Longitudes

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

Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden


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’ 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.’

—Max Andrews

The exhibition is on view until November 24, 2019.

Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.

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11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)



‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.

El próximo 11 de julio a las 19h, la artista Lara AlmarceguiMariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.

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
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    Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’

    Latitudes' homepage www.lttds.org

    The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org

    Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”

    —> Continue reading
    —> After May it 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 activities.


    RELATED CONTENT:

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    ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’


    (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’?”[1] 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. 
    French/English 
    Published by Silvana Editoriale
    March 2019
    Edited by CAIRN centre d'art
    ISBN 9788836640904
    Purchase here for 10 Euros.

    RELATED CONTENT:
    • 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
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    "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe

    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 (!).

    RELATED CONTENT:
    • 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
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    Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017

     
    Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings by Christopher Knowles. The publication was made to accompany his recent solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel. 

    Max reviewed Knowles’ exhibition at Gavin Brown's enterprise for frieze magazine back in October 2004, and his work "Untitled (Alert Paintings)" (2004) depicting the Department of Homeland Security’s Threat Advisory System, was the linchpin of the Latitudes-curated 2007 exhibition "Extraordinary Rendition" at NoguerasBlanchard.  

    The exquisite short-run publication (500 copies) was designed and printed by Barcelona-based independent publishers and Riso printers Do The Print.


    All photos: Latitudes.

    Christopher Knowles was born in New York City, USA, in 1959. Lives and works in New York. He has taken part in several exhibitions, among which: 'In a Word', Institute of Contemporary Art, Philadelphia, USA, curated by Anthony Elms and Hilton Als (2015); 'Secret Codes', Galeria Luisa Strina, São Paulo (2014); 'The Sundance Kid is Beautiful', The Louvre Museum, Paris, France, 2013; 'Merci Mercy', 980 Madison Avenue, New York (2013); 'Ecstatic Alphabets/Heaps of Language', MoMA, New York (2012); 'En el primer cercle', Fundació Antoni Tàpies, Barcelona (2011); 'Poor. Old. Tired. Horse', Institute of Contemporary Arts, London (2009); 'Visions of the Frontier', curated by Robert Wilson, Institut Valencia d’Art Modern (2009); 'Glossolalia: Languages of Drawing', Museum of Modern Art, New York (2008); 'Get Lost: Artists Map Downtown New York', New Museum Project, New York (2007); 'Learn to Read', Tate Modern, London (2007); 'Extraordinary Rendition', NoguerasBlanchard, Barcelona (2007).

    Knowles' is represented by NoguerasBlanchard, Barcelona / Madrid; Gavin Brown's enterprise, New York / Rome; and Office Baroque in Brussels.


    RELATED CONTENT:

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    Ignasi Aballí at ARTIUM and Latitudes' text on 2009 project in Beijing and a 2010 interview

    Ignasi Aballí "This is not the end". Courtesy of the artist.

    On the occasion of Ignasi Aballí (Barcelona, 1958) exhibition 'This is not the end' at ARTIUM, Vitoria-Gasteiz (curated by François Piron, on view until 2 September 2011), we wanted to share two projects in which Latitudes collaborated with the Catalan artist.

    Firstly, the interview 'Rank & File' between the artist and Latitudes for which we discussed his ongoing 'List' series. The text was originally published in 'The Last Star Ledger' (Issue #4 of 'The Last Newspaper' catalogue, New Museum, New York, 2010).


    Read here: https://issuu.com/latitudes/docs/4_the_last_star-ledger/2



    ARTIUM's 'This is not the end' includes the work "Tomar medidas" (Taking Measures, 2009), in which nine instruments are displayed measuring things we cannot see: dust particles, time, electrical fields, noise, temperature, intensity of light, radiation, etc. The first version of "Tomar medidas" was produced for 'Nothing, or Something' (22 May–22 July 2009), an exhibition curated by Latitudes for Suitcase Art Projects, the project space of the Today Art Museum, located on three floors of the Yintai retail centre in Beijing – see images of the exhibition. 

    Following is the essay included in the small publication 'Nothing, or Something' produced alongside the exhibition – see images of the publication.




