Longitudes

Premios de la 3a edición del Dart Festival de cine documental sobre arte contemporáneo 2019


Latitudes tenido el placer de formar parte del jurado de la tercera edición del Festival de Cine Documental sobre Arte Contemporáneo 2019 junto al crítico de cine Quim Casas y la artista visual Núria Güell.

Los ganadores de la Sección Explora by Laie Llibreria! de la 3a edición del Dart Festival 2019 son el documental ‘Elliott Erwitt - Silence Sounds Good’, de Adriana López Sanfeliu como mejor producción nacional, y ‘Barbara Rubin & The Exploding NY Underground’ de Chuck Smith, como mejor producción internacional. 


Elliott Erwitt ha pasado toda su vida adulta haciendo fotografías de presidentes, papas y estrellas de cine, así como de personas an´ y también de sus mascotas. Mientras que su trabajo es icónico en la cultura mundial,  su vida es en gran parte desconocida. Elliott Erwitt - Silence Sounds Good es un retrato amable e íntimo de un artista en su trabajo, mostrando ser alguien que valora la compañía de todo tipo por encima de la conversación ociosa. Su trabajo vital es un importante testimonio del poder de la imagen. Con su primera película, Adriana López Sanfeliu logra crear un retrato íntimo de un fotógrafo de primer nivel.



El documental “Christmas on Earth” (1963) conmocionó la escena del cine experimental de Nueva York. Su autora, la cineasta experimental Barbara Rubin, realizó la película cuando solo tenía 18 años. Durante su trayectoria, trabajó con el cineasta Jonas Mekas en la Filmmaker’s Coop, colaboró con Andy Warhol y fue fundamental en la creación de la próspera comunidad de cine underground de Nueva York. Durante años Mekas, que en la película tenía 94 años (falleció con 96), guardó todas las cartas de Barbara y atesoró su memoria. Trabajando con las imágenes de Mekas y los extraños clips de los archivos de Warhol, ‘Barbara Rubin & The Exploding NY Underground’ nos transporta dentro del mundo y la mente de Barbara Rubin, una cineasta que realmente creyó que el cine podría cambiar el mundo.

CONTENIDO RELACIONADO:
  • Mariana Cánepa Luna vocal del jurado del Premi Ciutat de Barcelona 2017 en el ámbito de las Artes Visuales 1 Febrero 2018
  • Antoni Hervàs's exhibition "El Misterio de Caviria" awarded the Visual Arts prize of the Premis Ciutat de Barcelona 2016 1 February 2017
  • Jurado y equipo tutorial de Barcelona Producció 2017 – Anuncio de los proyectos ganadores 25 Mayo 2017
  • Jurado y equipo tutorial de BCN Producció 2016, La Capella, Barcelona. 2 Febrero 2016
  • Latitudes-nominee artist Annette Kelm shortlisted for the Aimia | AGO Photography Prize 2015 24 June 2015
    Resolución Convocatoria 2012 de Artes visuales y Tutorial de la Sala d'Art Jove 7 Diciembre 2011
  • Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h 16 junio 2008
  • Otros jurados – véase sección "About"

1 Diciembre, 20:30h: Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016)


El 1 de diciembre 2017 a las 20:30h Latitudes introducirá el documental italiano "Harald Szeemann. Appunti sulla vita di un sognatore" (2016, 61 minutos) antes de su proyección. El documental, que se estrena en España, se aproxima a la figura del conocido comisario suizo fallecido en el 2005, que a lo largo de cinco décadas de actividad profesional organizó más de 150 exposiciones.

La proyección es parte de la primera edición del Dart Festival 2017, el Festival de Cine Documental sobre Arte Contemporáneo que proyectará 10 documentales entre el 30 de noviembre y el 3 de diciembre en los Cinemes Girona (c/ Girona 175, 08037 Barcelona).


