Longitudes

Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ in the process of being acquired by ARTIUM, Vitoria-Gasteiz


Above and below: Installation views of "Work in progress" in the exhibition "The Margins of the Factory", ADN Platform, 25 January–30 April 2014. Video (14’ 22”), 739 polyurethane sculptures, and 47 moulds. Produced with support from the Eremuak program of the Basque Government and from Centrum Beeldende Kunst Rotterdam. Courtesy of the artists. Photos: Roberto Ruiz.






We are very happy to know that Iratxe Jaio and Klaas van Gorkum's installation ‘Work in Progress’ (2013) is in the process of being acquired by ARTIUM, Centro Museo Vasco de Arte Contemporáneo in Vitoria-Gasteiz, Basque Country. The piece is on display as part of the exhibition ‘ARTres. El museo como deba ser’ (March 2–August 26, 2018).

Work in Progress’ was one of the two works included in their solo exhibition "The Margins of the Factory" presented at ADN Platform in January 2014, and curated by Latitudes.






Work in Progress’ immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand.

Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the “Chalk Laboratory” of Basque sculptor Jorge Oteiza (1908–2003), a fierce critic of the commodification of art. 

 Exhibition leaflet. Pdf downloadable here.

Latitudes previously collaborated with Jaio and van Gorkum in the exhibition cycle ‘Amikejo’ presented throughout 2011 in MUSAC, León, when they exhibited ‘Producing time between other things’ (2011), a work specially produced for the occasion, and also included in the above-mentioned show "The Margins of the Factory" in 2014.

—> Photographs of the exhibition.
—> Exhibition leaflet (pdf).
—> Exhibition reviews.
—> Video on ‘Producing time between other things’ (2011)



RELATED CONTENT:

Last chance to read the August 2016 Monthly Cover Story "Fermínlandia"


Last chance to read the August 2016 Monthly Cover Story "Fermínlandia" on www.lttds.org (after August 2016 it will be archived here)

"
Five years ago, in August 2011, Fermín Jiménez Landa initiated the surrender, conquest and defence of a small nameless island using the power of music. With the help of local fishermen he had taken a portable generator, two tripod-mounted loudspeakers, and an mp3 player out into the Aegean Sea and planted the equipment on this uninhabited Greek island. Its new national anthem played again and again until the batteries ran out. You can just make out the two loudspeakers sitting atop the grassy rock in this photograph by Fermín." Continue reading...

Cover Stories' are published on a monthly basis on Latitudes' homepage to highlight past, present or forthcoming projects, research, exhibitions or field trips related to our activities. 


Related content:
  • Archive of Cover Stories.
  • Cover Story, July 2016: Through the grapevine – Rasmus Nilausen’s Soups & Symptoms 3 July 2016
  • Last days! Cover Story and exhibition of José Antonio Hernández-Díez: techno-pop, death and resurrection (20 June 2016)
  • Cover Story, May 2016: Material histories – spilling the beans at the CAPC musée d’art contemporain de Bordeaux (10 May 2016)
  • Cover Story, March 2016: José Antonio Hernández-Díez: The sacred heart of the matter (3 March 2016
  • Cover Story, February 2016: Sarah Ortmeyer, Towering allusions (9 Febrero 2016)

25 January 2014: Opening of the solo exhibition 'The Margins of the Factory' by Iratxe Jaio & Klaas van Gorkum at ADN Platform, Sant Cugat del Vallès (Barcelona)

The Margins of the Factory, a solo exhibition by the Rotterdam-based duo Iratxe Jaio & Klaas van Gorkum curated by Latitudes will open on Saturday 25 January 2014, as part of ADN Galería and ADN Platform's exhibitions programme. 


Opening programme:

12h: Opening at ADN Galería (c/ Enric Granados 49, Barcelona). Exhibition: “This is not Just Fucking Business” by Carlos Aires
13:15h: Buses depart from ADN Galería towards ADN Platform (Avda. Can Roquetas, Sant Cugat del Vallès). To book a seat in the bus: [email protected] / 93 451 0064

14h: Arrival at ADN Platform and light lunch. Exhibitions: Micro-actions of Emergency #2 [Curated by Colectivo de vuelta y vuelta (Claudia Segura & Inés Jover)] and The Margins of the Factory by Iratxe Jaio & Klaas van Gorkum [Curated by Latitudes].
14:15h: 15 min. voice and instrumental performance by Nathaniel Robin Mann, as part of The Margins of the Factory
16/16:30h: Buses return from ADN Platform (Sant Cugat) towards ADN Galería (Barcelona).

