26 Nov 2018Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.
Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.
The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.
Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.
Photo: Creative Learning Team McManus.
RELATED CONTENT: 10th anniversary, 2008, 2019, donation, Exhibition, Fundació Suñol, Lawrence Weiner, Tote Bags
26 Oct 2018Limited edition tote bag designed by Lawrence Weiner in 2015. Photo: Latitudes.
We're delighted to share that Latitudes' limited edition tote bag, exclusively designed by Lawrence Weiner to commemorate Latitudes' 10th anniversary in 2015, is now part of Tate Archive.
Latitudes' donation is presented as part of Tate's "ARTIST ROOMS: Lawrence Weiner" exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019.
ARTIST ROOMS is a touring collection of over 1,600 works of modern and contemporary art. The collection is displayed in museums and galleries across the UK and is jointly owned by the National Galleries of Scotland and Tate.
Photos: Latitudes.
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Weiner's tote silkscreening process. Photo: Print Workers. |
The Dundee presentation will include the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.
A booklet of the exhibition, the invitation card, and an audio rendition of the statement (the track can be listed to here) based on a track by Ned Sublette and The Persuasions are also featured in Dundee.
Weiner with his work at the Fundació Suñol. Photo: Jean-Pierre Moulis.
One part of Lawrence Weiner's ‘THE CREST OF A WAVE’ project at the Fundació Suñol in 2008 consisted of an ephemeral sculpture distributed a few days prior to the exhibition opening. 300,000 7-gram sachets of sugar were printed and distributed throughout the most emblematic cafes around Barcelona. Photo: Latitudes.
100,000 sugar sachets ready for distribution. Photo: Latitudes.
Front and back of the 7-gram sugar sachet with Weiner's statement.
(Above and below) The last element of the project manifested as an intimate event realised by the sea during the opening week: an iron horseshoe was wrapped in a cotton cloth and was tossed upon a wave’s crest. Photos: Jean-Pierre Moulis.
"Influential conceptual artist, Lawrence Weiner uses language as his medium. His text work takes many forms, but the core principle remains the same – his ideas should not be confined to the gallery but taken up by the viewer.
Adopting this principle, The McManus has worked with the artist to present his texts in different forms. One cycle of wall texts will be presented in Scots – translated by distinguished author James Robertson. Texts, a selection of posters, drawings, artist books, and ephemera will also be installed within museum displays around the building – the text resonating alongside Dundee’s rich collections of natural history, archaeology, world cultures, industrial machinery and the spectacular architecture of The McManus itself." (text from Tate's website)
RELATED CONTENT: 2008, 2018, archive, Asia Art Archive, collection, donation, Fundació Suñol, Lawrence Weiner, London, Tate
09 May 2018(Above) Detail from the K, inaugural show dedicated to exploring the work of East German designer and exhibition-maker Klaus Wittkugel. K, A Year with P. Krishnamurthy on Ebersstrasse 3 (Schöneberg) is a workshop for exhibition-making led by designer, curator, writer and educator Prem Krishnamurthy, co-director of the multidisciplinary design Wkshps, which extends his previous exhibition space and ‘mom-and-pop’ P! based in New York between 2012-2017. The project is organised in collaboration with KW Institute for Contemporary Art. All photos: Latitudes. (Above and below) Claudia Comte's ‘When Dinosaurs Ruled the Earth’ at König Galerie's St Agnes, Berlin. (Above) ‘ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS’ at the Julia Stoschek Collection. (Above) Loris Gréaud at Max Hetzler. (Above and below) Lawrence Weiner and Manfred Pernice in the old/new venue of Konrad Fischer Galerie, Berlin.
(Above and below) Nevin Aladağ's ‘Mustrop’ exhibition at Wentrup, Berlin.
(Above and two below) Ibrahim Mahama at DAAD Galerie, Berlin.




