Longitudes

Photodocumentation of the five commissions 'Composiciones' now on flickr

'Composiciones', five new commissions for the Barcelona Gallery Weekend, 1–4 October 2015.

We just uploaded photos of the five new commissions "Composiciones" on Latitudes' flickr. These projects by artists active in the Barcelona art scene complemented the first Barcelona Gallery Weekend (1–4 October 2015) programme of exhibitions and events

Each intervention responded to site and context-specific private and public location outside the contemporary art circuit – a private psychoanalytic library, the former home of the director of a ceramics factory, a public botanical collection, the home of a former priest and an invertebrate fossile collection.

Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Composiciones offered moments of interruption, intimacy and immersion throughout the weekend.


 Map of the five locations for the temporary projects. 

Also on our website (highlighted in yellow where to locate it) you'll find the links to the audio and video documentation of the three talks led by Dora García as part of her intervention at the Biblioteca del Campo Freudiano. We recommend you read a nicely written account of these three sessions (in Spanish) by two of its participants.



On the same page and under 'Related content' you will find links to the press coverage related to 'Composiciones'. The most extensive and in depth review so far has been this considered and detailed blog entry by Barcelona-based art critic and curator Fede Montornés, which of course made us really happy

And last but not least, we gathered the many tweets, instagram, press links, etc. that appeared in the last few weeks in Storify.






#BarcelonaGalleryWeekend
#Composiciones

Related content:


Storify – Social media archive 

Details of the Barcelona Gallery Weekend programme

Instagram of the Barcelona Gallery Weekend
 
PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015 


NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015



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).

Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

'Compositions' a programme of five artists' interventions for the first Barcelona Gallery Weekend, 1–4 October 2015

'Save the date' cards of the Barcelona Gallery Weekend. Graphic design: Hey Studio.

Latitudes is curating Compositions a programme of five newly commissioned temporary interventions specially produced for the first Barcelona Gallery Weekend (1–4 October 2015).

With the aim of distinguishing the Barcelona gallery weekend from similar initiatives, Latitudes' project Compositions compliments the existing calendar of exhibitions in galleries and museums by commissioning six artists active in the Barcelona art scene, to develop a series of public interventions responding to singular locations – sites significant for their architecture or their history. Here's a map of the five locations.

Latitudes has invited artists David Bestué (Barcelona, 1980. Lives in Barcelona); Dora García (Valladolid, 1965. Lives in Barcelona), Jordi Mitjà (Figueres, 1970. Lives between Lladó and Banyoles); Rasmus Nilausen (Copenhagen, 1980. Lives in Barcelona) & Pere Llobera (Barcelona, 1970. Lives in Barcelona) and Daniel Steegmann Mangrané (Barcelona, 1977. Lives in Rio de Janeiro, Brazil) to produce site-specific temporary installations and one-off performances. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, Compositions offers moments of interruption, intimacy and immersion throughout the weekend. 



Cosme Toda factory complex. 
Home of the former director of the ceramic factory Cosme Toda. c/Enric Prat de la Riba 60, L'Hospitalet de Llobregat.
Opening hours: Thursday 1 October, 5–9pm;  
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

David Bestué is primarily a sculptor who is fascinated by architecture – not with its hubristic icons or celebrity heroism, but by the very normality with which architectonic tropes underpin an emotional understanding of form.

For Compositions Bestué is producing a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Sited in the domestic setting of the Director’s house within the former Cosme Toda ceramics and tile factory, the installation is companioned by a sculptural intervention recuperating pieces found in the factory, linking to Bestué's ongoing interest in the evolution of architectural materials and building techniques.



Freudian Field Library in Barcelona located at Avinguda Diagonal 333, 3º 1ª. Opening hours: Thursday 1 and Friday 2 October 5–9pm; Saturday 3 October 10am–2pm. Sunday 4 October closed.

Dora García's collaborations and performances engage with radicalism, inadequacy and the marginal. Her contribution to Compositions consists in pointing out the wealth of information and the activites programmed by the Freudian Field Library in Barcelona, an organisation founded in 1977 by Argentinean Oscar Masotta (1930–1979). García's intervention considers the library as a knot which ties together art, psychoanalysis and literature.

A display of publications drawn from the library shelves and three conversations will activate the space over consecutive days. The first talk (1 October, 7pm), a "solo" by García, will focus on the library's holdings of literary fiction. The second talk on October 2nd, at 7pm will be a group conversation moderated by García, amongst Miquel Bassols, Enric Berenguer, Rosa Calvet, Estela Paskvan and Montserrat Rodríguez, who will discuss the founding of the library and its ongoing role in Barcelona, and the final event on October 3 at 10am will be a conversation around the work of Irish novelist James Joyce and French psychiatrist and psichologist Jacques Lacan, between García and psychoanalyst Xavier Esqué and Patrick Bohan, who has worked at the James Joyce Center in Dublin. 