The Margins of the Factory presents two recent projects by Iratxe Jaio & Klaas van Gorkum that are motivated by their interest in art's relationship with labour. Each explores sculptural form and manufacturing processes from the perspective of artists who have not usually made objects. Jaio & van Gorkum undertake what are in part sociological investigations by documenting the local, marginal effects of the displacement of manufacturing industries over the last two generations with the emergence of the global market. Emerging from the artists' personal history and implicating the direct effects of their own vocation as well as work they ask of others, the projects are moreover complicit in asking what kind of industriousness brings value and what political life objects might have.


The exhibition opening will also feature a performance by British “avant-folk” musician Nathaniel Robin Mann, developed in collaboration with Jaio & van Gorkum around the raw footage of Work in Progress and the tradition of work song. Mann interprets the Basque popular song “Oi Peio Peio” – a dialogue between a woman worker and her cruel boss, who insists that she carries on working throughout the night. First collected in Cancionero Popular Vasco in 1918, the song was popularized by singer–songwriter Mikel Laboa, founder of “Ez Dok Amairu” (“No Thirteen”), the cultural movement of Basque poets, musicians and artists whose name was a suggestion of sculptor Jorge Oteiza. 

Installation of Producing time in between other things. Courtesy of the artists. Photo: MUSAC.

Central to Producing time in between other things (2011) is a selection of wooden objects made by retired factory worker Jos van Gorkum – Gorkum’s grandfather – which the artists documented in the homes of his relations, friends and former neighbours across the Netherlands. During this process, the artists located the original lathe on which these items had been crafted and began to teach themselves woodturning. The forms which they made as they worked at learning a hobby become the means to support the display of the original objects, presented alongside three videos and photography

Still from the video "Work in Progress". Courtesy of the artists.

Work in Progress (2013) immerses itself in the manufacturing industry of Markina-Xemein, the rural Basque village where Jaio comes from. A video documents the mass-production of rubber car parts, following the pieces from the assembly line in a worker-owned factory to subcontracted workshops where informal workers finish them by hand. Several of these workers are employed by the artists to cast hundreds of replicas of small modernist sculptures. These are displayed on mass-produced shelving to evoke the "Chalk Laboratory" of Basque sculptor Jorge Oteiza, a fierce critic of the commodification of art. 

Visit adnplatform:
Avda. Can Roquetas (corner with Victor Hugo)
08173 Sant Cugat del Vallès
[email protected]
Tel. (+34) 93 451 00 64
By appointment only

Location map

Download the A3 invite-as-poster-as-leaflet of the exhibition (Spanish & English versions). 

Producing time in between other things was produced as part of the Latitudes-curated Amikejo exhibition season at MUSAC, León, in 2011, supported in part by the Mondriaan Foundation (now Mondriaan Fonds). Work in Progress was produced with support from the Eremuak program of the Basque Government and from the Centrum Beeldende Kunst Rotterdam.

Related content:  
"Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 (14 October 2013).



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.

Two texts by Manuel Segade and Max Andrews analyse the current Spanish art scene

Two recent texts reflect on the current Spanish art scene, both noting the damaging effects of not only the ongoing budget cuts, but on the deleterious political interference in the programming of numerous museums and art centres throughout the country – perhaps the most notorious of which saw the resignation of MUSAC's Eva González-Sancho after three months as director of the León museum, followed by the resignation of the museum's artistic committee

The texts are written by Manuel Segade, a Spanish-born independent curator based in Paris; and by British Barcelona-based curator Max Andrews of Latitudes, offering critical and analytical perspectives from both the inside and the outside of Spain.
 
"Art and Society in Spain on the Edge of Critical Emergency" by Manuel Segade written for the September 2013 issue of Artpress (see pages below), offers a brief genealogy from the 1990s until today, mapping the rise and the activities of art centres, museums, art fairs, commercial galleries and artists. (Click on the images below for a larger view of the text.)



"On a Shoestring – Institutions in Catalonia" written for the October 2013 issue (#158) of frieze magazine by Max Andrews of Latitudes, focuses on the art scene of the Catalan capital and the effects of its cultural policies towards the creative industries. Mentioning the documentary MACBA: The Right, the Left and the Rich (1h 27m, 2013) [watch it here – in Catalan with Spanish subtitles] as an example of a critical strategy, the text questions the direction of the city's politics with regards to art.  

 (Click on the image for a larger view of the text, or else you can read it here online.)



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
All photos: Latitudes (except when noted otherwise in the photo caption)

"Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013

 'Work in Progress', 2013, production still. All images courtesy: the artists

The image of ‘work’ and the relation between art and labour
  
Max Andrews: I’d like to talk about your current project, provisionally titled Work in Progress, set in the Lea-Artibai district of the Basque Country where Iratxe grew up. It began with your curiosity about the informal factories in the area where women trim moulded rubber parts destined for the car industry. What drew you to this subject?

