Longitudes

At Last...'The Last Newspaper' catalogue!

Latitudes' 10-week editorial residency at the New Museum has come to an end! Below photos of each of the 10 weekly newspapers we have published and that has been available every Wednesday from the museum galleries.

The Last Post (#1): See contents and learn about Dara Birnbaum's Media Habits here

The Last Gazette (#2): See contents and read a focus text by Julienne Lorz on Hans Haacke's News here

The Last Register (#3): See contents and read an exclusive interview with visual artist Francesc Ruiz here

The Last Star-Ledger (#4): See contents and read an exclusive interview with Portugal's newest newspaper's Creative Director, Nick Mrozowski here

The Last Monitor (#4): See contents and read an read about the history of newspapers' paperweights here

The Last Observer (#6): See contents and read an exclusive interview with Wolfgang Tillmans here

The Last Evening Sun (#7): Read contents and and a text on Luciano Fabro's work 'Pavimento–Tautologia' here
The Last Journal (#8): See contents and read an exclusive interview with Rirkrit Tiravanija here

The Last Times (#9): See contents and read Pablo Vargas Lugo's Picture Agent contribution here
 The Last Express (#10): See contents and read the report on the 27 November talk between filmmaker Adam Chadwick and web veteran Jason Fry here.

Each of 'The Last...' has been edited and freely distributed from a micro-newsroom on the New Museum's third floor gallery space.

Latitudes' newsroom on the third floor of the New Museum, New York. Photo: Greg Barton

The Last Post, The Last Gazette, The Last Register, The Last Star-Ledger, The Last Monitor, The Last Observer, The Last Evening Sun, The Last Journal, The Last Times
and The Last Express comprise the catalogue of The Last Newspaper exhibition, curated by Richard Flood and Benjamin Godsill.

The final catalogue compilation includes
over 100 contributorsarticles and exclusive interviews with participating artists as well as texts and special features concerning an expanded selection of individuals and organisations whose work addresses the news, the medium of the newspaper and their evolving form and function.

The catalogue will soon be available from the New Museum's Store for
$15. More details to follow on the European distribution – see update here. The exhibition continues at the New Museum until 9 January 2011.

Table of contents of the 10 issues:

Issue 1: The Last Post
October 6, 2010
Cover: ‘Ink vs Link’. Press Room of The Richmond Planet, c. 1899
Editorial: ‘Welcome to The Last Post, The Last Gazette, The Last Register...’ by Latitudes
Picture Agent (Our singular picture agency): Kirstine Roepstorff
Media Habits: Dara Birnbaum
Exclusive Interview: ‘Double Trouble’, Lorena Muñoz-Alonso interviews TLN artist Pierre Bismuth
Feature: ‘Lights, Camera...Banality’, Kolja Reichert on Marie Voignier’s Hearing the Shape of a Drum (2010)
‘Working with Utopians’ by Richard Flood and Benjamin Godsill
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): ProPublica
Fit to Print: ‘The (L.A.) Times it is A-Changin’ by Adam Chadwick
100 Years Ago…: The Salt Lake Herald-Republican
Cartoon: ‘The Woods: Teen Balls’ by Francesc Ruiz
Advertising: Ester Partegàs with Rob McKenzie

Issue 2: The Last Gazette
October 13, 2010
Cover: ‘Sorry for the Metaphor’. Special cover by Amalia Pica (and page 3)
Editorial: ‘34 People Like This’ by Latitudes
Focus: ‘A system is not imagined, it is real’, Julienne Lorz on TLN artist Hans Haacke’s News (1969/2008)
Dirt Sheet: Janine Armin on the newspaper-as-catalogue
Picture Agent: Ilana Halperin
The Next Newspaper: Clay Shirky
Photo essay: ‘Picture Mining’ by Ines Schaber
Obituary: ‘Sorry we’re dead’, Andrew Losowsky on TLN artist Adam McEwen’s Untitled (Caster) (2010)
Fit to Print: Adam Chadwick on hyperlocal citizen journalism
100 Years Ago…: Daily Public Ledger
In Brief: ‘Sac Bee Cuts’
Media Habits: Luis Camnitzer
Infographic: ‘U.S. Gazettes: Average Circulation’ by Irina Chernyakova
Cartoon: ‘The Woods: Money’ by Francesc Ruiz
Advertising: Ester Partegàs