Toda la programación del Dart Festival 2017 en www.dart-festival.com

Szeemann definió y perpetuó la figura del “comisario freelance permanente”, aunque como ha comentado en varias ocasiones el también comisario Hans Ulrich Obrist, la particularidad de Szeemann es que dió continuidad al legado de Alexander Dorner, director del Museo de Hannover en los años veinte, quien definió el museo como una central eléctrica, un “museo en movimiento” en el que:
  • La exposición es un estado de transformación permanente. 
  • La exposición como algo oscilante entre el objeto y el proceso, afirmando que “la noción de proceso ha penetrado en nuestro sistema de certidumbres”.
  • La exposición de identidades múltiples.
  • La exposición como algo pionero, activo y que no se guarda nada.
  • La exposición como verdad relativa.
  • La exposición basada en una concepción dinámica de la historia del arte.
  • La exposición “elástica”: presentaciones flexibles en un edificio adaptable.
  • La exposición como puente entre los artistas y las diversas disciplinas científicas.
El Getty Research Institute adquirió el archivo que Szeemann acumuló a lo largo de su vida en la Fabbrica Rossa, en Maggia, una pequeña localidad en su Suiza natal. El Harald Szeemann Archive and Library es una de las adquisiciones más completas jamás realizadas por el museo de Los Ángeles y lo ha convirtido en una de las fuentes más importantes para entender el arte producido a partir de 1950. 

CONTENIDO RELACIONADO:

Cover Story – March 2017: Time travel with Jordan Wolfson


The March 2017 Monthly Cover Story "Time travel with Jordan Wolfson" is now up on www.lttds.org after March it will be archived here.  

"The film that lends its image to this month’s cover story – Jordan Wolfson’s Landscape for Fire, 2007 – was featured in the Latitudes-curated film programme A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008, which premiered in April 2008 at the Museo Tamayo, Mexico City, before touring several venues in Spain, Switzerland, the Netherlands and the U.K. 

Landscape for Fire responded to a 1972 film of the same name by Anthony McCall in which the British artist, best known for his “solid light” works, attempted to integrate performance, installation, sculpture and images in movement. Thirty-five years on, Jordan had re-staged this work of the past as though it were a ritual, the repetition of which invoked the almost mystical aura that often surrounds the art of the late 1960s and early 1970s." Continue reading by clicking the grey bar underneath the image

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, and are archived here.


Related content:

Public programmes related to the exhibition 'José Antonio Hernández-Díez. I Will Fear No Evil' at MACBA, Barcelona, on view until 26 June 2016

View of José Antonio Hernández-Díez's 'El resplandor de la Santa Conjunción aleja a los demonios" (1991). Installation. Lightbox, sampler, timer, flash, tripod and speakers. Collection Leonora and Jimmy Belilty. Photo: Miquel Coll, MACBA.


The exhibition I will fear no evil presents works from the beginning of José Antonio Hernández-Díez’s career in the late 1980s and early nineties – several of which have not been seen since they were first exhibited in 1991 – in dialogue with a new series produced especially for the occasion. 

The following series of events have been programmed to accompany the exhibition:

Thursday, 31 March, 7pm:
Visit with the artist and Latitudes. Exclusive to the Amic card. Limited places.

#MACBAAmic

Saturday 2 April, 7pm:
Experience MACBA, The secrets of conservation in ‘I will fear no evil’ by José Antonio Hernández-Díez. Visit with the artist, Latitudes and Lluís Roqué
Museum galleries.
5 €. No booking required. Limited places. 

#MACBAesviu


View of Hernández-Díez's exhibition "I will fear no evil". Photo: Miquel Coll, MACBA.

Film programme: 
Shadows and silences or the ghosts that return as if for the first time”. Curated by Andrés Duque.
Meier Auditorium. 
Admission: 5 €/session. Free with MACBA Amics card. Limited places.

Wednesday 4 May, 7pm
‘Schastye (Happiness)’, Aleksandr Medvedkin, 1935, Russia, 95 min, b/w, silent.
Despite being released in 1935, this is a silent movie. It narrates the hapless misadventures of a peasant unable to reap a good harvest. It takes a courageous act to reconcile himself with himself and other people.

Wednesday 18 May, 7pm
‘Finis Terrae’, Jean Epstein, 1929, France, 80 min, b/w, silent.
Four labourers leave for the island of Bannec to collect the harvest. One loses his hand and the wound becomes infected, so cannot work anymore.

Wednesday 15 June, 7pm
‘He Who Gets Slapped’, Victor Sjöström, 1924, USA, 83 min, b/w, silent.
After many years of research, Paul Beaumont, a scientist and humanist, discovers a revolutionary theory, but his patron (Marc McDermott) seduces his wife (Ruth King) and takes credit for his discoveries. To add insult to injury, he slaps Beaumont before the assembled scientific community, compounding his humiliation. Ashamed, Beaumont flees and takes refuge in a circus, where he becomes a famous clown known as ‘he who gets slapped’. As fate would have it, one night his perfidious patron appears in the audience, having abandoned Beaumont’s wife and intent on marrying the beautiful Consuelo (Norma Shearer).

