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

Video of Latitudes' lecture "Curating in the Web of Life" at Garage Museum of Contemporary Art, Moscow


Curating in the Web of Lifeis in a 1-hour-long lecture presented on November 7, 2019, at Garage Museum of Contemporary Art in Moscow, in the context of their group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100. It is in English and a Q+A follows. You can also watch it with Russian translation (voice-over). 

 Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.

In the lecture, Latitudes discuss how Modern art and modernist art history largely assented to the ontological and epistemological lie which imagined humanity and the humanities making their own history by themselves, while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes. The increasing violence by which the limits of the planet, its feedback loops and tipping points, are forcing themselves into world events has profound consequences for how we narrate (art) history and curate exhibitions in the web of life.


Max Andrews of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
Mariana Cánepa Luna of Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art.
 
New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna presented a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” ( CAPC musée d'art contemporain de Bordeaux 2017–18), ‘Hemauer Keller: United Alternative Energies’ (Kunsthal Aarhus, 2011), “Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008) and related projects such as the residency programme “Geologic Time” (Banff Centre for Arts and Creativity, 2017).

[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.


Latitudes during the lecture ‘Curating in the Web of Life’. Photo: Anton Donikov. © Garage Museum of Contemporary Art

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Cover Story—December 2019: Curating in the Web of Life

Latitudes' homepage www.lttds.org

The December 2019 monthly Cover Story ‘Curating in the Web of Life' homepage: www.lttds.org
 

‘Last month Latitudes gave a lecture entitled “Curating in the web of life” at Garage Museum of Contemporary Art, Moscow, as part of the public program for the exhibition The Coming World: Ecology as the New Politics 2030–2100. The presentation argued that modern art and modernist art history largely imagined humanity and the humanities making their own history by themselves while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes.’

→ Continue reading
→ After December 2019, 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 activities.

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Lecture ‘Curating in the web of life’ in Garage Museum of Contemporary Art, Moscow, 7 November 2019 at 7:30pm





Image: Dan Perjovschi.

On November 7, 2019, at 7:30pm Latitudes will present the lecture ‘Curating in the web of life’ in the context of the public programme related to the group exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’ on view at Garage Museum of Contemporary Art, Moscow, until December 1, 2019. 

Curated by Snejana Krasteva and Ekaterina Lazareva, the exhibition ‘The Coming World: Ecology as the New Politics 2030–2100’ currently occupies the entire Museum and presents historical and new works by over 50 Russian and international artists—from a 16th-century tapestry to works using VR.


Roman Keller and Christina Hemauer, ‘A Road Not Taken. The Story of the Jimmy Carter White House Solar Installation’, film still, 66 min., 2010. Courtesy of the artists.


‘Curating in the web of life’
— A lecture by Latitudes

Modern art and modernist art history largely assented to the ontological and epistemological lie which imagined humanity and the humanities making their own history by themselves, while hiding the fact that their productions, relations, and economy were always teeming with biophysical processes. The increasing violence by which the limits of the planet, its feedback loops and tipping points, are forcing themselves into world events has profound consequences for how we narrate (art) history and curate exhibitions in the web of life. 

New disciplines are broaching the separation between human activities and Earth systems – environmental law, political ecology, ecological economics, and so on. Likewise, what is at issue when artists, curators, exhibitions, and museums venture into new formations and shared rather than adjacent perspectives? What is at stake in a curatorial ecology, an environmental art history, or in integrating socio-natural processes into an institution’s account of itself, and so on? Turning to a world-systems approach as well as the insights of micro-history, Max Andrews & Mariana Cánepa Luna will present a series of curatorial and artistic perspectives on such questions, drawing from “uncomfortable objects” and “dishonest research” [1] across their exhibitions “4.543 billion. The matter of matter” (2017–18),Hemauer Keller​: United Alternative Energies” (Kunsthal Aarhus, 2011) Greenwashing. Environment: Perils, Promises and Perplexities” (Fondazione Sandretto Re Rebaudengo, 2008), and related projects such as the residency “Geologic Time” (Banff Centre for Arts and Creativity​, 2017).
 
[1] “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.
 