Former priest house, Gardens of La Central del Raval, located at Carrer d'Elisabets 8. Opening hours: Thursday 1 October, 5–9pm; Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

Rasmus Nilausen and Pere Llobera are painters that approach painting with a respect – at times melancholic, sometimes parodic – for its traditional genres and its ancient integrity as a craft. Nilausen’s canvases have often taken on ‘minor’ or anecdotal subjects such as candles or vegetables. Llobera frequently addresses the perils virtuosity and painterly heroism in his paradoxical, restless works. Nilausen and Llobera share a workspace in the Salamina studios in L’Hospitalet de Llobregat – which they cofounded – yet the invitation to collaborate in a presentation for Compositions is the first time they are exhibiting together.

In the Gardens of La Central del Raval their works occupy a former priest's house and explore "acheiropoietic" images – those that have supposedly come into being not by human hand, but miraculously. The Veil of Veronica, for example, refers to various Catholic relics and icons which tell of a piece of cloth said to have been imprinted with the image of the face of Jesus.


 

 Geological Museum of the Seminary of Barcelona is in Carrer de la Diputació, 231.
Opening hours: Thursday 1 October, 5–9pm; 
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

Jordi Mitjà’s recent “povera” approach to sculpture, has comprised works utilizing discarded wood, metal, burned paper and clay. His contribution to Compositions takes place in the Geological Museum of the Seminary of Barcelona – an institution dedicated to paleontology and the study of fossils since 1874.


Mitjà considers the borders between evolutionary biology and the ancient geology of Catalonia in an installation which focusses on a primitive relationship between materials and morphology. A series of overheard projectors illuminate the central space of the museum with a panoply of images, shadows and geometries – layers that are unearthed by Mitjà’s exploration of the geospatial taxonomy of this unique collection of 70,000 specimens.


 
Opening hours: Thursday 1 October, 5–9pm;
Friday 2, Saturday 3 and Sunday 4: 11am–8pm.

The art of Daniel Steegmann Mangrané hinges on the natural and the geometric, often splicing the unfathomable dimension of the forests of his adopted home Brazil with the clear lines of abstraction and man-made order.

His contribution to Compositions takes place amongst the subtropical plants of the 1887 Umbracle (shade house) in the Parc de la Ciutadella and centres on the acoustic installation “Surucuá, Teque-teque, Arara” (2012). We hear sounds that were recorded along a 60 metre transect through a section of the Atlantic Rainforest of Brazil, the tropical forest that Portuguese colonists would have encountered on their arrival in the year 1500. The sound loop reproduces the disembodied calls of colourful birds such as trogons and macaws which merge with the ambient sounds of the city. As if a 1:1 scale collage, the artifice of an urban botanical collection becomes intertwined with an acoustic slice of the authentically wild.

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Calendar of Related Events and Guided Visits

Thursday 1 October, 5pm:
Guided tour of the intervention by Jordi Mitjà at the Museu Geològic del Seminari de Barcelona by the artist and Latitudes.
c/ Diputació, 231

Thursday 1 October, 7pm:
Guided tour of the intervention and talk by Dora García on the library holdings of literary fiction, Biblioteca del Campo Freudiano de Barcelona (Library of the Freudian Field).
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations: [email protected]

Friday 2 October, noon:
Guided tour of the intervention by Daniel Steegmann Mangrané at the Umbracle del Parc de la Ciutadella by the artist and Latitudes.
Passeig Picasso, 13

Friday 2 October, 7pm:
Conversation moderated by Dora García with Miquel Bassols, Enric Berenguer, Rosa Calvet, Estela Paskvan and Montserrat Rodríguez, on the origins of the Biblioteca del Campo Freudiano de Barcelona, its founder Óscar Masotta and the Barcelona of 1977.
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations:
[email protected]

Friday 2 October, 7:30pm:
Guided tour of the intervention by David Bestué at the house of the former director of the Cosme Toda factory by the artist and Latitudes.
c/ Enric Prat de la Riba, 60
L’Hospitalet de Llobregat

Saturday 3 October, 10am:
Conversation between Dora García and the psychoanalyst and psychologist Xavier Esqué at the Biblioteca del Campo Freudiano around James Joyce and Jacques Lacan.
Avda. Diagonal 333, 3º 1ª
Limited seating. Reservations:
[email protected]