Wednesday 22 June, 7pm
‘Kurutta Ippēji (A Page of Madness)’, Teinosuke Kinugasa, 1926, Japan, 70 min, b/w, silent.
Kurutta Ippēji tells the story of a worker in a psychiatric hospital who begins to feel a strange affection for a patient, who was allegedly committed after murdering her own baby. But he only wants to release her, to escape with her and start a new family. The film went missing for over fifty years and was barely seen after its release. It was the director himself who discovered the negative and a copy in his archive store in 1971.

Saturday 25 June, 7pm:
Nieve Fuga: music around 'I will fear no evil'
Exhibition galleries.
5 €. Free with museum ticket and with MACBA Amics cards. Limited places. Ticket includes free admission to current exhibitions until 9 pm.

#MACBAesviu

View of Hernández-Díez's exhibition "I will fear no evil". Photo: Miquel Coll, MACBA.


 Related Content:

Two 'Portscapes' films presented in 'Scenographies', an exhibition at SMBA in Amsterdam

Still from Marjolijn Dijkman's "Surviving New Land" (2009). 
Courtesy of the artist and SKOR | Foundation for Art in Public Space.
 
Two of the films produced for 'Portscapes', the year-long programme of public art projects in the Port of Rotterdam curated by Latitudes back in 2009, are currently screened as part of the exhibition 'Scenographies'. The show, curated by Clare Butcher for SMBA Amsterdam, is "a dynamic exhibition programme based around the archive of SKOR | Foundation for Art in Public Space." On view until 16 November 2013, artists and artists' collectives will approach the legacy of SKOR, the former institution that realized more than a thousand projects in public space in the Netherlands over the past three decades.

The selected films are those by Dutch artists Jan Dibbets ("6 Hours Tide Object with Correction of Perspective", watch the making of part 1 and part 2), and Marjolijn Dijkman's "Surviving New Land" (watch a low res view here), and are screened between 3-16 October as part of the larger film programme "Constructed Sceneries" curated by High& Low Bureau (Yael Messer and Gilad Reich).

On Saturday 3 October at 8pm, High& Low Bureau will talk about their practice in relation to the subjects in the film programme. They will be joint by 'Scenographies' curator, Clare Butcher.

+ info:
Photos of Jan Dibbets' film here
Photos of Marjolijn Dijkman film here.
Info on the exhibition 'Scenographies', here (as a pdf)
Portscapes website.

 Production of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets. Photo: Paloma Polo / SKOR.

This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
All photos: Latitudes (except when noted otherwise in the photo caption). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Screening of Jan Dibbets' film '6 Hours Tide Object with Correction of Perspective', every Sunday between 14 June and 5 July, FutureLand, Rotterdam



We are pleased to announce the presentation of Jan Dibbets' film '6 Hours Tide Object with Correction of Perspective' (2009) which will take place on Sunday 14 June, in FutureLand, the visitor centre of the Port of Rotterdam Authority [Map here]. 


Jan Dibbets, '6 Hours Tide Object with Correction of Perspective' (2009), 8 min video, film still. Courtesy of the artist, Port of Rotterdam Authority and SKOR.

The screening of '6 Hours Tide Object...' will take place on Sunday 14 June and will be repeated on Sunday 21 June, Sunday 28 June and Sunday 5 July at 13.00, 13.30, 14.00, 14.30 and at 15.00 (a special screening preceded by the 'The Making of...').


Jan Dibbets, '6 Hours Tide Object with Correction of Perspective' (2009), 8 min video, film still. Courtesy of the artist, Port of Rotterdam Authority and SKOR.

First realised in February 1969 as part of Gerry Schum's seminal Fernsehgalerie I ‘Land Art’ series of films screened on German TV, the 2009 realisation of '12 Hours Tide Object with Correction of Perspective' was filmed forty years later to the month (see our 10 February post with production stills), on the beach of the Maasvlakte. The resulting film titled '6 Hours Tide Object...' is the first project of Portscapes, an accumulative series of newly commissioned projects that will take place throughout 2009 alongside the construction of Maasvlakte 2.

For more details on the screenings please check www.portscapes.com | www.portscapes.nl

 
Jan Dibbets, '6 Hours Tide Object with Correction of Perspective' (2009), 8 min video, film still. Courtesy of the artist, Port of Rotterdam Authority and SKOR.

If you would like to receive Portscapes' newsletters, please subscribe here.