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Cover Story–May 2018: "Shadowing Roman Ondák"

Latitudes' home page www.lttds.org

The May 2018 Monthly Cover Story "Shadowing Roman Ondák" is now up on Latitudes' homepage: www.lttds.org

This month we revisit Roman Ondák’s exhibition ‘Some Thing’ at The Common Guild, Glasgow, in 2013, during which Latitudes was invited to give a talk. Roman’s show comprised a series of composite works in display cases. Early still-life paintings and pencil drawings from his student days in Slovakia in the 1980s were coupled with the actual objects depicted – a chair, a length of rope, a helmet, a vase (a detail of "Shadow, 1981/2013" is the work above), and so on, which were placed in a deadpan way on top of them.

—> Continue reading
—> After May it 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 activities.



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Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend

 Above: de Appel director Niels van Tomme during his welcome speech.  
This and following photos: Carina Erdmann/De Appel.

Latitudes participated in de Appel Arts Centre two-day symposium "You are such a curator!" on 23 and 24 November 2016. Coinciding with the Amsterdam Art Weekend, the event presented lectures, discussions, performances and papers marking the conclusion of a three-year research project into the dynamics of de Appel’s curatorial programme and its position in the wider field of curatorial education.

Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in 2017. Their point of departure was responding to the question "what does the wrongful killing of a dog in medieval France have to tell us about the micro and the macro, the hyper-specific and the universal?"  

Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'. 
Below: Q+A session.
 
Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.  
Below: Latitudes' presentation "Following the Holy Greyhound".
 
Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation. 
Below: Attentive (femenine!) audience. 

Above: (Intensive) Q+A amongst speakers and audience. 
Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.

Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'. 
Below: Niels van Tomme during one of the many Q+A's.

Above: Prem Krishnamurthy during a Q+A.

The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
  
We also visited a few exhibitions and attended a few events  programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
 
"Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.

(above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
Majestic "Labyrinth" (2016) piece above and below.
(above) "New Improvisation with Bart de Kroon", one of the five performances Jeremiah Day presented at Ellen de Bruijne Projects.

And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.


Abstracted images by Claudia Martínez Garay

(Above and below) Installation on the ground floor by Eva Spierenburg.

Sculptural and archival material by British artist Alex Farrar around his suit.

More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.

 Glass piece by German artist Christine Moldrickx (above and below). 

The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.

(Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.

Jordan Wolfson's "Colored Sculpture" (2016).

San Serriffe art book shop in the red light district.

kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.

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Guest Faculty of the Thematic Residency ‘Blueprint for Happiness’ at The Banff Centre, Canada, 27 July–8 August 2015

(First) Views from the Vistas restaurant in the Sally Broden Building; (below) View from the Lloyd Hall building.

As Guest Faculty of the Visual + Digital Art thematic residencyBlueprint for Happiness’ – a five week programme starting July 13 led by British artists Heather and Ivan Morison – Latitudes will join the group in the middle two weeks of the programme (27 July–7 August). 

 Participants of the Blueprint for Happiness Thematic Residency.

 Some art-as-research tips for reference on one of the Glyde Hall fridges.

In Banff, Latitudes will lead a series of focused workshops bringing forward a series of case studies of (realised and unrealised) projects they have worked on as well as focusing on a number of artists whose practice has dealt with issues around public space in different geographical contexts. 

Latitudes will also undertake studio visits with each of the 11 resident artists, participate in field trips and organise a closed-door evening film programme with films by Spanish artist Emilio Moreno, Irish artist Sean Lynch and Australian artist Nicholas Mangan. The three films share a focus on public sculptures, monuments or buildings that have been displaced from their original context.


Ignasi Aballí, AM-4826 Digital Anemometer from Taking Measures (2009). Installation of 9 measuring devices. Courtesy of the artist and Galería Estrany–De la Mota, Barcelona.

Tuesday 28 July 2015, 16–17:30h: Public Lecture, Presentation of Latitudes’ curatorial practice as part of the Visual Art Lecture Series. Jeanne and Peter Lougheed Building, 204. Free event.
 
For the Public Lecture Latitudes will forgo a chronological account of its projects of the last decade, and instead attempt various transects through its curatorial projects determined by raw materials and their transformation. From the zinc which led to an Esperanto micro-nation, to the air of a Beijing shopping centre, or the dead trees of printed news, Latitudes will try and join some traits and ideas around extractive modernity, obsolescence and the carbon cycle.


 Music huts around campus.
 The creek around The Banff Centre.

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Tutors of the 2015 International Curatorial Retreat, 9–13 May, Bari (Italy)

Introduction to the four-day workshop by Tara McDowell, director of the Curatorial Practice Ph.D. Program at MADA (Monash School of Art Design and Architecture), Melbourne.