Issue 3: The Last Register
October 20, 2010
Cover: ‘Exhibit: Exposed!’. Installing TLN wall text
Report: ‘Reaction Distraction’: Gwen Schwartz on the TLN talk with participating artists Nate Lowman, Aleksandra Mir and Sarah Charlesworth
Focus: Doryun Chong on TLN artist Adrian Piper’s Vanilla Nightmares (1986)
Media Habits: Dora García
Dirt Sheet: Janine Armin on truth and fiction
Picture Agent: Sergio Vega
The Next Newspaper: Paul Schmelzer on the American Independent News Network
Feature: ‘Broadcasting’, Joe Salzman on the representation of the journalists on TV
Exclusive interview: Latitudes with TLN cartoonist Francesc Ruiz
‘Patricia Esquivias on...The French Revolution’
100 Years Ago…: New York Tribune
Feature: ‘Hyphen-ated’ by Stephen Spretnjak
Photo essay: ‘Behind the Scenes’, Installing ‘The Last Newspaper’
Cartoon: ‘The Woods: Scratch Lottery’ by Francesc Ruiz
Advertising: Ester Partegàs with Adam Shecter

Issue 4: The Last Star-Ledger
October 27, 2010
Cover & Picture Agent: Special cover by Haegue Yang (and page 12)
Exclusive interview: ‘Rank and File’, Latitudes interviews Ignasi Aballí
Focus: ‘A Newspaper is Never Complete, Because News is Never Complete’, Interview with Ed Pierce from the archive of TLN partner organization StoryCorps + ‘StoryCorps Key Facts’
Focus: ‘Execution, Ejaculation, Exhibition’, Collin Munn on TLN artist Dash Snow’s Untitled (2006)
The Next Newspaper: Latitudes interviews Nick Mrozowsky about i
Dirt Sheet: Janine Armin on TLN artist François Bucher
‘Patricia Esquivias on... Communism’
100 Years Ago…: The Tacoma Times
Media Habits: Nicoline van Harskamp
Cartoon: ‘The Woods: Specialization’ by Francesc Ruiz
Advertising : Ester Partegàs with Rob McKenzie

Issue 5: The Last Monitor
November 3, 2010
Cover: ‘Today & Yesterday’. Gustav Metzger, Eichmann and the Angel, 2005
Exclusive interview: ‘Eating the Wall Street Journal’, Janine Armin with TLN artist William Pope.L
Feature: ‘Today and Yesterday’, Sophie O’Brien on Gustav Metzger
Picture Agent: Jordan Wolfson
The Next Newspaper: The San Francisco Panorama by Irina Chernyakova
Fit to Print: Adam Chadwick on the digital divide
100 Years Ago…: The Bisbee Daily Review
Media Habits: Mark von Schlegell
Focus: ‘Who Framed Sarah Charleswoth?’, Marcel Janco on TLN artist Sarah Charlesworth
Readers’ Lives: ‘Paper-Weight Champion’ by Harley Spiller
Feature: ‘Heralding the Gizmo’, Max Andrews on Kirstine Roepstorff
Readers’ Lives: ‘My Name is Marc D’Andre and I’m a Newspaper Addict’
Infographic: Facebook poll: where do @NewMuseum followers get their news?
Cartoon: ‘The Woods: Tools’ by Francesc Ruiz
Advertising : Ester Partegàs with Holly Coulis and Ridley Howard

