Longitudes
Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.
‘6 Hours Tide Object with Correction of Perspective’ by Jan Dibbets screened in Barcelona
Tue, Dec 10 2019
Production of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets. Photo: Paloma Polo / SKOR.
The 8-minute film ‘6 Hours Tide Object with Correction of Perspective’ by Dutch artists Jan Dibbets is currently exhibited as part of "Fingers Crossed" (pdf, Spanish), a group exhibition opening December 14, 2019, curated by Blanca de la Torre and Sue Spaid, at ADN Platform in Sant Cugat (Barcelona), on view until April 4, 2020.
The film was produced in 2009 for ‘Portscapes’, the year-long programme producing ten new commissions in and around the Port of Rotterdam, The Netherlands, curated by Latitudes.
Gerry Schum's 1969 'Land Art' series of films screened on German public TV.
Jan Dibbets’ (1941) film was ‘Portscapes’ inaugural project and was filmed on February 8, 2009. Originally filmed 40 years earlier, in February 1969, in black and white and in 16 mm, it was titled ‘12 Hours Tide Object...’. The film was originally presented in 1969 as part of Gerry Schum's seminal 'Land Art' series of artists' films screened that same year on German public TV (this programme was included in Latitudes-curated touring film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ which began at the Museo Tamayo in April 2008.)
The film presents the drawing of an isosceles trapezoid in the sand using a bulldozer – the shape consequently appears as a rectangle in the resultant film due to the angle of perspective. The new 2009 realisation was filmed 40 years later to the month on the beach of the Maasvlakte, an area that was soon after forever transformed with the construction of Maasvlakte 2 – a land reclamation project, realised between 2008 and 2013, that extended Europe's largest seaport and industrial area by 2,000 hectares.
The resulting 8 minute-long film was premiered at the FutureLand Information Centre of the Port of Rotterdam in June 2009 and during Latitudes’ participation in the New York festival NO SOUL FOR SALE – A Festival of Independents (24–28 June 2009).
Dibbets’ film presented as part of Latitudes’ participation in the festival NO SOUL FOR SALE – A Festival of Independents, New York, 24–28 June 2009. Photo: Latitudes.
Projection of Dibbets' 1969 film as part of the itinerant film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008’ on July 11, 2008, at the barn Hongersdijk Farmstead, Wilhelminapolder, Zeeland, The Netherlands, a programme hosted by SKOR (Foundation Art and Public Space, Amsterdam). Photo: Latitudes.
‘6 Hours Tide Object with Correction of Perspective’ was produced in collaboration with SKOR | Foundation Art and Public Space (1999–2012), an organisation which initiated, curated and developed art projects in relation to the public domain that no longer exists, realising over a thousand projects in public space in the Netherlands for over a decade. Portscapes was curated by Latitudes, culminating in a display of the projects at the Museum Boijmans van Beuningen in Rotterdam in 2010.
→ RELATED CONTENT:
- Portscapes commissions
- Portscapes exhibition at the Museum Boijmans van Beuningen
- Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 1 here.
- Making of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets – part 2 here.
Cover Story – March 2017: Time travel with Jordan Wolfson
Wed, Mar 1 2017
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:
- Archive of Cover Stories since March 2015
- Cover Story, February 2017: The Dutch Assembly, five years on 1 February 2017
- Cover Story, January 2017: How open are open calls? 4 January 2017
- Cover Story, December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook 5 December 2016
- Cover Story, November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor 2 November 2016
- Cover Story, October 2016: "A Funny thing Happened on the Way to the Gallery, 13 October 2016
- Cover Story, September 2016: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
- Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016.
Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook
Mon, Dec 5 2016
The December Monthly Cover Story is now up on www.lttds.org – after this month it will be archived here.
"The publication Land, Art: A Cultural Ecology Handbook is ten years old. Commissioned by the Arts & Ecology programme of The Royal Society for the Encouragement of Arts, Manufactures & Commerce (RSA), in partnership with Arts Council England, this book was one of Latitudes’s first projects. Through the inspirational contributions of people as varied as Lucy Lippard, Stephanie Smith, Amy Balkin, or the late Wangari Maathai – to mention just a few – the compendium charted the twin legacies of Land Art and the environmental movement while proposing how the critical acuity of art might remain relevant in the face of the dramatic ecological consequences of human activity. The research and reflection involved set Latitudes on a course that led to several further projects engaging with ecology, explicitly or otherwise." Continue reading...