Organised by Vessel in collaboration with the Curatorial Practice Ph.D. Program at MADA (Monash School of Art Design and Architecture) in Melbourne – which a year ago co-hosted our Melbourne residency as part of Gertrude Contemporary's Visiting Curatorial Program – the retreat brings together participants and tutors in an intense mobile four-day format. 


The 2015 International Curatorial Retreat (9–13 May) focused on issues which have gained urgency within contemporary curatorial practice under the conditions of globalization, in particular, the process of writing when related to the ‘epistemologies of the South’ – a term adopted from Portuguese sociologist Boaventura de Sousa Santos. 

As one of the team of tutors of the retreat, Latitudes presented two of its recent editorial projects (The Last Newspaper and Incidents of Travel in Mexico and Hong Kong), and led an afternoon workshop that operated in the realm of "art-fiction", of desirable or dystopian prototypes, speculative objects and art world services, as well as imminent and real (to use the startup term) disruptions. A kind of near-future think tank and foresight group, the workshop imagined curatorial-editorial prototypes and use-case scenarios.

Tirdad Zolghadr during his workshop.
 Alexandra Ross presented http://www.continuous-curatorial-conversations.org/, a "compilation of supplementary histories which appropriately emphasizes the oral nature of curatorial practice".
Photo: Piero Percoco.

Participants (via the open call): Rachel Dedman (1989, London, lives and works in Beirut; Curator-in-Residence, 98weeks, Beirut); Maya Mikelstone (1982, Latvia, lives and works in Paris/Latvia, independent curator); Jesse van Oosten (1986, Rotterdam, lives and works in Rotterdam, Associate Curator, TENT Rotterdam); Heidi Rabben (1982, Laguna Beach, California, lives and works in San Francisco; Assistant Director, Kadist Art Foundation, San Francisco); Maayan Sheleff (1976, Tel-Aviv, lives and works in Tel-Aviv, independent curator); Eszter Szakács (1983, Mór, Hungary, lives and works in Budapest; curator and researcher at tranzit.hu, Budapest); Christel Vesters (1972, Oldebroek, The Netherlands, lives and works in Amsterdam; PhD candidate, School of Humanities, Royal College of Art in London). 

Participants from the Curatorial Practice Ph.D. at MADA, Melbourne: Léuli Eshraghi, Sarah Ann Farrar, Rosemary Forde, Melanie Oliver, Joel Stern and Holly Williams. 

Tutors: Tara McDowell (Associate Professor and Director of Curatorial Practice at MADA); Dr. Alexandra Ross (Postdoctoral fellow, Centre for Curating the Archive at Michaelis Art School, University of Cape Town); Tirdad Zolghadr (Curator and writer currently affiliated with Al Quds Bard College and the International Academy of Art, Ramallah); Fucking Good Art (travelling artists’ magazine or editorial project for research in-and-through art); Vít Havránek (theoretician and organizer based in Prague, co-founder of Tranzitdisplay and Latitudes (independent Barcelona-based curatorial office). 

Light display at the Piazza del Ferrarese during the Feste di San Nicola.

View from the Doppelgaenger Gallery in the old town area, space that hosted the seminars.

 Part of the group visited Monopoli for a workshop led by Rob and Nienke of Fucking Good Art.

 Monopoli seafront.

 Walking through the old city centre of Bari on the way to lunch.

 Food shopping at the Mercato ex Manifattura Bari (former tobacco factory) in the Quartiere Libertà.

 Dinner cooked by the International Curatorial Retreat 'chef-in-residence' Boris Portnoy.
 Photo: Piero Percoco
(Above and below) 'Notes and Quotes' session led by Rob and Nienke of Fucking Good Art, a 'de-briefing'  session that wrapped up the discussions by exchanging notes and quotes drawn from the previous few days.
Final remarks and feedback session. Photo: Piero Percoco.
 