Issue 6: The Last Observer
November 10, 2010
Cover: ‘Truth Study?’. Installation view of Wolfgang Tillmans Truth Study Center (NY) (2010)
Exclusive interview: ‘Is this True or Not?’, Lorena Muñoz-Alonso with TLN artist Wolfgang Tillmans
Focus: ‘There’s not Enough Rage These Days’, Greg Barton & Collin Munn on TLN artist Judith Bernstein
Picture Agent: Renzo Martens
Media Habits: City-as-School Students
Feature: ‘Relationship Status’ by Manuel Segade
Focus: ‘‘Old News’ to me’ by Lars Bang Larsen + ‘Nothing New About Old News’
Feature: ‘Editorial Curatorial’ by Marcel Janco
The Next Newspaper: Patch. Andrew Losowsky interviews Warren Webster, company president
Report: Irina Chernyakova on the ‘Perpetual Peace Project’ of TLN partner the Slought Foundation
Fit to Print: Adam Chadwick on The Huffington Post
100 years Ago…: The News-Herald
Cartoon: ‘The Woods: Backcover’ by Francesc Ruiz
Advertising: Ester Partegàs

Issue 7: The Last Evening Sun
November 17, 2010
Cover: 'Without Rain Partial Nights Aerial Days'. Special cover by Julia Rometti & Victor Costales (and page 12)
Feature: ‘Translating Rubble’, Kathleen Ritter on Mark Manders
Focus: ‘Floor Tautology’, Simone Menegoi on TLN artist Luciano Fabro’s Pavimento–Tautologia (1967) + ‘Fabricating Fabro’ by Shannon Bowser
Special pull-out poster: Installation pictures, checklist of TLN + ‘Your week in Headlines’ by New Museum Facebook and Twitter followers
Feature: 'Thomas Hirschhorn ♥ Queens', Charity Scribner on TLN artist Thomas Hirschhorn
Feature: 'Red and black all over, again' Irina Chernyakova interviews The Last... newspapers’ designer Chad Kloepfer
Focus: TLN project Jeffrey Inaba/C-Lab’s Cloudy with a chance of Certainty (2010) + ‘C-What?’ by Greg Barton
Media Habits: Michael Rakowitz
The Next Newspaper: WikiLeaks
Dirt Sheet: Janine Armin at the Taipei and the Gwangju Biennials
Picture Agent: Maria Loboda
Cartoon: ‘The Woods: Flavor of the month’ by Francesc Ruiz
100 Years Ago…: Palestine Daily Herald
Advertising: Ester Partegàs

Issue 8: The Last Journal
November 24, 2010
Cover: ‘Le Petit Journal’. Fernando Bryce, from the series L'Humanité (2009–2010)
Feature: 'L'Humanité', Yasmil Raymond on Fernando Bryce
Report: 'Independent Gazette', Lorena Muñoz-Alonso on The Independent by Damián Ortega and Can Altay’s The Church Street Partners' Gazette + Damián Ortega talks with Alona Pardo
Media Habits: Ester Partegàs
Brazil Focus: 'The Imaginery Newspaper', Chris Dercon on Luciano Figueiredo + ‘Jornal da Cidade’, Ana Paula Cohen on 28b
Focus: 'Boetti e His Double', Christian Rattemeyer on TLN artist Alighiero e Boetti's Corriere Della Sera (1976)
The Next Newspaper: Crowd Sourcing – spot.us / emphas.is, by Irina Chernyakova
Exclusive interview: 'The Days of This Society...', Desiree B. Ramos interviews TLN artist Rirkrit Tiravanija
Focus: 'Paper view' Gwen Schwartz with New Museum visitors
Focus: 'What's CUP?', on TLN partner organization The Center for Urban Pedagogy, by Gwen Schwartz and Max Andrews
Picture Agent: Adrià Julià
Focus: '29 Days Later', Sarah Wang on Larry Johnson’s TLN work Untitled Green Screen Memory (2010) + ‘2009 California Fires’ by Collin Munn
Cartoon: 'The Woods: Creation' by Francesc Ruiz
100 Years Ago...: The Marion Daily Mirror
Advertising: Ester Partegàs

