Tue, Nov 1 2022 2022, Barcelona, cover story, curatorial writing, edited by Latitudes, Incidents of Travel, Jorge Satorre, Kadist, out of the studio, research
The November 2022 monthly Cover Story “Jorge Satorre’s Barcelona” is now up on our homepage: www.lttds.org
“Below the Tibidabo Amusement Park, just where the BV-1418 and BP-1417 roads meet, there are some stairs that go up into the forest. Climbing them, a few meters up on the right, we will find a large stone hidden among the trees.” Continue reading
After November 2022 this story 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 projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Web of the artist about “The Erratic. Measuring Compensation”
- Publication "Robert Smithson: Art in Continual Movement” (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews “From Spiral to Spime: Robert Smithson, the ecological and the curatorial”, 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre publ “Atlántica” magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para “Portscapes” (2009) expuesto en la exposición colectiva “Fat Chance to Dream”, Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten's small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Fri, Dec 31 2021 Antoni Hervàs, Eulàlia Rovira, haegue yang, Incidents of Travel, Jorge Satorre, Lara Almarcegui, MACBA, Notes for an Eye Fire, Reduce Art Flights, things things say
Since Spring 2015, Latitudes has published a monthly cover story on its homepage www.lttds.org featuring past, present or forthcoming projects, as well as ongoing research, texts, artworks, exhibitions, films, objects, or travel related to our curatorial practice. Here's how 2021 looked like on our homepage.
Tue, Aug 31 2021 2009, 2021, conversations, cover story, Jorge Satorre, latitudes, looking back, online, Port of Rotterdam Authority, Portscapes, public art, Rotterdam
September 2021 cover story on www.lttds.org
The September 2021 monthly Cover Story “Erratic behaviour—Latitudes in conversation with Jorge Satorre” is now up on our homepage: www.lttds.org
“In 2008 the Port of Rotterdam in the Netherlands, the largest in Europe, began a dramatic project to extending its land by 20% into the sea. Known as Maasvlakte 2, the construction involved bringing more than 5 million tons of rock from Scandinavia for the construction of dikes and dams, alongside a programme of ecological offsetting. ”
→ Continue reading
→ After September 2021 this story 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 projects and activities.
→ RELATED CONTENTS:
- Archive of Monthly Cover Stories
- Cover Story–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
- Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
- Cover Story–May 2021: RAF goes viral, 2 May 2021
- Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
- Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021
- Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
- Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
Wed, Apr 29 2015
2015, CAPC Bordeaux, Frieze, Jorge Satorre, Max Andrews, Reviews, Sean Lynch
As reported earlier in this channel, at the end of last January we visited the exhibition 'Ce qui ne sert pas s’oublie' (What Cannot be Used is Forgotten)' (on view until 3 May 2015) at CAPC musée d'art coontemporain in Bordeaux.
Curated by Mexico-based Colombian-born curator Catalina Lozano, the exhibition presents the work of Mathieu K. Abonnenc, Sven Augustijnen, Mariana Castillo Deball, Sean Lynch, Pauline M’Barek, Museo Comunitario del Valle de Xico, Wendelien van Oldenborgh, Uriel Orlow, Beatriz Santiago Muñoz and Jorge Satorre.
Below is a fragment of Max Andrews' frieze review, published in the May 2015 issue of frieze magazine (#171):
‘What cannot be used is forgotten’ proposed a biographical approach to objects and the histories and allegiances they can constitute. With an emphasis on eroding the legacy of colonial-era ethnography and archaeology, the exhibition comprised the contributions of ten artists who emphasized the accrual and dispersal of objects' meaning over time. Objects were broken apart, animated, revered, rumoured, memorized, melted; or – as in Pauline M’Barek’s sculptures mimicking display stands for imagined wooden masks – missing altogether. Sometimes, objects were not comfortably objects at all, but textiles or techniques. Occasionally they were alibis employed to provoke historical revision and necessitate textual commentary. In Uriel Orlow’s A Very Fine Cast (110 years) (2007), works ingested past traces of such commentary (captions taken from European museums’ descriptions of the Benin Bronzes robbed by the British punitive Benin Expedition of 1897).