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This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
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Latitudes | www.lttds.org
Work is licensed under a
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Lunchtime Art Forum and seminar with PhD candidates in Curatorial Practice, MADA | Monash Art Design & Architecture, Melbourne, 14 May 2014

Announcement on MADA | Monash University Art Design & Architecture's website.
| UK |

Lunchtime Art Forum: Latitudes (Max Andrews and Mariana Cánepa Luna)
14 May 2014
12:30h
Lecture Theatre G1.04, MADA | Monash Art Design & Architecture

900 Dandenong Road / Caulfield East / Victoria 3145 / Australia
Free entry / all welcome


On May 14 Latitudes will present an overview of the projects they have commissioned, participated in or self-initiated as curators, such as the series of new public projects Portscapes (Port of Rotterdam, 2009), the two iterations of No Soul for Sale: A Festival of Independents (New York in 2009 and London in 2010), or the exhibition series Amikejo (MUSAC, León, Spain, 2011).

The lecture will be followed by an afternoon seminar with candidates from the
Curatorial Practice PhD [download course pdf] during which Latitudes
will present two of its recent projects that are the basis of ongoing research since 2010. Firstly, its involvement as a partner organisation of The Last Newspaper exhibition at the New Museum, New York (2010–11) and secondly, its self-initiated research #OpenCurating (2012–13) formed by ten published interviews with curators, artists and editors that focused on digital strategies, new forms of interaction between publics with artworks, and their production, display and discursive context. To conclude, Latitudes will moderate a debate around the responses to four of the interviews.

This lecture is framed within Latitudes's Visiting Curators Programme residency at Gertrude Contemporar until June 7th.

Related content

Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 April 2014) 


| ES |

Lunchtime Art Forum: Latitudes (Max Andrews y Mariana Cánepa Luna)
14 mayo 2014
12:30h
Lecture Theatre G1.04, MADA | Monash Art Design & Architecture
900 Dandenong Road / Caulfield East / Victoria 3145 / Australia
Entrada libre


El 14 de Mayo Latitudes presentará varios de los proyectos que se le han comisionado, en los que ha participado o ha iniciado de motu proprio como comisarios, tales como la serie de nuevos proyectos en el espacio público Portscapes (Port of Rotterdam, 2009), las dos iteraciones de No Soul for Sale: A Festival of Independents (Nueva York en 2009 y Londres en 2010), o el ciclo expositivo Amikejo (MUSAC, León, 2011).

La conferencia será complementará con un seminario con los candidatos del doctorado en
Curatorial Practice [descargar pdf del curso] durante el cual Latitudes
presentará dos de sus proyectos que forman la base de su investigación en curso desde 2010. En primer lugar, su participación como organización asociada en la exposición The Last Newspaper en el New Museum, Nueva York (2010–11) y en segundo lugar, la investigación #OpenCurating (2012–13) formada por diez entrevistas publicadas online con comisarios, artistas y editores, enfocadas en el análisis de las estrategias digitales y las nuevas formas de interacción entre los públicos y las obras de arte, su producción, exhibición y su contexto discursivo. A continuación Latitudes moderará un debate en torno a los contenidos de cuatro de las entrevistas de #OpenCurating.  

La conferencia se enmarca dentro de la residencia como parte del Visiting Curators Programme en Gertrude Contemporary, del que Latitudes participa hasta el 7 de junio.

Contenido relacionado:
 
Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 abril 2014)
 

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)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014

Courtesy: Gertrude Contemporary.

Latitudes has been invited to participate in Gertrude Contemporary's Visiting Curator Program between 12 May and 7 June.
 
The Visiting Curator Program is an initiative in which three international curators are invited to Australia each year. During the residency (between two weeks up to two months) the invited curator is hosted in Gertrude's Studio 18 and Gertrude Contemporary facilitates a series of studio visits and meetings with artists and Australian peers within the contemporary arts sector. The residencies receive support from Arts Victoria International or the Australia Council for the Arts. 

As part of the residency, Latitudes has been invited to present their work at MADA | Monash University of Art Design & Architecture. The talk will be followed by an afternoon closed-door seminar with candidates from Curatorial Practice PhD [download course pdf] and other guests, during which Latitudes will lead a discussion concentrating on their #OpenCurating research which manifested in 10 freely published interviews with artists, curators and editors investigating new forms of interaction between publics with artworks and their production, display and discursive context.

Residency in partnership with MADA | Monash University of Art Design & Architecture, as part of Gertrude Contemporary’s Visiting Curator Program.

Follow us on our twitter and the archived posts on storify.


Courtesy: Gertrude Contemporary.