FutureLand is situated on the edge of the current Maasvlakte, in Europaweg 902 (500m from the Routiers restaurant). Free admission.

Portscapes
is commissioned by the Port of Rotterdam Authority with advice and financial support from SKOR (Foundation for Art and Public Space, Amsterdam) and is curated by Latitudes.


Jan Dibbets, '6 Hours Tide Object with Correction of Perspective' (2009), 8 min video, film still. Courtesy of the artist, Port of Rotterdam Authority and SKOR.


Film credits:

 
Jan Dibbets '6 hours tide object with correction of perspective', 1969-2009, Maasvlakte beach, Rotterdam

Camera: Fijko van Leeuwen
Montage: Rutger Hesseling
Recording: 8 February 2009
Film duration: 8 minutes

Film commissioned by the Port of Rotterdam, www.maasvlakte2.com with advice and financial support from SKOR (Foundation Art and Public Space), www.skor.nl

This project was realised as part of 'Portscapes' a series of newly commissioned art projects realised alongside the construction of Maasvlakte 2, the extension to the Port of Rotterdam. 'Portscapes' is curated by Latitudes, www.lttds.org

With thanks to Jan Vader, Jan Willem Stoof and PUMA Extension Project Organisation Maasvlakte

Text on the film programme 'Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008', Art&Co #5 (Winter 2009)

Coinciding with the conclusion of the screenings of the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' last October, Latitudes was asked to write a text on the films for Art&Co, which has just been published in their Winter 09 issue num. 5 – see pages above (click on the image to zoom in the text).




Following an excerpt of the original text (which totals over 2,000 words):

"(...) Latitudes developed the film programme 'A Stake in the Mud, A Hole in the Reel: Land Art’s Expanded Field, 1968–2008' at the invitation of the Museo Tamayo Arte Contemporáneo in Mexico City. Premiering there in April 2008 as part of the Tamayo’s 'Panorámica' series, 'A Stake in the Mud...' has since toured to several venues throughout Europe within an auditorium-based screening format, presenting historical works alongside those produced in the last six years.

What were the possibilities for augmenting preordained definitions of so-called Land Art through relation with contemporary practices, and social and environmental ecologies? Though the cycle had its germination in our work on a publication – 'Land, Art: A Cultural Ecology Handbook' (2006) – the dimension of film clearly proposed additional sets of concerns. The title of the programme was drawn from words of Robert Smithson in which he speculates on the site and film of perhaps the most renowned – and certainly most photogenic – of the works associated with Land Art, 'Spiral Jetty' (1970). It attempts to surmise the programme’s dual concern with sheer materiality and physical processes together with the lacunae of filmic representation. Where artists’ use of film or video might appear as a solution to the problem of how to represent something that would otherwise be inaccessible (an intervention in a remote area, for example) or otherwise ephemeral, it apparently creates another – what, or where, does the artwork consist of? Accordingly, what is the status of each film: informal artifact, ‘making of’ movie, documentary, autonomous fiction or something else?


(...)Accordingly, the programme enhanced several ‘Smithsonian’ dialogues across time, but rarely was the magnetism openly declared or intentional. Included in part two of the programme, 'Zênite invertido/Inverted Zenith' (2005) by Brazilian-artist Thiago Rocha Pitta portrayed a mesmerising vortex of water in a metal vessel which slowly diminishes in volume before a steady resurgence. The work supports a tacit mythical connection to Spiral Jetty and its own narratives of mirroring and reversal, but also to the cosmic whirlpools evoked in Edgar Allan Poe’s tale ‘A Descent into the Maelström’. A concern with remoteness, together with the powerful allure of specific sites, threaded throughout the cycle. The itinerary took in the sewers of New York City and Vienna (through works by Gordon Matta-Clark and Hans Schabus), the deserts of the US (Mario Garcia Torres or Walter De Maria), high mountain zones (Ibon Aranberri, Maria Thereza Alves), as well as the paradisiac beaches of Taveuni (Nikolaj Recke), for example. Territorial sculptural acts (Barry Flanagan or Walter de Maria, for example) were encountered, as well as displacements more legible as social or political actions (in the work by Francis Alÿs). Absurd gestures (Damián Ortega) met touristic views of natural phenomena (Nancy Holt & Smithson) while perspectival experiments (Jan Dibbets) greeted ecological remarks (Donna Conlon)."

'Mono Lake' (1968/2004) by Robert Smithson and Nancy Holt is one of the films included in the first part of the programme which we just learned was acquired in 2007 by the Museo Nacional Centro de Arte Reina Sofia in Madrid. Here an acquisition entry on the piece (in Spanish). 

