16 Jun 2017 2017, 4543 billion, CAPC Bordeaux, Curatorial Practice, curatorial writing, deep time, Faculty, fieldwork, research, residency, Sean Lynch, seminar, The Banff Center, Workshop
Julius von Schoppe (1795–1868), Illustration of giant stone near the Rauenschen Mountains near Furstenwalde, 1827, Lithograph, von Tempeltey.
Between September 11 and October 6, 2017, ten artists, researchers, writers and curators from around the world will ponder geological formations and stratigraphy, minerals, and resource extraction to speculate about a more expansive, slower and longer-term view of art, exhibitions, and institutions. The spectacular Rocky Mountains will not only be the backdrop, but the active participants.
Through fieldwork, seminars, and independent study, 'Geologic Time' participants will be “thinking with” geology (beyond the depiction of landscape) as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art. Lead faculty: Latitudes Guest Faculty: Sean Lynch"Geologic Time" is a thematic residency programme of the Banff International Curatorial Institute, Visual + Digital Arts organised by the Banff Centre for Art and Creativity in Alberta, Canada. Within the framework of the residency Latitudes curated the group exhibition "4.543 billion. The matter of matter" at the CAPC musée d’art contemporain de Bordeaux, France, on view until January 7, 2018.
View of the Banff Centre campus. Photo: Latitudes.
- "4.543 billion. The matter of matter" in pictures.
- Guest Faculty of the Thematic Residency 'Blueprint for Happiness' at The Banff Centre, Canada, 27 July–8 August 2015 16 July 2015
- Cover Story – April 2017: Banff Geologic Time 3 April 2017
- Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook 5 December 2016
- 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
12 Dec 2016 2016, Amsterdam, art weekend, Curatorial Practice, de appel, Ellen de Bruijne Projects, Jordan Wolfson, latitudes, Lecture, microhistory, Oude Kerk, participation, Rijksakademie, symposium
Above: de Appel director Niels van Tomme during his welcome speech. This and following photos: Carina Erdmann/De Appel.
Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'.
Below: Q+A session.
Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.
Below: Latitudes' presentation "Following the Holy Greyhound".
Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation.
Below: Attentive (femenine!) audience.
Above: (Intensive) Q+A amongst speakers and audience.
Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.
Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'.
Below: Niels van Tomme during one of the many Q+A's.
Above: Prem Krishnamurthy during a Q+A.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.
"Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.
(above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
Majestic "Labyrinth" (2016) piece above and below.
And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.
Sculptural and archival material by British artist Alex Farrar around his suit. More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.
The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.
(Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.
Jordan Wolfson's "Colored Sculpture" (2016).
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