16 Sep 2019 2019, copenhagen, Essay, Max Andrews, painting, Rasmus Nilausen, writing
Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.
Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ (PDF) opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.
‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’
The exhibition is on view until November 24, 2019.
Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.
→ RELATED CONTENTS:
25 Jun 2019 2019, catalogue, conversations, Ecology, Essay, event, IVAM, Lara Almarcegui, Mariana Cánepa Luna, talk, Valencia, writing
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
Lara Almarcegui es seguramente la artista con la que Latitudes ha colaborado en más ocasiones. Han incluido su trabajo en la publicación ‘LAND, ART: A Cultural Ecology Handbook’ (2006) y en la revista UOVO #14 ‘Ecology, Luxury and Degradation’ (2007). Han escrito sobre su trabajo en para revistas como Mousse Magazine (abril 2010), así como para los catálogos de los proyectos ‘Estratos’ en Murcia (2008), ‘Sense and Sustainability’, Urdabai Arte (pdf aquí) (2012), y recientemente para el catálogo de su exposición monográfica en el CAIRN Centre d'art, France (2019).
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
En el 2011 moderaron una conversación con la artista y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, y editaron su primera monografía ‘Lara Almarcegui. Projects 2005–2010’ publicada por Archive Books (2011). Asímismo le han encargado proyectos para proyectos en el espacio público como ‘Portscapes’ en el puerto de Róterdam (2009–10), el puerto más grande de Europa, y presentado su trabajo en exposiciones colectivas como ‘Greenwashing. Percoli, promesse e perplessità’ [Greenwashing. Peligros, promesas y perplejidades] en la Fondazione Sandretto Re Rebaudengo en Torino (2008) y ‘4.543 milliard. La question de la matière’ [4.543 billones. La cuestión de la materia], en el CAPC Musée d'art contemporain de Bordeaux (2017–2018).
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
08 Apr 2019 2019, catalogue, curatorial writing, Ecology, Essay, France, Geology, Lara Almarcegui, latitudes, writing
(Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.
Lara Almarcegui's exhibition ‘Béton’ opened on April 5 at CAIRN Centre d'art, in Digne-les-Bains, France, and will be on view until June 30th, 2019.
Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.
As Latitudes' writes in the essay (...) ‘As part of her most recent project for CAIRN Centre d’art, Almarcegui has produced ‘Roches et Materiaux du Bassin de la Bléone’ (2019), an inventory of the different types of geological matter comprising the entire drainage basin of the Bléone river from its source near Prads-Haute-Bléone to its confluence with the Durance at Chateau-Arnaux, a terrain of some 906 km2.
In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?” She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’
‘Lara Almarcegui. Béton’
April 2019, 48 pages, 24 x 17 cm
Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann.
Published by Silvana Editoriale
Edited by CAIRN centre d'art
Purchase here for 10 Euros.
- Writing archive on Latitudes' website;
- Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
- Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
- Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
- art-agenda review of Frieze week 2018 15 October 2018.
- Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018
19 Feb 2018 2017, 2018, artist monograph, catalogue, curatorial writing, Essay, John Korner, Max Andrews, trip, writing
Exhibition poster of "Altid Mange Problemer" at Kunsthal Charlottenborg, Copenhagen, Summer 2017. Photo: Latitudes.
Last Summer, Max Andrews of Latitudes was invited to contribute an essay for the forthcoming monograph of John Kørner's work published by the Danish editorial Roulette Russe and designed by Spine Studio. The publication is out now and includes essays by Max, London-based writer Oliver Basciano, and a conversation between the artist and Marie Nipper, curator of John's recent mid-career exhibition in Kunsthal Charlottenborg, Copenhagen.
The 280-page bilingual Danish/English monograph will be launched on March 2, 2018, at 4:30pm, in Kunsthal Charlottenborg's Apollo Kantine, though it will become available for online orders from February 26.
(Above and following): Photos: Finn Wergel Dahlgren. Courtesy Roulotte Russe.
In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:
(...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."
In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.
(Above and following): Photos by Latitudes.
Max has previously written on John's work for the catalogue of his 2006 exhibition "Problems" at Victoria Miro Gallery in London.