    Detail of the publication "Nothing, or Something" published by Today Art Museum and edited by Latitudes.

    'Ignasi Aballí: Nothing, Or Something'

    The morning before Ignasi Aballí’s ‘Nothing, Or Something’ opened, we couldn’t help but overhear an American businesswoman having a breakfast meeting at our hotel. “We’re working very much with intangibles”, she declared – and, we had to concur, so were we. Aballí’s works for Suitcase Art Projects address immateriality, residues and traces. He prompts us to consider things that we cannot perceive directly or are too ordinary to be properly noticed. What is perhaps philosophy’s central and most enduring question – ‘Why is there something rather than nothing?’ – is simultaneously approached as a precise existential experiment and as if with the shrug of a silent comedian.

    Despite drawing on the formal language of modernism’s impulse towards reduction and the ‘white cube’ of the museum as much as commonplace materials and unremarkable elements of daily existence, ‘Nothing, or Something’ has nevertheless been created for a situation that is neither fully ‘art’ (though presented under the auspices of the Today Art Museum), nor ‘life’, nor public space – but for a shopping centre. Walter Benjamin’s vast The Arcades Project (1927–1940) located the bustling arcades of nineteenth-century Paris – early versions of the contemporary mall – as heralding a decisive shift to the speed and commodification of things which signaled the emergence of the modern age. Following Benjamin’s concerns, Aballí’s project is preoccupied by the parameters of display while being experienced through a collision and confusion with its surroundings. The windows in which it takes place are located throughout three floors of the Beijing Yintai Centre, a recently opened retail destination hosting high-end fashion, jewelry and watch manufacturers in the heart of Beijing's Central Business District, in one of the tallest buildings in the city. In the context of an excess of brand visibility, signage and luxury product presentation strategies, the eight conceptually interlinked works which comprise ‘Nothing, or Something’ seek a counterpoint and temporarily make room for a different kind of looking, a slower revelation and, to borrow from Marcel Duchamp – to whom we will return – a ‘delay in glass’. The constraints and techniques of making something visible, and the very expectation of having something to see, become the projects’ points of articulation. 

    Please excuse our appearance, for example, wryly offers the visitor an explanation for the apparent lack of anything in the display case beyond the out-of-place presence of pages from the Spanish newspaper El País (which has often been used by Aballí as the basis for his art) which are laid on the floor as if anticipating some messy activity. Summoning an in-between temporality of perpetual waiting, the vinyl text on the window requests pardon for an apparent hiatus in the rhythm of seasonal trends. Aballí’s work from 2005 entitled Próxima aparición / Próximamente / Coming Soon – a one hour film showing the text of its title – similarly places the audience in a irrational situation of viewing where the main event is declaredly taking place at another time. Coming Soon is also the title of the vacated shop scenario of ‘Nothing, Or Something’. Only traces are left on the premises. An inventory of products on sale are detailed in half-removed words on the glass. Torn posters hang from the side walls; dirty marks have been left by shelves at the back; the dusty outline of objects in a forgotten display case. Each is a remainders of what purports to have been a unit dedicated to photographic equipment. The awkwardly appended ‘coming soon’ vinyl text on the window creates some confusion, however, as to what has left and what has yet to appear. Dust has regularly featured as a material in Aballí’s work, bringing to mind not only Dust Breeding (1920) – Man Ray’s celebrated photograph of Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (1915–23) partially covered in a thick dusty layer – but less specifically a concern with entropy and the threshold of perception, where something is only readily perceivable through gradual accumulation or through its removal. Dust is “a very complex material ... a terminal, annoying, residual material that we don’t want” as the artist has described – particularly when it comes to photography.1 As he addressed in his recent exhibition ‘Without activity’, so many of the gestures and routines of (especially pre-digital) photography are concerned with cleaning, brushing and wiping-away.2 The depositing of dust also becomes an analogue for the exposure of light on photographic paper and in essence the inevitable passage of time.