Related content:
- Archive of Cover Stories
- Photos of the launch of the publication 'LAND, ART: A Cultural Ecology Handbook' at the LCE, London 15 December 2006
- Photos of the publication 'LAND, ART: A Cultural Ecology Handbook' (RSA, 2006) 14 December 2006
- Looking back – Visiting Robert Smithson's 'Spiral Jetty' (1970) 7 September 2004
- Cover Story, November 2016: Plucking Gilda, synesthetic Toni and dazzling Víctor 2 November 2016
- Cover Story, October 2016: "A Funny thing Happened on the Way to the Gallery, 13 October 2016
- Cover Story, September 2016: "El misterio de Caviria" by Antoni Hervàs 1 Septiembre 2016
- Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" 31 August 2016
Looking back – Visiting Robert Smithson's 'Spiral Jetty' (1970) on 7 September 2004
Sun, Sep 7 2014
A decade ago today (!) we were lucky enough to visit Robert Smithson's most iconic earthwork 'Spiral Jetty' (1970). The water level of the Great Salt Lake was well down and the surface of the counterclockwise spiral was not only visible but also walkable. As we walked alone in the blazing heat we felt as if we were disappearing into the black basalt, pink salt and silent haze. Our visit to the site was completed a few days later visiting his 'Retrospective Works 1955-1973' at Los Angeles' MOCA, curated by Eugenie Tsai with Connie Butler. Happy memories.
Related posts:
- 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)
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews (28 March 2012)
- Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme (14 September 2011)
- Portscapes: Jorge Satorre returns an ice-age boulder back to Sweden (18 January 2010)
–
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All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption).
This post is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
The Indianapolis Museum of Art's transparency initiatives
Wed, Dec 12 2012Part of our interest in the #OpenCurating research we are currently carrying out is to look at how museums and curatorial departments are engaging in new ways with their audiences and the means through which "open" initiatives are being promoted and implemented in exhibition-making and via other types of programming.
The Indianapolis Museum of Art has created two really dynamic initiatives which promote transparency throughout the museum's operations: a real-time statistics "Dashboard" including data such as the museum's energy consumption, works of art currently on display, the value of the museum's endowment, their operating expenses, average time of visits to the website, etc.
The tool was implemented in 2008 and is the brainchild of museum director Maxwell L. Anderson, an active advocate of implementing new media technologies to advance public interest in art.
The data can be compared to previous years (stats for 2007, 2008, 2009, 2010 and 2011), filtered by museum departments (Buildings, Education, Conservation, Curatorial, Finance...) as well as by topics (Art, Greening the IMA, Attendance...).
However admirable this tool is, the curatorial dashboard falls rather short on the depth of information, only offering statistics for the "number of acquisitions" and the "number of works with gaps in WWII-Era Provenance". They do not reveal full data sets of their departmental operational budget, for instance. This might show there is still some resistance to really open up to show other kind of costs (shipping, insurance, exhibition display, fees paid to artists (or not?)...) or even interesting insights such as (air)miles travelled by the curatorial staff, or the amount of paper used for their publications, just to mention a few.
Some of these topics (how to articulate institutions and organisations complex needs in seeming transparent, responsible and benevolent) were addressed in Latitudes' 2008 exhibition "Greenwashing. Environment: Perils, Promises and Perplexities" (Archive Books, 2008) and in its catalogue essay "Shades of Green: a conversation between the curators", as well as in the essay by Stephanie Smith "'Alas for the dreams of a Dreamer!': Art Museums and Sustainability" included in the Latitudes-edited publication "Land, Art: A Cultural Ecology Handbook' (RSA, 2006).
A second initiative we find quite relevant is the "Deaccessioning database", which classifies pieces that have been deaccessioned at the museum since 2007 (following IMA's policy, see pdf here), explaining provenance, the reasons for its deaccession, listing the recipient and the day of sale, etc.
