this story will be archived here).

Cover Stories are published monthly 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.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, December 2023: Ibon Aranberri, Partial View
  •  Sat, 2 Dec 2023 
  • Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
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Wolfgang Tillmans’ “Truth Study Center (NY)” (2010)

The cover of “The Last Observer” featured Wolfgang Tillmans’s “Truth Study Center (NY)”. Issue 6 of the catalogue-in-progress of “The Last Newspaper” (New Museum, 2010). Edited by Latitudes.

In the frenzied weeks of autumn 2010, we had the chance to “live with” artworks during the course of ten weeks while we live-edited a weekly tabloid that ultimately constituted the ten-part catalogue of “The Last Newspaper” (October 2010–January 2011) exhibition at the New Museum. For almost the entire duration of the show, Latitudes commissioned articles, opinion columns, adverts, interviews, and focus pieces, and also wrote about the featured artworks, artists, events, and issues covered (or missing!) in the exhibition we were embedded in.

For ”The Last Observer”, the sixth of the ten issues of “The Last Newspaper” (pdf here), we commissioned then-writer Lorena Muñoz-Alonso to interview artist Wolfgang Tillmans about his work “Truth Study Center (NY)” (2010). Tillmans’ work shared the floor with our temporary office and is a project he began in 2005 with a show at his London gallery Maureen Paley.

Photo: LeBal Books here.

Forward ten years. In 2021, the interview “Is This True or Not?” was included in the 352-page reader “Wolfgang Tillmans: A Reader” (ISBN 9781633451124), published on the occasion of his
 retrospective “To Look Without Fear” at the Museum of Modern Art in New York, and edited by Roxana Marcoci and Phil Taylor – see pages 171 to 173.

(Above and below) Wolfgang Tillmans, “Truth Study Center, 2005–”, installation view at the New Museum, 2010. Photos: Latitudes, Barcelona. Courtesy the artist and Maureen Paley Gallery.



We recently received a request to use our Tillmans’s New Museum installation photograph in the highly anticipated publication “Disordered Attention: How We Look at Art and Performance” (Verso Books
by our former teacher, and now professor in the Ph.D. Program in Art History at CUNY Graduate Center in New YorkDr. Claire Bishop

In “Disordered Attention...”, Bishop “identifies trends in contemporary practice – research-based installations, performance exhibitions, interventions, and invocations of modernist architecture – and their challenges to traditional modes of attention. Charting a critical path through the last
three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.”

The book will be available from June 2024. An excerpt was published in Artforum in April 2023, titled “Information Overload”.

Cover of the forthcoming book “Disordered Attention: How We Look at Art and Performance” (Verso Books, 2024). 


RELATED CONTENT:

  • Night at the (New) Museum, 11 Dec 2010
  • At Last...The Last Newspaper catalogue!, 10 Dec 2010
  • 'THE LAST OBSERVER' AVAILABLE NOW! #6 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum, 10 Nov 2010
  • Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell), 4 January 2019
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Cover Story, June 2023: Crystal Bennes futures

Crystal Bennes’ working designs for the giant tapestry pecunia non olet. June 2023 cover story on www.lttds.org

The June 2023 monthly Cover Story “Crystal Bennes futures” 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.


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
  • Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
  • Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
  • Cover Story, July–August 2022:  Incidents (of Travel) from Seoul, 1 July 2022
  • Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
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Profile on Crystal Bennes for the Freelands Foundation Artists programme

Detail of Crystal Bennes’ Jacquard piece in progress, 2023. Produced in the context of the Freelands Artist Programme. Courtesy of the artist.

In February 2023, Latitudes was commissioned to write a text on the artistic 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 based in Belfast, Cardiff, Edinburgh and Sheffield.

Involving tapestry, sculptural installation, video, and performance, Bennes’ new project will be exhibited at Talbot Rice Gallery, Edinburgh, in March 2024. 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 venues 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. 


(Above and below) Stills from Crystal Bennes’ film that will accompany her forthcoming work produced in the context of the Freelands Artist Programme (2023). Courtesy of the artist.


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 and 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.

Detail of Crystal Bennes’ Jacquard piece in progress, 2023. Courtesy of the artist.

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”

PublisherFreelands Foundation

Release date: February 2024

Writers: include Precious Adesina, Alice Bucknell, Susannah Dickey, Rosalie Doubal, Lara Eggleton, Colette Griffin, Maria Howard, Beth Hughes, LatitudesIngrid 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:

  • Latitudes’ writing since 2005.
  • Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
  • Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022
  • New publication: “Things Things Say” now available, 28 Feb 2022
  • Mariana Cánepa Luna’s Amsterdam Roundup for art-agenda, 17 December 2019
  • Max Andrews’ Valencia Feature in frieze magazine, November-December 2019, 2 November 2019
  • Max Andrews’ text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden, 16 September 2019
  • “Thinking like a drainage basin” essay in the catalogue of the exhibition “Lara Almarcegui. Béton”, 8 April 2019
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