Issue 9: The Last Times
December 1, 2010
Cover: Peter Piller, Pfeile (Arrows), Archiv Peter Piller 2000-2006
Exclusive interview: ‘Bedeutungsflächen, In Löcher blicken, Ortsbesichtigungen...’, Julienne Lorz talks to Peter Piller
Focus: ‘Press Victim’, Collin Munn on TLN artist Mike Kelley's Timeless/Authorless Series (1995) + ‘Mike on Mike’, Mike Santistevan on Mike Kelley
Picture Agent: Pablo Vargas Lugo
100 Years Ago…: The Seattle Star
The Next Newspaper: Web aggregation, by Irina Chernyakova
Focus: ‘Sarah’s Sex Sport-Trait’, Lorena Muñoz-Alonso on Fat, Forty and Flab-ulous (1990) by TLN artist Sarah Lucas
Media Habits: Carey Young
Dirt Sheet: Janine Armin on Allen Ruppersberg’s TLN work Screamed from Life (1982)
Focus: 'Dutiful Scrivener', Angel Nevarez & Valerie Tevere on their work for TLN + Mark Twain’s ‘Amended Obituaries’ (1902)
Focus and exclusive interview: ‘Graphite Testimony’, Greg Barton on Andrea Bowers’ Eulogy to One and Another (2006) featured in TLN
Exclusive interview: ‘Having It All’, Latitudes talks with TLN co-curator Richard Flood about TLN artist Robert Gober
Cartoon: 'The Woods: Fahrenheit 451' by Francesc Ruiz
Advertising: Ester Partegàs

Issue 10: The Last Express
December 8, 2010
Cover: Hans Haacke, News (1969/2008)
Exclusive interview: ‘I’m still nostalgic vis-à-vis image making’, Rodrigo Moura interviews Mauro Restiffe
Dirt Sheet: Janine Armin on TLN participant Dexter Sinister’s The First/Last Newspaper (2009)
Report: 'Fit to Print?: The newsroom reinvented', Latitudes reports on the New Museum talk between Adam Chadwick and Jason Fry
100 Years Ago...: Los Angeles Herald
Focus: ‘Blu Dot: What?’, Gwen Schwartz and Mariana Cánepa Luna on TLN partner organization Blu Dot
The Next Newspaper: The Daily, by Irina Chernyakova
Focus: ‘Do you like milk and honey?’, Greg Barton on TLN artist Emily Jacir’s Sexy Semite (2000-2)
Picture Agent: Simon Fujiwara
Media Habits: Michalis Pichler
Feature: ‘Embrace the Ambiguity’, TLN co-curators Richard Flood and Benjamin Godsill reflect on the exhibition
Focus: ‘Reading the Reader’, Greg Barton and Irina Chernyakova on TLN partner organisation NetLab’s the New City Reader
Exclusive interview: ‘The Wires’, Janine Armin interviews TLN artist Hans Haacke
Cartoon: 'The Woods: The End' by Francesc Ruiz
Advertising: Ester Partegàs

New Museum
235 Bowery 
New York, NY 10002, USA
Wednesday 11-6 pm; Thursday 11-9
pm; Friday-Sunday 11-6 pm;
Monday and Tuesday closed
http://www.newmuseum.org


All images: Latitudes | www.lttds.org

'THE LAST EVENING SUN' AVAILABLE NOW! #7 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 7: 'The Last Evening Sun'
(READ IT ON ISSUU)

Table of contents:

Cover:
'Without Rain Partial Nights Aerial Days', a special cover by Julia Rometti & Victor Costales (continues page 12)
Feature: Artist and writer Kathleen Ritter misreads the incomprehensible newspapers of Mark Manders
Focus: Simone Menegoi on Pavimento, Tautologia (1967) by Luciano Fabro; plus notes on 'Fabricating Fabro' by the New Museum Chief Preparator, Shannon Bowser
Special pull-out poster: Installation pictures and a checklist of 'The Last Newspaper' and New Museum's Facebook fans and Twitter followers reporting a sentence of personal news
Feature: 'Thomas Hirschhorn ♥ Queens' Charity Scribner on Thomas Hirschhorn
Feature: 'Red and black all over, again' Irina Chernyakova follows the design and production of 'The Last Evening Sun'
Focus: Inaba/C-Lab's 'Cloudy with a chance of Certainty'
Media Habits: Michael Rakowitz
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news):
WikiLeaks
Dirt Sheet column:
Janine Armin at the Taipei and the Gwangju Biennials
Picture Agent-Our singular picture agency: Maria Loboda 

100 years Ago…: 'Palestine Daily Herald' (Palestine, Texas) 1902-1949, November 17, 1910
Cartoon:
'The Woods: Flavor of the month' by Francesc Ruiz
'Advertising Department':
Ester Partegàs







EXCLUSIVE CONTENT!



Joshua Edwards, Exhibitions Manager at the New Museum, mops the floor and lays the previous day’s New York Times
to create Fabro’s Pavimento, Tautologia (1967). Photos: Latitudes


FLOOR TAUTOLOGY 
Curator and writer Simone Menegoi on Luciano Fabro’s ‘Pavimento–Tautologia’, the earliest work in ‘The Last Newspaper’

My grandfather had a sports car, a Lancia Fulvia coupé. He always kept it polished and would only use it on certain occasions. He was so afraid of getting it dirty that he never took off the plastic wrapping that covered the seats when he bought it, even after years of use. His zeal was not particularly unusual in Italy those years (the 1970s), as many people left on the protective plastic film that brand new sofas or chairs would have when purchased. This habit came from two decades earlier, when memories of war and poverty were still lurking. The first consumer goods purchases were the result of laborious saving, so things had to last for as long as possible.

Pavimento–Tautologia (Floor–Tautology) by Luciano Fabro is based on the same logic that drove people like my grandfather to keep the car seats wrapped: a logic that gave up the pleasure of being able to touch the leather or the fabric of the seat in exchange for the satisfaction of knowing that, beneath the protective plastic, the surface was kept intact. In Fabro’s work, a portion of the floor (sometimes an entire surface) is cleaned, polished with wax and then covered with newspapers. Beyond the ephemeral protection of paper – “a cheap and lightweight Carl Andre” as Jörg Heiser has written – the floor disappears, we cannot appreciate its lustre, but we know it’s being kept immaculate, and we know this will be preserved, even if we walk on the papers.

In 1978, a decade after presenting the work for the first time in Turin, Fabro wrote "in my town... the floor is cleaned and then covered, at least for the first day, with papers, newspapers or rags to avoid getting it dirty... on that first day, in those two or three days that it was covered with paper, no one saw the floor clean. This particular way of accounting for the labour and its preservation, not for ostentation but as a private affair, seeks to ensure that the effort made doesn’t end up in anything too quick.”


Newspaper placed on top of the mopped floor. Photo: Latitudes

The comparison between the newspapers on the floor and plastic on the new car seats, however, applies only within certain constraints. There is a fundamental difference between the work required for you to buy a car and the work involved in cleaning the floor. In Italy, in those years, the second had a clear gender dimension: it was a domestic job regarded as part of the housewife’s duties. Fabro was fully aware of this and it is no accident that he presented Pavimento for the first time in a gallery inside a private apartment, a space that preserved a domestic environment. Fabro was also aware of the position he was adopting as a male artist presenting it as a piece. The sculptor sided with the housewife, with her modest and under appreciated task that was repeated daily. "We experience seeing our work destroyed daily" Carla Lonzi, a friend and admirer of Fabro, wrote in 1970 in the Manifesto di rivolta femminile (Manifesto of feminist revolt), a key text of Italian feminism.