Sunday 4 October, noon:
Guided tour of the intervention by Rasmus Nilausen and Pere Llobera at the Jardines de La Central del Raval by the artists and Latitudes.
c/ Elisabets, 8

Additionally, ARCO Foundation offers ARCO Gallery Walks, five free guided tours around the galleries throughout the weekend. Limited places. Pre-registration required: [email protected]

Thursday 1 October
Route Eixample South
Meeting place: Galería Joan Prats at 5pm

Friday 2 October
Route Ciutat Vella – Born
Meeting place: Galería Senda at 11am

Route Montjuïc – L’Hospitalet
Meeting place: Galería Carles Taché at 5pm

Saturday 3 October
Route Ciutat Vella – Raval
Meeting place: etHALL at 11am

Route Eixample North
Meeting place: ADN Galería at 5pm

The Barcelona Gallery Weekend is an initiative of the Asociación de Galerías de Arte Contemporáneo Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ministerio de Educación, Cultura y Deporte; and the Ajuntament de L’Hospitalet de Llobregat.

http://www.barcelonagalleryweekend.com/

Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes, 24 Abril 2013, Barcelona

Cartel "Salvem Can Felipa" de Quim Packard colgado en la zona común de los estudios en Hangar.

El pasado 24 de Abril, cinco miembros de la Comisión de Programas 2010–2013 de Hangar (formado por Àlex Mitrani, Joan Vilapuig, Jordi Mitjà, Dora Garcia (ausente) y Max Andrews y Mariana Cánepa Luna de Latitudes) realizó una de las visitas periódicas a los artistas residentes en el centro de Poble Nou, en este caso a Llobet y Pons; Quim Packard; Aggtelek; Rasmus Nilausen; Marla Jacarilla, Raúl Nieves (blablabLAB) y Mireia c. Saladrigues

A continuación un breve sumario que recoge los tuits que publicamos durante la visita (véase https://twitter.com/lttds).

Llobet y Pons (dúo formado por Jasmina Llobet y Luis Fernandez Pons) acaban de participar en la Setouchi Triennale 2013, Japón, donde han presentado la pieza "No one wins – Minibasket". Asímismo hemos visto sus últimas investigaciones con piezas realizadas con pasta dental endurecida; al pulido de diamantes que realizaron durante una residencia en Lokaal01, Amberes, o sobre la reconversión de materiales, como es el caso de 'Ex-Fork' presentada recientemente en Can Felipa. 


Quim Packard actualmente está desarrollando "Historias de amor y odio", un "relato en formado dibujo que se emite diariamente, a partir del 15 de abril, vía redes sociales (véase tumblr aquí) y que finaliza en un concierto / performance en la Capsa Jove de Tarragona, el día 24 de abril a las 19h; en motivo de la presentación de la publicación 2012 del CA Tarragona Centro de Arte" (web de Hangar).

 
En el estudio del dúo Aggtelek (Gema Perales and Xandro Valles) vimos la serie de pinturas realizadas a partir de collages que envían a una de las fábricas de producción (prácticamente mecánica) de pintura en China para su realización. Éstas han sido recientemente presentadas en la Galería José Robles en Madrid, y próximamente se presentará un conjunto similar en 18a edición de la feria Liste en Basilea con la galería Exile de Berlin.


Marla Jacarilla fue ganadora de la reciente convocatoria BCN Producció 2013 con el proyecto "Acotaciones tras la cuarta pared" que inaugurará el próximo 15 de Mayo en el Espai Cub de La Capella en Barcelona. "'Acotaciones tras la cuarta pared' es un drama en cuatro actos cuyo tono oscila entre lo trágico, cómico, fársico y metalingüístico. Una historia en la que un presunto demiurgo conversa con personajes existentes que pertenecen a otras obras teatrales y que se han trasladado al momento actual" (web de La Capella).

En el 2012 Rasmus Nilausen expuso 'Sisyphus, rhopography and a headless chicken' (ver video) en el espacio de La Capella (como ganador de la convocatoria BCN Producció 2012), Barcelona y en el 2013 tuvo la exposición 'Still' en la nueva galería madrileña García Galería.


Raúl Nieves del dúo blablabLAB nos presentó su trabajo con impresoras 3D y herramientas de código libre que realiza a través de talleres programados periódicamente desde Hangar.