This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
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.
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Report from Glasgow: Lecture at The Common Guild and studio and gallery visits

Late last month we made a trip to Glasgow at the invitation of The Common Guild to give a lecture about the work of Roman Ondák, who currently has an exhibition there (until 14 December). We took the opportunity to stay a few days in Glasgow to see exhibitions and do some studio visits with the many artists who call the city home. A big thank you to Kitty Anderson and Katrina Brown for the invitation and hospitality.

Tea and biscuits with our talk at The Common Guild.
In our lecture on the evening of 21 November we talked about some key works by Ondák – including SK Parking (2001) and The Stray Man (2006) – suggesting how fin-de-siècle Vienna provides a lens with which to focus on its negotiation of both the cliché of "life as art" and the grim stereotype of "the everyday" in the former Eastern Europe. 

Ondák's show at The Common Guild filled the galleries of its present home in a Victorian townhouse near Kelvingrove Park with a series of works in vitrines which couple early still-life paintings and drawings by the Slovakian artist alongside the actual objects depicted. A chair, a length of rope, a twig, a vase, and so on, become caught in a humorous riddle about reality and its representation and when the "real" work of an artist can be said to have begun.


Roman Ondák at The Common Guild.
The previous day we'd visited the studio of the amazing filmmaker Luke Fowler, who was about to go to Huddersfield for their Contemporary Music festival and a collaboration with David Toop. We also met with Corin Sworn, who was one of the three artists representing Scotland at the 2013 Venice Biennial, though in fact none of them was actually Scottish. Scotland + Venice 2013 – whose final week was during our visit to Glasgow – was conceived and produced by The Common Guild. (We were also delighted to be able to meet the great filmmaker Duncan Campell, another of the Venice artists later in the week).

We'd also had time to check out the eclectic Hunterian Museum (the oldest museum in Scotland), Aaron Angell & Jack Bilbo's show at SWG3 Gallery, as well as The Modern Institute's two venues. At the Aird's Lane branch was a show by furniture designer Martino Gamper while the Osborne Street HQ, a former bathhouse, has a show by Chris Johanson.


The Modern Institute Aird's Lane: Martino Gamper.
The Modern Institute at Osborne Street: Chris Johanson.
Aaron Angell & Jack Bilbo's show at SWG3 Gallery.
In the south of the city, we were glad to be able to visit Tramway, the multi-use arts venue that's been running since the late 1980s and now also hosts the Scottish Ballet, as well as a huge exhibition space with an important history of shows. It hosted an impressive show by Lucy Skaer entitled "Exit, Voice and Loyalty", as well as a "House Style" a series of commissions made in response to Roundabout a series of film from the 1960s and 1970s designed to promote Britain as a progressive world leader to south and south-east Asian audiences. 

Lucy Skaer at Tramway: Exit, Voice and Loyalty takes its title from economist Albert O. Hirschman’s essay on how change comes about through dissent.
Lucy Skaer: tenmoku glazed ceramics.
Lucy Skaer: works based on ticket punch holes.
House Style, curated by Panel: film by Rob Kennedy.
Thanks to Kyla McDonald at Glasgow Sculpture Studios we visited their fantastic high-spec fabrication facilities – which include a ceramics studio, wood and metal-shop and media suites – and met with a number of artists based their. Claire Barclay had just completed a commission with Artlink commemorating the bicentenary of the Royal Edinburgh Hospital. We talked with Lauren Gault about her show at Generator Projects in Dundee, and Sarah Forrest about her recent Margaret Tait Residency in Orkney. Alex Impey told us about his interest in Michael Baxandall's "Period Eye" and Sarah Tripp had just finished edited 24 Stops, a work commissioned by Camden Arts Centre. 

Claire Barclay's studio at GSS.
Lauren Gault's studio at GSS with blue-glazed ceramic forms.
Moreover, Glasgow Sculpture Studios have an exhibition space which was hosting a show by Haegue Yang entitled Journal of Bouba/kiki, the result of a residency and Haegue's evident delight in exploring some new fabrication techniques. 


Haegue Yang's exhibition at GSS included these macramé mobiles.
Haegue Yang at GSS. Yang's residency resulted in a number of new technical innovations, included a motorized system for a new Venetian-blind installation and these ceramic hand gestures.
Finally we were happy to spend time with Carles Congost, who by Catalan coincidence, opened an exhibition at CCA Glasgow on Friday 22 November. Curated by Emma Brasó with works by Congost and Henry Coombes, "Man of the Year" runs until 26 January next year.
Fear Your Talent: Carles Congost in the shadows!

This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
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.
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