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 Newshere
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 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.
The final catalogue compilation includes over 100 contributors’ articles and exclusiveinterviews with participating artists as well astexts 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 Charlesworth?’, 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 York, NY 10002, USA Wednesday 11-6 pm; Thursday 11-9pm; Friday-Sunday 11-6 pm; Monday and Tuesday closed http://www.newmuseum.org
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
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 TheNew 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.
Acabamos de leer en Flash Art la notícia del fallecimiento del artista povera, Luciano Fabro el pasado viernes 22 en Milano. 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 el evento me animó a hacerle de traductora en la charla del día siguiente en el museo. Nos encontramos en la plaza 1 hora antes de la conferencia. Tomamos un café rápido en c/ Elisabets e intercambiamos comentarios sobre sus notas y sobre la exposición. Desde ‘el gallinero’ de los traductores en el auditori del MACBA 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 me sonreía desde abajo. Ahora seremos nosotros quien te sonreiremos desde aquí.