Forty years onwards, what is the effect of Pavimento in the context of an American museum, one so different from when the work was presented for the first time? Is it still effective? The vernacular appearance of the work, its provincial and quotidian dimension is probably hard to grasp today, particularly outside Italy. The political aspect – gender politics – is certainly less visible now than it was in the late 1960s, although its historical importance cannot be questioned. Pavimento remains current with the idea of "care", caring as an essential dimension of the relationship with a work. Pavimento consists only of this: in taking care. "Every experience related to this handmade piece is linked to maintenance," Fabro wrote in 1967. A piece that is not to be contemplated, but to be done. Its only legitimate spectator is the one who realised it and looked after it. In short, perhaps it is its only spectator. (Since to the rest of us, the polished floor remains invisible.) Fabro referred to caring in a material sense, as a symbol of all the other ‘cures’ that a piece would require: of a critical or political kind, for instance. In this sense, Pavimento was for him a sort of manifesto, as he stated that a work can never be taken for granted, but must be constantly redefined, reiterated, and defended. In its ‘infrathin’ layer of paper and floor wax, Pavimento–Tautologia guards a surprising depth of meaning.

– Translated from Italian by Mariana Cánepa Luna


(sidebar) FABRICATING FABRO


Installation view of Luciano Fabro's Pavimento-Tautologia (1967) on the 4th floor of the New Museum.
Courtesy of the Luciano Fabro Estate. Photo courtesy: Katie Sokolor / Gothamist.

Shannon Bowser: "I've been installing the piece every weekday since the exhibition opened in October. The layout uses all the pages of an issue yet the arrangement can be a little haphazard. We can lay the pages facing different directions and it doesn't need to be too precise or follow a set dimension, even though the barriers that surround the piece help as a guide to square it up to the wall. I throw down extra sheets here and there but it usually works out to be the same size each day overall no matter how many pages there were in the previous day's issue.

We have a specific subscription for the New York Times for this piece. Every morning I pick up a copy to keep it for the following day and I have with me the one from yesterday ready to go. I find myself reading the news while installing the work and so sometimes I have to pause to read properly, and I end up finding out about stuff that I would normally wouldn't. I wish I had time to read the New York Times every day, because there are so many good articles. Sometimes I flip through pages when I'm laying them down, so if there's an annoying full page with glaring women facing upwards I can choose to turn it around. It's really interesting to see yesterday's newspaper all laid out on the floor and realize the actual physical size of it, because you cannot really read the New York Times on the subway for example, because it's so big – it's so impractical!

Doing it definitely adds time to my morning routine so I've been coming in early every morning to be able to install the Fabro and then get everything else sorted as all these shows require a lot of maintenance. But it has been really interesting, I definitely feel like I'm participating in an artwork."

Watch a 'making of' video of the piece here.

Shannon Bowser (Chief Preparator) installs Pavimento–Tautologia on Wednesdays, Thursday and Fridays.
Victoria Manning (Registrar) takes charge on Saturdays and Joshua Edwards (Exhibition Manager) on Sundays.

In Memoriam: Luciano Fabro (1936–2007)

 



Acabamos de leer en Flash Art la notícia del fallecimiento del artista povera, Luciano Fabro el pasado viernes 22 en Milan. No queremos dejar pasar la ocasión para recordar su última aparición en Barcelona en ocasión de la exposición de la Herbert Collection en el MACBA en Febrero 2006. En su inauguración me presentaron al artista y entusiasmado con que hubiese alguien que hablase italiano en la habitación me animó a hacerle de traductora en la charla del día siguiente en el museo. Al día siguiente, nos encontramos 1 hora antes de la conferencia. Tomamos un café en c/Elisabets e intercambiamos comentarios sobre sus notas y sobre la exposición. Al rato me lancé a traducirle lo que sus colegas hablaban en inglés. Luciano era de los que aprendió francés. A pesar de mis torpes referencias él siempre sonreía...

D.E.P.

Photo: Latitudes | www.lttds.org

Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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