    Dust is, unsurprisingly, present in the atmosphere of Beijing. In the work Beijing Air, Aballí takes the small volume of the city’s air present in a window display as the subject of what seems to be an encyclopedic annotated diagram cataloguing its actual and speculative, or feared, components. Text fixed to the glass and indicating lines describe the common gases present in air as well as a host of industrial pollutants, various airborne viruses and environmental particulate matter such as pollen. Many artists have commemorated the notion of blankness or explored the radically empty and each different reasons – the void can represent the wiping away of content and yet the preparation for something new. Aballí echoes this legacy – alongside Duchamp once more, whose Paris Air (1919) consists of a small vial of air from the French capital – yet his pseudo-scientific indications that nothingness is in fact not so easily achievable, at least for an earth-bound artist, brings humorous bathos to one of the central myths of the avant-garde.

    Taking measures similarly adopts the language of objective inquiry with an absurd twist. Eight identical plinths occupy a vitrine and present scientific instruments which detect and measure invisible forces for the duration of the project – a stopwatch counts time, a digital barometer records the atmosphere pressure, a compass shows the magnetic orientation, a thermometer-hydrometer measures temperature and humidity, while a lux meter detects light. A sound meter measures in decibels alongside an instrument for sensing radiation. It is no surprise that an anemometer reveals that it is not windy in the vitrine. Contrary to immediate, decorative, or pictorial appeals to vision, Aballí proposes an ongoing sensitization to perceptions that escape direct representation. Yet evidently, we are still looking at something and instead our aesthetic attention is displaced onto the design and the presentational mode of these instruments.

    The vitrine opposite this, Scenic Viewpoints, presents the visitor with an arrangement of what appears to be blank white sheets of paper taped to the inside of the glass. As with several of the other works, in this shopping centre context it could well seem like an unfortunate-looking temporary situation. Something being changed, remedied, covered over and hopefully overlooked: nothing to see here! Yet the attentive are rewarded with an altogether different vision – looking through the gaps in the white ‘tiles’ through to the reflection in the mirrored back surface of the narrow space, one can piece together an exuberant compilation of sights. Each sheet is an enlarged colour postcard depicting views, events and landmarks from the artist’s home of Barcelona, a city whose popularity as a tourist destination lies in no small part to its presentation as a readily consumable and legible visual ‘brand’. Blankly monochromatic on the outside, Scenic Viewpoints refuses such a generalised overview. Its ecstatic orchestration of wide vistas and saturated spectacles is only visible to a peeping, prying viewer who then can only see a small part at one time, while linking “the abundance of images around us with the scarcity of meaning we can attach to them”, as Bartomeu Marí has described of another of Aballí’s works Revelations (2005).3 

    The vitrines titled Illuminating and White Cube are sited facing each other. Illuminating consists only of the application of light. Very bright light. The installation of professional film lights which shine out from the vitrine creates a level of luminescence that is evidently excessive. With a seeming lack of anything in particular to illuminate, one is reflected in the mirrored vitrine in the looped process of beholding oneself beholding the work. A counterpoint to the tastefully spotlighted products in the neighbouring shops, the wastefully ‘incorrect’ situation highlights a stark condition of energetic consumption while literally highlighting its context. White Cube provides the backdrop to this intense reflexivity. It cancels the transparency of its vitrine through the application of whitewash on the glass, a technique commonly adopted by empty premises after going out of business. (Not coincidentally, some of the pages of the newspapers of Please excuse our appearance carry stories related to the recession, which are illustrated by closed-up shops.) As with Aballí’s Big Mistake (1998-2005) and other works using Tipp-Ex correction fluid (used to cover errors on writing or typing paper), the artist creates a quotidian monochrome, through a melancholic painting-like blanking-out activity that nevertheless is never properly a painting. If White Cube refers to a spectre of painting, Vitrines for a Vitrine seems to orientate around some missing sculpture or precious object. Yet as if the artist has been perpetually unconvinced by the plausibility of displaying something, no thing is on show – rather it is the condition of display which is demonstrated in a mise en abyme, itself within the regime of visibility of the shopping centre. Three clear acrylic display cases like those used in museums or in chic stores occupy the glass vitrine. Each contains one small photograph of different empty vitrines which the artist has encountered in various cities.