La entrevista con Mireia c. Saladrigues tuvo lugar en skype ya que se encuentra preparando 'No tocar, por favor', una exposición colectiva en el ARTIUM de Vitoria, comisariada por Jorge Luis Marzo (blog del proyecto aquí) que inaugura en un par de semanas en Vitoria.


All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
 

Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.


'THE LAST MONITOR' AVAILABLE NOW! #5 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum


Issue 5: The Last Monitor
(READ IT ON ISSUU)
 
November 3, 2010


Cover: ‘Today & Yesterday’. Gustav Metzger, Eichmann and the Angel, 2005.
Exclusive interview: Janine Armin on 'The Last Newspaper's work 'Eating the Wall Street Journal' by William Pope L.
Cover Story: Sophie O’Brien on Gustav Metzger
‘Picture Agent: Our singular picture agency’: Jordan Wolfson, artist
The Next Newspaper: Irina Chernyakova on ‘The San Francisco Panorama’
Fit to Print: Adam Chadwick on the digital divide
100 Years Ago…: ‘The Bisbee Daily Review’, 1901–1971, November 3, 1910
Media Habits: Mark von Schlegell, science fiction novelist and art essayist
Focus: Marcel Janco on Sarah Charlesworth
‘Readers’ Lives’: 'Paper-Weight Champion', Inveterate collector Harley Spiller – who recently completed a masters thesis, ‘On Newsstands Now! A History of Paperweights and Newsstand Advertising’ – weighs up the ‘pisapapeles’, ‘Papierbeschwere’, and 鎮紙 of the world.
Feature: ‘Heralding the Gizmo’ Max Andrews on Kirstine Roepstorff
‘Readers’ Lives’ by Marc D’Andre
Infographic: Facebook poll: where does the New Museum's audience get their information?
Cartoon: ‘The Woods: Tools’ by Francesc Ruiz
‘Advertising Department’: Ester Partegàs with Holly Coulis and Ridley Howard

Watch this and other 'The Last...' issues on Latitudes' Youtube Channel


EXCLUSIVE CONTENT!

All images courtesy Harley Spiller. Photos: Micki Spiller

PAPER -WEIGHT CHAMPION
Inveterate collector Harley Spiller – who recently completed a masters thesis, ‘On Newsstands Now! A History of Paperweights and Newsstand Advertising’ – weighs up the ‘pisapapeles’, ‘Papierbeschwere’, and 鎮紙 of the world.


Newsstand paperweights – the usually cast-iron weights that saw their heyday in the 1950s on newsstands across the world – bear the insignia of newspapers and magazines like the New York Times, Toronto Star, Saturday Evening Post, Time, Life, and Newsweek. The Mortimer Spiller Company, Inc., my parents’ advertising and sales promotion business, manufactured and sold these weights from the late 1940s through the mid 1980s. A century of their concerted collecting and documentation efforts has resulted in an archive of 151 unique international newsstand weights, plus the original carved mahogany prototypes, news-dealer aprons and caps, business correspondence, photographs, almost 1,000 news clippings, and more.


Advertising and the media have always been linked. The nation’s first mass-market newspapers and magazines arrived in the 1890s and 1900s, their very existence made possible by advertising fees collected from large corporations and retailers. The first weights to hold down newspapers may have been well-worn horseshoes, which were readily available at the onset of the 20th century, about the time automobiles started replacing horses. Paperweights forged expressly for newsstand use started appearing shortly thereafter, and by mid-century they were a fixture on the urban scene.

In the 1950s and 1960s, some of the thousands of weights Spiller was making were shipped overseas by Life, Time, and the Herald Tribune. These weights were deployed on the handful of major newsstands that sold international publications in London, Paris, and other European capitals. Of the 45 total weights my father collected overseas, from the 1970s until 2005, there are 37 in languages other than English.

The weights Spiller collected on Barcelona’s Las Ramblas, where throngs of people go to shop, sit in public, people-watch, and while away the time, run the gamut from a rudimentary and well-used bent-steel ingot with its painted name La Visión, almost completely obliterated, to gorgeous heavily lacquered enamel and polished metal specimens from periodicals like ABC and El Mundo.

One of the heaviest weights in the collection is a 3 1/4 pound (1.5 kg) metal and plastic rectangle for the German weekly newsmagazine Der Spiegel, its colors reminiscent of Germany’s national flag. Less sophisticated weights made from blocks of wood in countries like Thailand and Venezuela reflect these nations’ less-industrialized position in the world, yet the New York Times has also used wooden weights, and other American publications, such as The National and BackStage have found it cost-effective to produce low-end particle board models.