(Above and below) One of the most interesting sections of the expansive ‘Hello World. Revising a Collection’ exhibition, was ‘Colomental. The Violence of Intimate Histories’ curated by Sven Beckstette and Azu Nwagbogu. The curators commissioned four artists (Joël Andrianomearisoa, Peggy Buth, Astrid S. Klein and Dierk Schmidt) to produce work critically reflecting on the lack of contemporary art holdings of the National Galerie on the connections between African countries and Germany. Above Peggy Buth's work tracking the display and inventories in colonial museum revealing their historical narratives and representations. Below works by Joël Andrianomearisoa.Very happy to finally be able to see this object in the flesh: "Nuage articulé" one of the most beautiful Surrealist objects firstly executed in 1937 with dry natural sponges by the German-Austrian-Mexican artist Wolfgang Paalen. (Above and below) Olivier Laric's ‘Year of the Dog’ at Tanya Leighton, included the European debut of his latest animation video ‘Betweenness’ (all 2018), alongside ‘Hundemensch’ a group of pigmented cast resin anthropomorphic sculptures.
(Above and below) Becky Beasley's ‘Depressive Alcoholic Mother’ show at Galeria Plan B.
(Above and below) AA Bronson + General Idea, 1968–2018, ‘Catch me if you can!’ exhibition at Esther Schipper. (Above and following two) Mariana Castillo Deball's ‘das Haut-Ich’ at Galerie Barbara Wien, taking the tonalpohualli calendar and the deity Xipe Totec as a starting point.

(Above and below) ‘Defying Gravity’ exhibition by Swiss artists Taiyo Onorato and Nico Krebs occupying the two floors of the Maschinenhaus (Power House) at KINDL - Centre for Contemporary Art, gathering photographs, 16mm films, sculptures and new installations from the past decade.
4h train to Cologne. The 2017 edition of "KölnSkulptur #9" titled ‘La fin de Babylone’ added new works by Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar and Pedro Wirz to the existing collection; and was curated by Chus Martínez. Above and following seven photos.
(Above and below) ‘Pumping Station’ (2017) by Teresa Solar. (Above) ‘The Nordic Cactuses’ (2017) by Claudia Comte.
(Above) Michael Sailstorfer (helicopter) and Mark di Suvero.
(Above) ‘Untitled’ (2017) by Solange Pessoa.
(Above and below) ‘Schale’ (2017) by Andrea Büttner. (Above) ‘Pagliaccio non son’ (2011) by Jimmie Durham. (Above) ‘Garten’ (1997–1999) by Peter Fischli and David Weiss.
(Above) Pathway into the park. (Above and below) View of ‘Games of Decentralized Life’ exhibition by Simon Denny at Galerie Buchholz, Cologne, around Bitcoin and other cryptocurrencies. 
(Above and below) View of the exhibition ‘The Superman’ by Alex da Corte on view the at Kölnischer Kunstverein. 
(Above) Beautiful 1950s architecture of the Kölnischer Kunstverein.
(Above and following) View of Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig in Cologne. In this room ‘Series of Vulnerable Arrangements’ are displayed alongside ‘Seven Basel Lights’ and ‘Medicine Men’.
(Above) ‘Mountains of Encounter’ and ‘Sol Lewitt Upside Down — K123456. Expanded 1078 Times. Doubled and Mirrored’.(Above) Installation ‘5, Rue Saint-Benoît’. (Above) View of the first solo exhibition ‘ DAS – IST — DAS?’ in Germany by Ana Jotta at Temporary Gallery, Cologne. Curated by Regina Barunke and Miguel Wandschneider.
RELATED CONTENT
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018) archived on Wakelet.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017. 18 April 2017.
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, (23–24 November 2016) and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016.
- Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich 11 November 2012;
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012;
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Photo report and Storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);
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2018, Ana Jotta, Berlin, Cologne, field trip, Gallery Weekend, haegue yang, Lawrence Weiner, Mariana Castillo Deball, Teresa Solar, Wakelet
01 Sep 2015Recognizing that not everyone can visit Kadist Art Foundation venues in Paris or San Francisco, Kadist recently inaugurated a series of online projects with artists and curators around the world.First of these initiatives is the One Sentence Exhibition (OSE), for which the foundation invites curators to write or choose a single sentence, making each word in the sentence a hyperlink to an image, video, text or website. As a result, the One Sentence Exhibition becomes a compact architecture, accompanying the reader as they explore far-reaching corners of the internet. Following on from the contributions by Rudolf Frieling (Media Arts Curator at SFMOMA) and Nato Thompson (Chief Curator at Creative Time) to OSE series, Latitudes has chosen the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" by Lawrence Weiner in English, Spanish and Catalan, commissioned for his 2008 solo exhibition THE CREST OF A WAVE at the Fundació Suñol in Barcelona.Sugar packets where freely distributed during the duration of the exhibition around Barcelona. Photo: Pierre-Jean Moulis.
