Mon, Oct 28 2019
2019, Ecology, environmentalism, global trade, latitudes, Lecture, world ecology
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.
Image: Dan Perjovschi.
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”  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).
 “Uncomfortable objects” is a notion borrowed from artist Mariana Castillo Deball, and “dishonest research” from artist Mercedes Azpilicueta.
→ RELATED CONTENTS:
- Conferencia ‘4.543 miles de millones y la naturaleza social abstracta’, Jornadas Eremuak, Azkuna Zentroa, Bilbao, 17–19 octubre 2019, 14 octubre 2019
- Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 11 de julio 2019, 19h
- Parallel Rooms, Art Basel Cities: Buenos Aires talks, hosted in collaboration with arteBA, Buenos Aires, 13 April 2019.
- Convenor, 'The Return of the Earth. Ecologising art history in the Anthropocene’, CAPC musée d’art contemporain de Bordeaux, 15 November 2017.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017.
- Lecture, ‘You're such a curator!’, De Appel Curatorial Programme Summit, Amsterdam, 23–24 November 2016.
Mon, Dec 12 2016
2016, Amsterdam, art weekend, Curatorial Practice, de appel, Ellen de Bruijne Projects, Jordan Wolfson, latitudes, Lecture, microhistory, Oude Kerk, participation, Rijksakademie, symposium
Above: de Appel director Niels van Tomme during his welcome speech.
This and following photos: Carina Erdmann/De Appel.
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
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.
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.
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.
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).
kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.
Thu, Jul 16 2015 2015, Canada, Ecology, Guest Faculty, Heather and Ivan Morison, Lecture, public art, residency, teaching, The Banff Center, Workshop
(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 residency ‘Blueprint 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.