In the late 20th century people in the United States bought, according to Thomas C. Leonard, “less than half as many newspapers per capita than the Japanese, the Finns, and the Swedes; the British and the Germans also were better customers”. According to the United Nations Development Programme’s 2009 Human Development Report, these six nationalities have the same 99% adult literacy rate, but New York City, perhaps because it is a great city for walking, seems to have the most newsstands and weights per capita in the world. Literacy is but one crucial factor in the sale of print media. Three other important factors in the prominence of newsstands and weights are a well-established culture of media advertising; locations within swarming transportation hubs where people have time to kill, or near heavily trafficked pedestrian areas (or in the case of Los Angeles, near slow-moving traffic jams); and a lively competition among an abundant array of publications. Despite the fact that Cubans are voracious consumers of news and boast an adult literacy tied for first in the world at 99.8 per cent, for example, politics on La Isla are such that news dealers are few and far between. One scantily stocked Havana news shanty opens on Sunday mornings only. Its lines are long, its newspapers are much in demand.

In Japan, newspapers and magazines are commonly sold at train stations and other relatively wind-free indoor or semi-sheltered locations. Publications are ordinarily kept in pristine condition until they are handed over to the customer. Outdoor newsstands are uncommon but some Japanese dealers put their publications in outdoor wire racks especially designed to obviate the need for weights.
The paperweight for The China Press (which goes by the name ‘Overseas Chinese Newspaper’ in Chinese) claims its “rich content” can “heal the homesickness of overseas Chinese” by allowing readers to “contact the feeling” of the mainland. No matter where they are published or distributed, newspapers and magazines provide a link to their land of origin.
Back in Manhattan, for many years, the place to find print journalism from near and far was Hotalings, also known as the Out of Town Newspaper Agency. Hotalings was often the only link between people in New York and their lands of birth. For many others it was the best place to look for jobs and news from outside Gotham. Its huge selection meant customers could find everything from Pravda to Paris Match to Polish Engineering. Founded in 1905, Hotalings newsstands were located over the years in various parts of Times Square, from teeming street corners to the former New York Times Building to a tourist information kiosk on Broadway and 46th Street. New York City’s ever-shifting demographics have long been paralleled by Hotalings’ clientele. “We don't get the crowds from the theater district anymore. People don't roam in Times Square like they used to. It used to be mostly Western Europeans or people interested in Europe,” said Arthur Hotaling, the founder’s grandson, in 1988. “Now we get a lot more people from Latin America and the third world.” Despite efforts in the 1990s to spruce up the store and expand its offerings, the 105-year-old business is today a wholesale-only operation.

The pageantry of print media is in flux. Single-copy sales are down and impulse purchases are more sporadic. Will newspapers and magazines go the way of buggy whips and coin-operated telephones? No one knows, but one thing’s certain – the cast-iron cameos known as newsstand paperweights will last a long time.

Submit your story by emailing ‘The Last Monitor’: [email protected]

LAST CHANCE: 'Provenances', Umberto di Marino, Naples & 'Sequelism Part 3: Possible, Probable or Preferable Futures', Arnolfini, Bristol, UK

Jordi Mitjà 'Floating Lines' (2009). Photo: Danilo Donzelli.

Installation view of Erick Beltrán's works: 'Euridice' (ink on gold leaf on oak leaves, text on paper); 'Creusa' (ash from Vesuvius, text on paper); 'Sybil of Cumea' (inscribed tufo stone, text on paper); 'Ildeth' (carved salt from Spiral Jetty, text on paper). All works from 2009. Photo: Danilo Donzelli.

Simon Fujiwara, 'The Museum of Incest', 2008-ongoing, hexagonal table, chairs, projection screen, wood veneer panelling, vinyl mural, map, framed portraits, six framed book pages (“The Incest Museum Cast of Actors”), slide projection loop, Museum orientation video (25 min.), Museum guidebooks, various objects and artefacts. Photo: Danilo Donzelli.

'Provenances'
Erick Beltrán, Jordi Mitjà and Simon Fujiwara
Umberto di Marino Arte Contemporanea, Naples, Italy

until 14 September 2009

EXHIBITION PHOTO TOUR HERE.

'Provenances' reflects on the heritage industry and the museumification of history, as well as the creation, transmission and fidelity of cultural worth. The artists share an aesthetic and pragmatic concern with the principle of the personal archive or the pre-museal wunderkammer – the categorization and veracity of objects, images and words is always provisional. + info...