Originally distributed as a free ephemeral sculpture on 300,000 sugar sachets and presented on the wall of the exhibition space, Weiner’s striking typographic rendition of the statement triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language.
The statement is also silkscreened on the commemorative limited edition tote bag that celebrated Latitudes' 10th anniversary in Spring 2015. As elaborated by Latitudes in the exhibition guide, "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE indicates an object record of early human technologies (woven textiles, reusable protection for the hooves of working animals) and a marine setting. Weiner’s phrase facilitates a richly ambiguous material and symbolic universe. Why is the horseshoe wrapped? What story, personal or historical, might account for the event that is described? The artist’s statement leaves such questions open for us to consider. It is known that muslin and calico was brought to Spain by the Arab traders in the 1st Century. After the Conquest of Hispania during the 7th Century, facilitated by the Muslim cavalry’s more agile horses, cotton was cultivated by the Moors in Spain. Barcelona’s industrialization in the late 1700s and early 1800s was driven by the printing of calico and later the spinning and weaving of cotton. [1]
Poster of the exhibition at Fundació Suñol's Nivell Zero space, Barcelona.
In the manner of a biography of substances, such as Mark Kurlansky’s books Cod and Salt, A CLOTH OF COTTON... thus triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language. [2]" (...)
(...) The statement is distributed on a sugar packet throughout a selection of Barcelona bars and cafés during the city's Mercè Festival and for the duration of the exhibition – a sweet gift to accompany one’s café con leche,
cortado, carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets – sugar production technology too was spread into Spain by Moorish occupation – Weiner’s striking typographic rendition of the phrase in red and yellow (the colours of both the Catalan and the Spanish flag) is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form.View of Lawrence Weiner's piece at the patio space of Fundació Suñol, Barcelona.
(...) On the five metre-high wall of the exterior space [of Fundació Suñol’s Nivell Zero] we read A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE painted in Catalan, Spanish and English. The use of the same stencil font as the sugar packet layout suggests a method of functional and clear application which reinforces the fact that Weiner is dealing with the language in terms of modification and use. [3] The word for a company which produces typefaces – a foundry – neatly preserves a link to a time when type was cast from metal, in much the same way as horseshoes are made from iron."Ceremony of the 2008 ACCA (Art Critics Association) awards which granted Fundació Suñol the best art programme of the year – a season that included two projects curated by Latitudes.
[1] See J.K.J. Thomson, A Distinctive Industrialization: Cotton in Barcelona 1728-1832, Cambridge University
Press, 2003.[2] Salt: A World History, Walker and Co., 2001; Cod: A Biography of the Fish That Changed the World, Walker
and Co., 1997.[3] The font is FF Offline Regular, designed by Roelof Mulder in 1988.–
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. #Latitudes10Years, 10th anniversary, 2008, 2015, exhibition-making, Fundació Suñol, Instagram, Kadist Art Foundation, Lawrence Weiner, online, public art
24 Aug 2015
We are delighted that from August 24 (and until October 24), Latitudes' limited edition tote bags by Lawrence Weiner, Haegue Yang, Ignasi Aballí and Mariana Castillo Deball, will be presented in Hong Kong as part of Asia Art Archive (AAA)'s exhibition 15th anniversary programme "15 Invitations | a short history of the art book bag".
Organised by AAA Public Programmes Curator Ingrid Chu, the show explores the international phenomenon of the 'art book bag' in "a short history of the art book bag (and the things that go in them)". The exhibition features 'the things that go in them'—art publications, magazines, and related ephemera—alongside a vast array of these popular totes in the AAA Library. Chu has invited artists, curators, art book fair organisers, and print and online publishers to provide insight into the changing modes of knowledge production and circulation, and their influence on the recent art of Asia through Field Notes.Latitudes' totes are presented under 'Sites for Art', the first of five categories that structure the show – others being 'Carriers of Knowledge', 'Markers of Access', 'Badges of Dissent', 'Goods of Desire'). Courtesy of Asia Art Archive.