– Max Andrews
Installation view of Sean Lynch's 'A blog-by-blow account of stone-carving in Oxford' (2014).
General view of the exhibition. (Right Wall) Museo Comunitario del Valle de Xico (Community Museum of the Xico Valley).
Report from Bordeaux: Visit to CAPC/Musée d'Art Contemporain's shows of Franz Ehrard Walther and the group show "Ce qui ne sert pas s'oublie" (27 January 2015)
Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine (9 March 2015)
art-agenda review on Andrea Büttner show "Tische", at NoguerasBlanchard, Barcelona (21 July 2014)
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Wed, Mar 28 2012
2012, Alauda Publications, Cyprien Gaillard, Jorge Satorre, Land Art, Lara Almarcegui, Max Andrews, Robert Smithson, SKOR, The Netherlands
Pages 44-45, with the section "Art, Research, Ecology".
Robert Smithson's seminal Land Art work Broken Circle/Spiral Hill (Emmen, The Netherlands, 1971) is treated as a case study that opens up to a
number of topics, still relevant in contemporary art: 'Models of
Spectatorship', 'Art, Research, Ecology', 'Documentation', 'Museum,
Media, Society' and 'The Cinematic'."
Above: pages with Max Andrews' essay "A Dark Spot of Exasperation: From Smithson to the Spime".
Max Andrews' essay "A Dark Spot of Exasperation: From Smithson to the Spime".
In his text, Andrews stresses that Smithson's innovations in terms of post-studio practice are not about "the question where, or what is the work of art?", but about investigating the structure of the multiple elements which constitute the form of an art project and its place in the world. According to Andrews, the essential feature of Smithson's kinship to post-studio practice is not so much his institutional critique, but a move away from the museum and the curator as existing power structures to a "curatorial function which incorporates a social ecology: a new meaning- and value-generating system in and around art." In his essay, Andrews traces the points of congruence between Smithson and the practices of contemporary artists like Lara Almarcegui, Jorge Satorre and Cyprien Gaillard.
Documentation pages, clippings from 1987.
Pages 150-151, Section "A Living Archive – Film"
Page 194-195, Section "A Living Archive"
Pages 208-209, Section "A Living Archive"
The 240-page monograph publication will be launched on 30 March 2012 in The Hague during the symposia Rethinking Robert Smithson organised by the publishers in cooperation with Leiden University Institute for Cultural Disciplines.
Initiator and publisher: Alauda Publications
Edited by: Ingrid Commandeur and Trudy van Riemsdijk-Zandee
Authors: Max Andrews, Eric C.H. de Bruyn, Stefan Heidenreich, Sven Lütticken, Anja Novak, Vivian van Saaze
Design: Esther Krop
Mon, Mar 12 2012
2012, Alauda Publications, Cyprien Gaillard, Ecology, Jorge Satorre, Lara Almarcegui, Lecture, London, Max Andrews, Robert Smithson, Royal College of Art
Poster announcement at the Royal College of Art galleries.
Starting out from Robert Smithson's Broken Circle / Spiral Hill (1971), this lecture looks at projects by Lara Almarcegui, Jorge Satorre and Cyprien Gaillard to speculate on the 'when' and the 'shape' of art after Smithson in relation to synchronic concepts of post-environmental ecological thinking, and the flux between work and curatorial context. Based on an essay in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (Alauda Publications, 2012).
Robert Smithson, Broken Circle/Spiral Hill. Opening September 17, 2011. Emmen, The Netherlands. Photo by Jan Anninga. Courtesy SKOR.
Following the lecture, Andrews will lead a seminar to first years students of the MA Curating Contemporary Art, Royal College of Art.
[Please note that the lecture is only open to students and college staff.]
Tuesday 13 March 2012, 2pm
Lecture Theatre 1
Royal College of Art