Full article available for download from Latitudes' writing archive here.

Further documentation such as hand programmes, press reviews, adverts, etc. here; Photodocumentation of the screenings here.


Art&Co is a bilingual Spanish/English quarterly magazine published by the Asociación Amigos de ARCO


Editorial Director: Ángela Molina
Contact: [email protected] or (+34) 917 225 102
More info
: http://www.arco.ifema.es (see 'Publications')

Final dates 'Stake in the Mud...' film programme screenings

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

19 October 2008
, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition '
Richard Long and Simon Starling', 4 October - 23 November 2008)
25 October
 2008, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')

Both of these screenings will present a selection of the material that conformed the programme, as follows:



Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen.

Part 1 (duration 32' in Bristol and 52' in Móstoles)
 
· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.· Nancy Holt (1938 Worcester, US. Lives in New Mexico, US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" NOTE: Only screened at the Centro Dos de Mayo

 

Francis Alÿs (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich.

Part 2 (duration 1h 15min)

·
Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
·
Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
·
Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
·
Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
·
Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
·
Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
·
Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
·
Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
·
Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
·
Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
·
Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''


Read all press material that has appeared to date here 

Wiew a slideshow of some screenings here.


Ciclo film y video en el Nivell Zero, Fundació Suñol, 7-8 Julio 2008, 19.30h


Invitación a las proyecciones en la Fundació Suñol, Barcelona.

Después de las presentaciones en México, Vigo, Basilea y Sevilla continuamos con la itinerancia del ciclo de film y video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'. La próxima proyección será en el Nivell Zero de la Fundació Suñol, Barcelona, el 7 y 8 Julio a las 19.30h.

El ciclo se divide en dos partes: la primera proyección (7 Julio, 1h 38m duración) muestra obras clásicas del Land Art realizadas en los sesenta y setenta (algunas son post-producciones del 2004 y 2005) y la segunda parte (8 Julio, 1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años. Para más información sobre los films que se proyectan, véase programa (castellano) o la invitación (catalán).

Aforo limitado | 2 € por sesión | Reserva previa: 93 496 10 32

Nivell Zero de la Fundació Suñol
c/ Rosselló 240
08008 – Barcelona
T 93 496 10 32
www.fundaciosunol.org

Programas anteriores y prensa, aquí.

El viernes 11 de Julio, a las 11.30am presentaremos el programa en una granja en la Wilheminapolder (véanse fotos), Holanda, como parte de una serie de encargos artísticos que está llevando a cabo SKOR (la Fundación de arte y espacio público de Amsterdam) en la zona. Para más información (en inglés).

SKOR organiza un autobús desde Amsterdam hacia la Wilheminapolder. El bus saldrá a las 9am desde sus oficinas en Ruysdaelkade 2. Coste transporte: € 10.00 (evento y comida = € 17.50). Para registrarse escribir a [email protected] o llamar al: +31 0118-611443.

Durante el trayecto se podrá escuchar la banda sonora realizada especialmente para la ocasión por Rutger Zuydervedt, conocido como Machinefabriek.


Franero Hongersdijk en la Wilheminapolder, Holanda.

Proyección 'Una Estaca en el lodo...' CAAC, Sevilla, 24–25 Junio, 20h


Los días 24 y 25 de Junio, a las 20h, se proyectará el ciclo 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' que Latitudes ha comisariado en el Centro Andaluz de Arte Contemporáneo (CAAC, Sevilla). El programa revisa una selección de imágenes en movimiento que forman parte de la memoria histórica de Land Art (Parte 1, 1h38m), acompañadas de producciones de artistas contemporáneos (Parte 2, 1h15m).

Próximas proyecciones: 7–8 Julio, Fundació Suñol, Barcelona; y 11 Julio, antiguo granero Hongersdijk Farmstead, Wilheminapolder, Holanda (auspiciada por SKOR Foundation Art and Public Space, Amsterdam).

Más información http://www.lttds.org/projects/current/stake/stake.html
Descargar los programas de mano (inglés y español)

 

Centro Andaluz de Arte Contemporáneo
Monasterio de la Cartuja de Sta. Mª de las Cuevas
Acceso: Avda. Américo Vespucio nº 2, Isla de la Cartuja y
Avda de los Descubrimientos s/n (por pasarela de Torneo)
41092 SEVILLA
Tel. +34 955 037 070
www.caac.es



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

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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