Each Latitudes' tote is accompanied by a publication that relates to each artist: Lawrence Weiner will contain the leaflet of his 2008 exhibition at Fundació Suñol, Haegue Yang will include the publication which features an essay by Max Andrews' of Latitudes; Ignasi Aballí's tote will include his 2009 publication 'Nothing, Or Something' inside and Mariana Castillo Deball will have 'Amikejo', the exhibition catalogue of the 2011 cycle one of which presented works by Castillo Deball and Irene Kopelman.Installation view of a short history of the art book bag (and the things that go in them) exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Zine for "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Carriers of Knowledge' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Badges of Dissent' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
Installation view of 'Goods of Desire' section in "a short history of the art book bag (and the things that go in them)" exhibition at Asia Art Archive, Hong Kong, 24 August–24 October 2015. Courtesy of Asia Art Archive.
RELATED CONTENT:
Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and field trip to Hong Kong (16–20 June)30 May 2014
A day at Hong Kong's Asia Art Archive, 31 January 2013, 8 July 2013
"Archive as Method: An Interview with Chantal Wong, Hammad Nasar and Lydia Ngai" of the Asia Art Archive, Hong Kong. Final #OpenCurating interview 1 May 2013
Latitudes' Open Day at Spring Workshop on 2 February 2013 9 February 2013
Archive of social media posts related to "Incidents of Travel" tours and photo-documentation.
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
All photos: Latitudes | www.lttds.org 2015, Amikejo, Asia Art Archive, Exhibition, Fundació Suñol, haegue yang, Hong Kong, Ignasi Aballí, Lawrence Weiner, Mariana Castillo Deball, publications, Tote Bags
25 May 2015As announced on an earlier post, this Spring we celebrate our 10th Anniversary!
Many of you know of our love for tote bags – as we made it clear on one of our 2013 Venice biennale posts! Well, this time we have produced our very own totes: we are delighted to mark the special occasion by presenting limited editions of four specially commissioned silkscreened tote bags featuring designs by four artists with whom Latitudes has collaborated over the past decade: Lawrence Weiner (New York, 1942), Haegue Yang (Seoul, 1971), Ignasi Aballí (Barcelona, 1958) and Mariana Castillo Deball (Mexico City, 1975).
With the summer art calendar in mind, the bags are made from natural durable cotton canvas with a reinforced base. They feature a press-stud closure, an internal pocket with a zip (never loose your biennale pass again!), an adjustable shoulder strap, as well as smaller handles for carrying like a briefcase. Versatility from vaporetto to vernissage!
Each bag have been hand silkscreened in Print Workers, Barcelona; this is an artisanal process and each printing results in slight variations. Place your order(s) from our website.
Launch Price: 45 Euros + delivery. After 1 June 2015: 50 Euros + delivery. Edition: 35 + 5 A.P. (Haegue Yang's tote is ed. 20 + 10 AP) Measurements: 38 high × 40 width × 14 base (in cm)
Fabric: 475 gsm natural chlorine-free cotton canvas
Strap: Adjustable Capacity: 15 litres
Weight: 420 gr aprox.
Related content:
Latitudes' 4th anniversary (April 2009)Newsletter #22 – April 2010 It's our 10th anniversary! (22 May 2015)Latitudes' Limited Edition Totes
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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. 10th anniversary, 2015, haegue yang, Ignasi Aballí, latitudes, Lawrence Weiner, Mariana Castillo Deball, Mariana Cánepa Luna, Max Andrews, Tote Bags
31 Aug 2012| UK |
| ES |
"Lawrence Weiner – If in Fact There Is a Context" (2011)
by Lawrence Weiner
Series: dOCUMENTA (13): 100 Notizen - 100 Gedanken No. 008
English, 24 pp., 10.60 x 14.90 cm, softcover
ISBN 978-3-7757-2857-7
2012, documenta, Lawrence Weiner, reading