Erick Beltrán presents four works each focussed around a relic-like artifact made of a particular natural substance. Each object is accompanied by a text-diagram, and together they elicit a dense proliferation of references, narratives, contexts and interconnections. In 'Floating Lines' (2009) Jordi Mitjà reflects on practices of information retrieval, falsification and accumulation. In his seemingly-sparse installation, clusters of photocollages are hidden from immediate view by a string curtain which protects them from light while necessitating the visitor’s gesture in order to reveal them. Simon Fujiwara's 'The Museum of Incest' (2009) is a multipart project which unearths an implicit myth of human origins and an explicit sexual archeology. Fujiwara realised the performance-lecture 'The Museum of Incest. A Guided Tour' during the opening night. 

A guide of the museum has been published by Archive Books (Softcover / 21 x 15cm / 52pp / ISBN 978-88-95702-09-4).

Press links here.

UMBERTO DI MARINO
Via Alabardieri 1, Piazza dei Martiri 
80121 Napoli, ITALIA
Opening hours: Mon-Sat 15–20h

'Provenances' has been kindly supported by the Institut Ramon Llull.


Haegue Yang, 'Holiday for Tomorrow', 2007. Painted wooden screens with metal feet (Yes-I-Know-Screen); PVC, shells (Shell Sculpture); 10 coloured Venetian blinds, steel cable (Blind Department); wooden platform with monitor showing 13 min DVD (Holiday Story). Courtesy of the artist and Barbara Wien, Berlin. Photo: Carl Newland.

Francesc Ruiz, 'Untitled' (Bristol) (2009). Self-adhesive digital prints. Courtesy of the artist, Maribel López Gallery, Berlin and Galeria Estrany-De la Mota, Barcelona. Photo: Carl Newland.

Victor Man, Untitled (we die,) (2008) Neon, vinyl. Courtesy of the artist and Johnen Galerie, Berlin; Untitled (Towards an Absent Friend) (2008) Funerary ceramic with rubber mat. Courtesy the artist and Zero..., Milan; Untitled (2009) Steel and taxidermy fox head. Courtesy of the artist and Zero..., Milan. Photo: Latitudes 
 
'Sequelism Part 3: Possible, Probable or Preferable Futures'
Arnolfini, Bristol, United Kingdom
until 20 September 2009
Free admission

 

EXHIBITION PHOTO TOUR HERE.

Artists: Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj), Francesc Ruiz (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1977, Malaysia. Lives in Berlin/Singapore), (1971 Seoul. Lives in Berlin/Seoul)

Curated by: Nav Haq (Curator, Arnolfini) and Latitudes

'Sequelism...' is an exhibition reflecting on the future and that which is yet to happen. It looks at the political, social and ecological implications of the inexact arena of futurology: the science and interdisciplinary practice of postulating possible, probable, and preferable futures from the present. This is the first in a trilogy of Sequelism exhibitions, with Part 2 in 2010. + info...

More on the public programme related to the exhibition on http://futurologyprogramme.org

Arnolfini 16 Narrow Quay
Bristol BS1 4QA
UNITED KINGDOM

Opens: 10am-6pm Tues-Sun & Bank Holiday Mondays. Closed Mondays. Free entrance
'Sequelism' is generously supported by the Institut Ramon Llull and the Sociedad Estatal para la Acción Cultural en el Exterior (SEACEX), IFA, the National Arts Council Singapore and The Ratiu Family.

Slideshows of two projects: 'Provenances' at Umberto di Marino and 'Nothing, or Something' at SUITCASE Art Projects Beijing


We have updated our web and uploaded images of two recent projects: 'Provenances' an exhibition at Umberto di Marino, Naples, and 'Nothing or Something', SUITCASE Art Projects, Beijing:

'Provenances' [PHOTO GALLERY] opened on May 14th at Umberto di Marino, Naples, and is composed of three specially-commissioned solo presentations by Erick Beltrán, Simon Fujiwara and Jordi Mitjà. The exhibition reflects on the heritage industry and the museumification of history, as well as the creation, transmission and fidelity of cultural worth. On view until 14 September. + info

UMBERTO DI MARINO 
Via Alabardieri 1
Piazza dei Martiri
80121 Napoli, ITALY
Opening hours: Mon-Sat 15–20h



Ignasi Aballí's new project [photo gallery here] for the eight windows of SUITCASE Art Projects responds to the retail context of the Yintai Centre as well as an artistic history of absence, nothingness and invisibility. + info

Suitcase Art Projects
Park Life, Beijing Yintai Centre, No. 2 Jianwai Dajie, 
Chaoyang District, Beijing, CHINA 
Opening Hours: 10am–10pm, Monday–Sunday