Latitudes' first visit to Copenhagen also involved Kørner's work, as we visited his solo show 'ARoS Bank' at the ARoS Århus Kunstmuseum, Denmark (13 June–10 September 2006), which became the subject of our first blog post over a decade ago, in September 2006 (!).
- Latitudes' writing archive
- Latitudes' "out of office" 2016–2017 season 1 August 2017
- Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017 21 July 2017
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016
- '2006 Problems' exhibition and publication by John Kørner, Victoria Miro Gallery, London 29 November 2006
- Copenhagen trip. 'Woman with 24 problems' by John Kørner 30 September 2006
29 Oct 2008 2008, catalogue, Essay, Lara Almarcegui, latitudes, madrid, Pepe Cobo, Ruins in the Netherlands
'Open Ground on the Banks of the Ebro' (2008) by Lara Almarcegui. Courtesy the artist.
Latitudes contributed a short text on Lara Almarcegui's work for the recently released publication 'Intervenciones artísticas en las riberas del Ebro' ('Artistic interventions around the riberas del Ebro'), printed on the occasion of the commissions series produced by Expo Zaragoza 2008.
Almarcegui's 'Un descampado en la Ribera del Ebro' (Open Ground on the Banks of the Ebro) was commissioned by ExpoAgua Zaragoza 2008 and produced in collaboration with The Centro de Arte y Naturaleza–Fundació Beulas in Huesca. Here an extract of the text:
(...) “Almarcegui’s project for Expo Zaragoza 2008 started from an agreement to preserve a section of land in an untouched state for as long as possible. The artist has set up a legal stipulation whereby an otherwise unremarkable 700 sq.m. ‘wasteland’ is put beyond the control of developers for 75 years. This project takes its place among several sites that she has sought to preserve, including Rotterdam Harbour, 2003-2018; Genk, 2004-2014 and Arganzuela Public Slaughterhouse, Madrid, 2005-2006, for example. Each place seems banal yet beautiful while confounding what we understand as ‘wild’. They are what they are: what they have left to be.
(...) The terrain is located within the boundaries of the Parque del Agua, in the Sotos del Río area where the Expo fair itself takes place. Almarcegui chose this area as she was attracted by its proximity to the Ebro river and to the idea that the flux of the currents during the seasons would slowly modify its appearance―blurring the margins where land becomes water. This interstitial, entropic site was picked without the intention of “trying to experiment with new ideas”. As she has described, “The project is something I thought necessary ... given the speed of construction ongoing in Spain and also the construction involved in the Expo, I somehow felt compelled to stop and preserve something in its raw state.”
Other artists included in the publication: Javier Peñafiel, Federico Guzmán, Christopher Janney, Klaus Bury, Nicolás Camoisson y Marion Coudert, Isidro Ferrer & Batlle i Roig, Atelier Van Lieshout, Miguel Ángel Arrudi, Fernando Sinaga, Dan Graham, Miquel Navarro, Jeppe Hein, Jaume Plensa, Tony Cragg and Richard Deacon.
Editor: Expoagua Zaragoza 2008, S.A.
Languages: Spanish, English, French
Pages: 240 pp.
Format: 22 x 27 cm
Price: 35 Euros
Distributed by: Actar D, Turner, FNAC, Casa del Libro, Librería Central, Barrabes, amongst others.
On 23 October 2008, Lara opened the solo exhibition 'Ruins in the Netherlands' at Galeria Pepe Cobo, Madrid, where she presented a selection of 26 photographs of sites in ruin (an abandoned open theatre, a barn, a bunker, a windmill, a ferry station, an IBM tower, a swimming pool...) which are featured in her publication 'Ruins in the Netherlands XIX–XXI' (Episode, 2008, ISBN 978-90-5973-092-2) – also present in the exhibition.
Alongside this, a photograph of her recent project 'Removing the outside wall of a ruined house' is included, as well as a slideshow of 80 images, 'An empty terrain in the Danshui River', accompanied by a small guide analysing this particular area – three elements related to her presentation at the 2008 Taipei biennial.
Read Mariano Navarro's review 'Lara Almarcegui. Memoria de los lugares vacíos' here ('El Cultural' suplement, week 30 october, in Spanish).
Above and below: Installation views of the exhibition 'Ruins in the Netherlands' in Galeria Pepe Cobo, Madrid. Photos: Latitudes.