Take for instance "Houses in the Snow", a 1929 canvas by Maurice de Vlaminck sold via Sotheby's in 2009 for $173700; or the 1889 suite of prints "Les Misères Humaines" by Gaugin, which were transferred to the Musée de Pont-Aven in 2009. Fascinating and revealing, isn't it?
#OpenCurating, 2.0, 2012, Greenwashing, Indianapolis Museum of Art, Land Art, museums, statistics, technology, transparency
The Indianapolis Museum of Art has created two really dynamic initiatives which promote transparency throughout the museum's operations: a real-time statistics "Dashboard" including data such as the museum's energy consumption, works of art currently on display, the value of the museum's endowment, their operating expenses, average time of visits to the website, etc.
The tool was implemented in 2008 and is the brainchild of museum director Maxwell L. Anderson, an active advocate of implementing new media technologies to advance public interest in art.
The data can be compared to previous years (stats for 2007, 2008, 2009, 2010 and 2011), filtered by museum departments (Buildings, Education, Conservation, Curatorial, Finance...) as well as by topics (Art, Greening the IMA, Attendance...).
Dashboard data of the curatorial.
However admirable this tool is, the curatorial dashboard falls rather short on the depth of information, only offering statistics for the "number of acquisitions" and the "number of works with gaps in WWII-Era Provenance". They do not reveal full data sets of their departmental operational budget, for instance. This might show there is still some resistance to really open up to show other kind of costs (shipping, insurance, exhibition display, fees paid to artists (or not?)...) or even interesting insights such as (air)miles travelled by the curatorial staff, or the amount of paper used for their publications, just to mention a few.
Some of these topics (how to articulate institutions and organisations complex needs in seeming transparent, responsible and benevolent) were addressed in Latitudes' 2008 exhibition "Greenwashing. Environment: Perils, Promises and Perplexities" (Archive Books, 2008) and in its catalogue essay "Shades of Green: a conversation between the curators", as well as in the essay by Stephanie Smith "'Alas for the dreams of a Dreamer!': Art Museums and Sustainability" included in the Latitudes-edited publication "Land, Art: A Cultural Ecology Handbook' (RSA, 2006).
A second initiative we find quite relevant is the "Deaccessioning database", which classifies pieces that have been deaccessioned at the museum since 2007 (following IMA's policy, see pdf here), explaining provenance, the reasons for its deaccession, listing the recipient and the day of sale, etc.
Deaccessioned Artworks page www.imamuseum.org/art/collections/deaccession
Deaccessioned file for Maurice de Vlaminck's 1929 canvas.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich
Sun, Nov 11 2012Haegue Yang has been the first artist to be commissioned for the DER ÖFFENTLICHKEIT – VON DEN FREUNDEN HAUS DER KUNST [To the Public – from the friends of Haus der Kunst] series, which will take place on a yearly basis in the 800 square-metre Middle Hall of Münich's Haus der Kunst.
Her installation 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion', organised by Haus der Kunst curator Julienne Lorz, and related to her dOCUMENTA 13 contribution, "consists of Venetian blinds suspended from the ceiling. These elements are structured in three autonomous, yet united parts: A massive towering structure, which is confrontationally located at the hall's entrance; a flat vertical grid wall, and a voluminous rectangle on top, which is gradually fragmented toward the floor. Depending on the angle of approach, the blinds overlap in a varying number of layers, and the interplay of light and shadow changes depending on the location. At times, the installation appears completely opaque, and at others, completely translucent." (text from the website).
On view until 22 September 2013. More info and photos here.
Also on view at Haus der Kunst is the much awaited 'Ends of the Earth – Land Art to 1974' (until 20 January 2013) organised in collaboration with The Museum of Contemporary Art, Los Angeles (MOCA – see website of the exhibition). The show is notable for its careful and thoroughly-researched reconsideration of the idea of Land art, and the way in which it incorporates many artists outside of the usual American white male practicioners associated with the term. (And also through its inclusion of three part-reconstructions of seminal exhibitions/projects: "Earthworks" at Virginia Dwan Gallery, Willoughby Sharp's "Earth Art" as well as Gerry Schum's "Fernsehgalerie Land Art" ). Unfortunately, this is its only iteration on its European tour.