Please join us on Thursday 28th May 20h, at the opening of 'The Garden of Forking Paths', a group exhibition at Maisterravalbuena, Madrid. The exhibition brings together the work of Eric Bell & Kristoffer Frick; The Infinite Library (Daniel Gustav Cramer & Haris Epaminonda); huber.huber; Leslie Hewitt & Matt Keegan and Nashashibi/Skaer, five artist-duos to consider duality, simultaneity, saturation and proliferation. On view until 18 July 2009. + info

MAISTERRAVALBUENA
 
Doctor Fourquet 1
28012 Madrid
Opening: Mon-Fri 10-14;15.30-19.30; Sat 10-18pm

[Photos: Simon Fujiwara, 'The Museum of Incest', installation at 'Provenances', Courtesy of teh artist. Photo: Simon Fujiwara; Visitors seeing 'Scenic Views' by Ignasi Aballí and Daniel Gustav Gramer & Haris Epaminonda 'Book #7: Walther Haage, 'Das praktische Kakteenbuch in Farben', Neumann Verlag, Radebeul, 1966 & Tibor Déry, 'Der Balaton', Druckerei Kosuth, Budapest, 1968' Courtesy the artists. Below: huber.huber, 'Mikrouniversum und andere kleine Systeme IV', 2009. Courtesy the artists]

Jordi Mitjà at Bòlit, Centre d'Art Contemporani in Girona

"From Excess. Recipes for an architecture of accumulative thought" is the title of Jordi Mitjà's contribution to the group show In construction. Recipes from Scarcity, Ubiquity and Excess, the inaugural show – in two temporary spaces – of BÒLIT, the soon-to-open Centre d'Art Contemporani in Girona, Spain, directed by Rosa Pera.


Mitjà's project comprises the installation Espai Diògenes (see images above; last two from Santiago Cirugeda's Niu project); the documentary cycle Diogenes Cinema and Anatomia Diògenes, a beautiful publication published by Crani (www.crani.org) that compiles photographic material accumulated in the Empordà region between 1988 and 2008.

Mitjà's Espai Diògenes continues the investigative spirit of previous projects such as the film Concèntric. Poble petit, infern gegant (presented in 2006–7 at Espai Zero1, Olot) drawing on found documents, films from amateur film-makers, articles, books, notes, photographs, etc., that he has been gathering from abandoned sites, rubbish, or simply given by friends or family throughout the past years. Mitjà is as persuaded by these materials as he is curious to dissect the history and stories behind each found object. Espai Diògenes presents an esquisite selection of works (collages, slide projections, objects including slide projectors, photographs, films...) in a nest-like space, "a defence structure, a protection from the outside world, an infinite skin" (1) - "nests" recalling the claustrophobic spaces created by those that suffer from Diogenes syndrome.
Capella de Sant Nicolau
Plaça de Santa Llúcia s/n
17007 Girona
Exhibition dates: 10 October 2008 - 11 January 2009

(1) 'Runa', by Jordi Mitjà. In "Anatomia Diògenes. Obres inèdites acumulades entre 1988-2008. Ed. Crani, October 2008.

Inauguración proyectos derivados del Premi Miquel Casablancas 2008, Centre Cívic Sant Andreu, Barcelona

Todas las fotos: Latitudes. Ver más en esta galería.

Mañana se presentarán los tres proyectos derivados de la edición 2008 del Premi Miquel Casablancas: la presentación de la edición de 'Vade Retro' de Jordi Mitjà y Joan Morey y 'De tú a tú. Tres puntos colega' de BErreaCUandoPUedas y Alex Brahim y la exposición La, la, la, la: sobre ganar y perder comisariada por Aimar Arriola y Latitudes.

La, la, la, la: sobre ganar y perder
reúne una selección de trabajos de Verónica Aguilera, Fermín Jiménez Landa, Daniel Rodríguez Castro y Oriol Vilanova que reflexionan entorno a la representación social del binomio éxito o fracaso, tanto en la vida privada como en la pública.




El título de la exposición toma inspiración de un concreto episodio de la historia popular y política reciente: la victoria de España en el Festival de Eurovisión de 1968 con la canción 'La, la, la' interpretada por Massiel. La canción iba a ser interpretada por Joan Manel Serrat, quien se negó a participar pues no se le permitió cantarla en catalán. Finalmente, con la mediación del régimen franquista, su comprometida letra fue sustituida por una versión más edulcorada en castellano, cantada por Massiel y que finalmente ganó el concurso. Recientemente se ha sugerido que los votos pudieron ser amañados por Franco y el escándalo ha saltado a la palestra internacional, e incluso Cliff Richard – que quedó segundo lugar por un voto con su popular y oportuno 'Congratulations!' (Felicitaciones!) – ha pedido ser reconocido como justo ganador. Más allá de la anécdota, esta irónica historia de victorias y derrotas resulta un buen ejemplo de la relatividad de los logros y fracasos en sentido amplio.