    Nothing, or Something’ undoubtedly triggers perplexing situations for the shopping public, and the workers of the centre who were more-or-less familiar with the art project’s presence or witnesses to its installation. For many the works may well go completely unnoticed. Are we seeing what we are supposed to be seeing? Where is the work? When is the work? Yet it is not the intention of Aballí’s project to be disingenuous or confrontational. On the contrary, it operates through orchestrating and modifying simple possibilities for observation, deduction and reflection. Something or nothing is happening, is not happening, is not happening any more, or is yet to happen. Enhanced by memory and hindsight the project allows a disarmingly humble visual retirement – the kind of complexity that emerges through ceasing or waiting. How and why are things added and subtracted from the world, or from sight? What is worth looking at, having or keeping, and what is to be doubted or erased? What does it mean to be more aware of the things we cannot see? Perhaps we are all working with intangibles?

    Latitudes (Max Andrews and Mariana Cánepa Luna)
     
    1 Ignasi Aballí, 0-24 h., Museu d'Art Contemporani de Barcelona, 2005, p.25
    2 Sem Actividade / Without Activity, Museu de Portimão, 2008
    3 Ignasi Aballí, 0-24 h., Museu d'Art Contemporani de Barcelona, 2005, p.11

    Text originally published in 'Nothing, or Something', the publication accompanying the exhibition that took place in the Suitcase Art Projects, Beijing, China, 22 May–22 July 2009. 



    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)
    This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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    Haegue Yang's 'Symmetric Inequality' (Desigualdad simétrica) exhibition catalogue, sala rekalde, Bilbao

    Haegue Yang at Sala Rekalde


    The trilingual exhibition catalogue 'Symmetric Inequality' (Desigualdad simétrica), has just been published following the solo exhibition by Berlin-based artist Haegue Yang (1971, Seoul, Korea) which opened a year ago at sala rekalde, Bilbao (18.12.08–19.04.09 – see above images of the exhibition on Latitudes' post from 20 December 2008). 

    The catalogue is the second volume of a two-part publication project that began with the exhibition 'Asymmetric Equality: Haegue Yang', which took place at REDCAT, Los Angeles between 28 June and 24 August 2008.

    This second volume documents the installation at sala rekalde and includes texts by Max Andrews of Latitudes; Prof. Jie-Hyun Lim, director of the Institute of Research in History and Comparative Culture of the University of Hanyang and a conversation between Melanie Ohnemus, curator of Portikus, Bart van der Heide, former curator of Cubitt, Pablo Lafuente, critic and editor of the journal Afterall, London/ Los Angeles, Asier Mendizábal, artist, Leire Vergara, former curator of sala rekalde and Haegue Yang.


    'Haegue Yang. Symmetric Inequality'
    Graphic Design: Katie Hanburger & Gail Swanlund
    Publisher: sala rekalde, www.salarekalde.bizkaia.net
    Distributor: AGD Libros, Bilbao, [email protected]
    ISBN 978-84-88559-58-6 (sala rekalde), ISBN 0-9749831-9-5 (REDCAT)
    352 pp., colour, softcover
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    Catalogue essays: Henrik Håkansson, Museo Rufino Tamayo; Haegue Yang, Artsonje Center / samuso

    Two recent catalogue essays by Latitudes' Max Andrews:

    Henrik Håkansson - Museo Tamayo catalogue

    • ‘Untitled (You Are Good For Me Because You Destroy Me)’, Henrik Håkansson: Novelas de la selva / The Jungle Novels, Museo Rufino Tamayo, Mexico City, 2009 (Spanish and English)

    Haegue Yang – Samuso publication

    • ‘Towards Haegue Yang’s ‘Blind Rooms’’, Haegue Yang, Artsonje Center / samuso, Seoul, 2009 (Korean) & forthcoming in Symmetric Inequality: Haegue Yang, Sala Rekalde, Bilbao, 2009 (Spanish, Basque and English)

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    Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid


    '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
    ISBN: 978-84-93657-23-9
    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.



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