Exhibition poster with an image of the 1967-74 film "Athmospheres: Duration Performances" by Judy Chicago.
Hans Haacke's "Grass Grows" (1969–2012) at the entrance to the museum.
Robert Smithson's "Spiral Jetty" (1970) film projected in the background and "A Nonsite (Pine Barrens)" from 1968 in the foreground.
Robert Morris' "Earthwork aka Untitled (Dirt)" (1968–2012) a 2000-pound pile of earth, grease, peat moss, brick, steel, copper, aluminum, brass, zinc and felt – urban debris gathered from the surrounding New York environs, originally made for the 1968 exhibition at Virginia Dwan Gallery.
Two views (above and below) of Joshua Neustein's 1970 "Road Piece", originally presented in the Tel Aviv Art Museum and remade for the first time for 'Ends of the Earth' exhibition.
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.
2012, commissions, documenta, Exhibition, haegue yang, Haus der Kunst, Julienne Lorz, Land Art, Munich, Robert Smithson
Her installation 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion', organised by Haus der Kunst curator Julienne Lorz, and related to her dOCUMENTA 13 contribution, "consists of Venetian blinds suspended from the ceiling. These elements are structured in three autonomous, yet united parts: A massive towering structure, which is confrontationally located at the hall's entrance; a flat vertical grid wall, and a voluminous rectangle on top, which is gradually fragmented toward the floor. Depending on the angle of approach, the blinds overlap in a varying number of layers, and the interplay of light and shadow changes depending on the location. At times, the installation appears completely opaque, and at others, completely translucent." (text from the website).
On view until 22 September 2013. More info and photos here.
Also on view at Haus der Kunst is the much awaited 'Ends of the Earth – Land Art to 1974' (until 20 January 2013) organised in collaboration with The Museum of Contemporary Art, Los Angeles (MOCA – see website of the exhibition). The show is notable for its careful and thoroughly-researched reconsideration of the idea of Land art, and the way in which it incorporates many artists outside of the usual American white male practicioners associated with the term. (And also through its inclusion of three part-reconstructions of seminal exhibitions/projects: "Earthworks" at Virginia Dwan Gallery, Willoughby Sharp's "Earth Art" as well as Gerry Schum's "Fernsehgalerie Land Art" ). Unfortunately, this is its only iteration on its European tour.
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.
"Der Öffentlichkeit – Von den Freunden Haus der Kunst", begins on November 9
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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"Der Öffentlichkeit – Von den Freunden Haus der Kunst",
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As announced in May, this installation is the first in a series of commissioned work that will be exhibited in the museum's 800 square-meter Middle Hall over a period of one year. The series, "Der Öffentlichkeit – Von den Freunden Haus der Kunst", begins on November 9.
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"Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion", 2012.
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Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes essay by Max Andrews
Wed, Mar 28 2012 |
| Cover of the publication. |
We just received a copy of the wonderful and long-awaited publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) for which Max Andrews of Latitudes contributes the essay "A Dark Spot of Exasperation: From Smithson to the Spime" (an essay which was the basis of his recent lecture at the Royal College of Art in London).
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
ISBN: 9789081531481
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
ISBN: 9789081531481
Price: 39,95 Euro
Available in bookshops or order online: alaudapublications.nl
Available in bookshops or order online: alaudapublications.nl
Related links:
- September 2011 blog post on The Land Art Contemporary programme in Denthe, The Netherlands.
All photos: Latitudes | www.lttds.org
Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme
Wed, Sep 14 2011
Land Art Contemporary year-long initiative showcases works of art located in the countryside of Drenthe, a province in the northeastern Netherlands, which will be complemented with an international events programme dealing with the contemporary aspects of Land art. Starting on 17 September 2011, the programme is linked to the 40th anniversary of the creation of Robert Smithson's film Broken Circle/Spiral Hill in Emmen for the exhibition Sonsbeek 1971.