 
La exposición se presenta en el contexto de un certamen para artistas menores de 36 años y en un contexto internacional donde ha aumentado considerablemente la orientación hacia los premios de reconocimiento en la esfera de la cultura, desarrollando una economía de la producción cultural y del prestigio. ¿Es posible que premios como este refuercen la suposición de que el prodigioso éxito sólo se logra a una temprana edad?, ¿necesita el sistema artístico que los artistas reciban reconocimientos públicos para ser considerados de interés?, ¿provoca esto que los artistas sean más estratégicos respecto a sus opciones? y finalmente ¿cómo se mide y representa dicha glorificación en la práctica artística?





 
Los participantes no examinan el fenómeno del valor ni del juicio en el mundo artístico directamente sino que mediante distintos discursos narrativos y soportes técnicos extrapolan su análisis a esferas como la representación de estos valores en monumentos históricos, los concursos de mascotas y de belleza, el ambiente de jerarquía corporativo y universitario e incluso lo llevan a un terreno aún más abstracto y poético: la caída como el inevitable vencimiento de la fuerza de gravedad.

 
La presentación de las obras en una estructura horizontal, a modo de tarima, alude a la disposición de los juegos de mesa o incluso a altares, podios o hitos construidos para conmemorar un suceso, ya sea una victoria o una derrota histórica, arquitecturas efímeras o permanentes que formalmente se acomodan de modos similares aunque conmemoren ocasiones tan distintas.


Exposición: 29 Noviembre – 17 Enero 2009
Artistas
: Verónica Aguilera (ES/DE, 1976), Fermín Jiménez Landa (ES, 1979), Daniel Rodríguez Castro (ES, 1984), Oriol Vilanova (ES,1980)

Comisariado
: Aimar Arriola & Latitudes

Dirección
: c/Gran de Sant Andreu, 111 | 08030 Barcelona | Mapa


Descargar
el folleto de la exposición (textos Catalán/Castellano).

Blog de Sant Andreu Contemporani aquí.

Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h


El viernes 20 de junio a partir de las 18h, en el antiguo recinto fabril de la Fabra i Coats, tendrá lugar el inicio oficial de la edición del Sant Andreu Contemporani Premi Miquel Casablancas 2008. Se fallarán los 2 ganadores/as y los finalistas de la modalidad de compra-obra y beca-proyecto de este año.

Los premios se complementarán con un programa que, a lo largo de 2008, contará con tres proyectos coordinados por los tres equipos que conforman el jurado de este año (Aimar Arriola, comisario e investigador; Mariana Cánepa Luna, comisaria y escritora (en representación de Latitudes); Alicia Yáñez, comisaria (en representación del colectivo BECUPU); Alex Brahim, comisario y productor cultural; Joan Morey, artista y Jordi Mitjà, artista).


Programa 20 Junio:

18:00 h. Algunas consideraciones sobre arte emergente
Mesa redonda con la participación de los miembros del jurado del Concurs d’Arts Visuals Premi Miquel Casablancas 2008

20:00 h. Entrega de Premios
21:00 h. Espacio de consulta sobre el Premi Miquel Casablancas y presentación del proyecto 'Caballo' de Jorge Satorre, propuesta ganadora de la convocatoria de proyecto 2006.
22:00 h. Concierto de Los gru, www.myspace.com/lordmanythings
23:00 h. Concierto de Internet 2, http://www.myspace.com/internet2
24:00 h. Fito vs. klsbeatsdj, http://www.myspace.com/fitoconesa
http://www.myspace.com/klsbeatsdj

Más info: http://santandreucontemporani.wordpress.com

 

:: Update 25 Junio ::

Los ganadores del
Concurs d’Arts Visuals Premi Miquel Casablancas 2008 son:

Modalidad obra: 'Unir los puntos' de Mariona Moncunill (finalistas: Fito Conesa, Fermín Jiménez Landa, Mireia C. Saladrigues, Oriol Vilanova)
Modalidad proyecto: 'Taller Poble Sec' de Marc Navarro & Pol Esteve (finalistas: Verónica Aguilera, Sergi Botella, Daniel Jacoby, Enrique Lista)

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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2005—2019