Coinciding with the anniversary, Land Art Contemporary kicks off with the exhibition 'Robert Smithson – Broken Circle/Spiral Hill Revisited', at the Centre for Visual Arts (CBK) in Emmen. The exhibition's star piece will be the recently completed film 'Breaking Ground: Broken Circle/Spiral Hill' (1971–2011), uncompleted due to Smithson's untimely death in 1973, which is now finally produced, following his instructions for direction and editing, by his widow Nancy Holt in collaboration with SKOR. The film will also be screened once on 22 September at the Stedelijk Museum Amsterdam. Holt will introduce the video.
Parallel to this major exhibition, SKOR is also organising The Ultraperiferic (17 September – 27 November 2011), an exhibition that will feature the work of Lara Almarcegui (ES/NL), Jorge Satorre (MX/NL) and Cyprien Gaillard (FR/DE), three artists with whom Latitudes has worked in the recent past and whose work will also be featured in Max Andrews' essay "'A Dark Spot of Exasperation: From Smithson to the Spime'" in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (ISBN 9789081531481) to be published by Alauda Publications in early 2012. The essay and The Ultraperiferic both feature Jorge Satorre's 'The erratic. Measuring compensation' (2009) which was produced in the context of 'Portscapes' and recently featured in his exhibition at Labor, Mexico City.
The project will continue in 2012–13, with a series of 'assignments' to contemporary artists "a number of artists will be set the assignment of creating a work in the spirit of Smithson, whereby the landscape is viewed as a continual process that is constantly in a state of transformation due to the interaction between man and nature", to be curated by SKOR's curators Nils van Beek and Theo Tegelaers. + info...
Land Art Contemporary is an initiative of STICHTING LACDA, Drenthe, a foundation established in 2011 by the Sanders-Ten Holte family. The program has been made possible thanks to (content and financial) support from SKOR | Foundation for Art and Public Domain, Province of Drenthe, European Agricultural Fund for Rural Development: Europe Investing in Rural Areas (LEADER), Municipality of Coevorden, Municipality of Emmen, Cultuurfonds BNG and the Sanders-Ten Holte family.
Latitudes publications available for consultation in MACBA's Library
Mon, Mar 21 2011
MACBA's Library now has a complete set of Latitudes' publications and exhibition catalogues available for consultation, these include: Portscapes (2009-10), Nothing or Something (2009), No Soul for Sale (2010), The Last Newspaper (2010) and United Alternative Energies (2011).These complete the already included publications such as the exhibition catalogue 'Greenwashing. Environment: Perils, Promises and Perplexities' (2008), the publication 'Land, Art: A Cultural Ecology Handbook' (2006) and Lawrence Weiner's small booklet and public pieces in the form of sugar packets (2008).
Biblioteca del MACBA
Plaça dels Àngels, 8
08001 Barcelona
T: +34 93 481 33 66
F: +34 93 412 46 02
[email protected]
Monday-Thursday, 10am-7pm
Bank holidays, closed
http://www.macba.cat/en/library
Latitudes in Kult Magazine (#10, October 2009)
Thu, Oct 8 2009
Milan-based Kult Magazine has published an article on art and ecology in their October issue written by art critic and curator Daniele Perra. In the section, Perra interviews curator Francesco Manacorda (curator of the exhibition 'Radical Nature: Art and Architecture for a Changing Planet 1969-2009' on view at the Barbican Art Gallery, London, until 18 October), as well as English artist Simon Starling and selects a few ongoing exhibitions and events that analyse the relationship between art and nature.In page 88 (see detail above) Perra mentioned Latitudes' ecology-related projects such as the 'Greenwashing. Environment: Perils, Promises and Perplexities...' exhibition at the Fondazione Sandretto in Turin in 2008, the guest-edition of UOVO #14 in 2007 and the publication 'Land, Art: A Cultural Ecology Handbook' in 2006, to introduce our participation in the forthcoming The Wånas Foundation seminar on Art and Ecology taking place on the 21 October in Knislinge, Sweden and in the symposium organised by Hinterland Projects on 26th November titled 'The evolving relationships between artists, the changing climate and new responsibilities'.
[Above: Detail of page 88 of the magazine. With thanks to Daniele Perra]