Iratxe Jaio & Klaas van Gorkum: When we encountered these groups of women sitting in a circle in their makeshift workspaces, surrounded by crates and boxes, performing tedious repetitive tasks together, it struck us as an incredibly complex and layered image. Although it echoed a traditional and communal way of life in what is still a mainly rural area, instead of spinning wool or mending fishing nets these women were working with abstract industrial forms which had no direct use-value to them. A closer inspection of the pieces revealed the brand names of multinational corporations such as Renault, Mercedes and Volkswagen. The women are from countries like Moldova, Peru or Senegal, yet it’s a scene that is at once domestic, local and Basque, while being replete with the contradictions of global capitalism.

MA:  You are dealing with a representation of working, while also interweaving your own labour by making a film.

IJ & KvG:  We have a long-standing interest in the image of ‘work’, and in the relation between art and labour. So we took this scene as the starting point for a cinematic analysis of production processes, both in these semi-clandestine work­shops as well as in the main fac­tory itself. Our approach has been strictly dispassionate, free from any superficial attempt to give the workers a voice. Instead, we focused our camera on the disciplinary conditions and rationalization of these processes, reproducing them in the montage by breaking up complex scenes into smaller units and stitching them back together again.

MA: How has Jorge Oteiza’s Laboratorio de Tizas (Chalk Laboratory, c.1972–4) – thousands of small sculpture-studies made by the late Basque sculptor, yet never conceived as art works per se – come to play a key role in the project?

IJ & KvG:  To extend the analogy between editing a movie and working on an assembly line, we wanted to ‘splice’ ourselves into the relations of production at the factory by inventing an artistic task that resembled the one already being performed by the workers. So we hired the factory workers to make synthetic resin casts of Oteiza’s ‘Tizas’. Turning Oteiza’s experimental sculpture laboratory into a mass-production line, and recording it on camera is, in essence, a formal exercise that juxtaposes the production of Modernist sculpture with industrial manufacturing. It also allowed us to stage an image of the artist at work, and to superimpose it onto that of the wage-worker, ultimately presenting both as ideologically loaded social constructions.
 


 Producing time in between other things, 2011, installation view at MUSAC, León.

MA:  Is this project also a way for you to obliquely address the idea of Basque sculpture, from Oteiza and Eduardo Chillida through to Ibon Aranberri or Asier Mendizabal, for example?

IJ & KvG:  The legacy of Basque Modernism loomed over this project long before we decided explicitly to include a reference to the work of Oteiza – although, in hindsight, it seems inevitable. But to speak of ‘Basque sculpture’ is to turn it into a closed-off category. We prefer to consider how the political function and significance that was once attributed to the language of abstract sculpture in Basque society holds up under contemporary conditions.

MA:  In combining a study of the serial production of art with a social investigation into industrial manufacturing, you’re also reflecting on yourselves as cultural labourers. This was an important motif in your 2011 work Producing time in between other things (a project I co-curated with Mariana Cánepa Luna). Do you find it hard to be artists who make objects?

IJ & KvG:  Oteiza once said that it wasn’t he who made the sculptures, but that the sculptures made him a sculptor. And now that he is a sculptor, why should he create more? In a way, we have been travelling in the opposite direction. We’ve always referred to ourselves as artists who do not make objects, and we only started making things to be able to address the notion of practice itself. In Producing time in between other things, for example, the 50 ornamental wooden legs we manufactured were simply a by-product of the task we had set ourselves: to learn how to use the woodturning lathe left by Klaas’s late grandfather, a retired factory worker. We took his place behind the machine, and recorded our ac­tiv­ities on camera, not just as a ‘measurement’ of the passage of time required to gain a certain skill, but also as a reflection on how the disciplinary conditions of the wage-worker’s spare time inform our notion of artistic freedom and vice versa. Yet we’re also very much indebted to those thousands of ‘How to ...’ videos on YouTube, from cooking a steak to casting polyurethane action figures. Considering the generosity of all that is being shared between the producers and the viewers of these videos, is it any wonder that actually eating the steak doesn’t even enter into the picture?
 

Max Andrews



Iratxe Jaio and Klaas van Gorkum live in Rotterdam, the Netherlands, and have been working together since 2001. They recently completed a residency at LIPAC, Buenos Aires, Argentina. They will present a solo exhibition at FRAC Aquitaine, Bordeaux, France, opening on 4 October.

Launch of the publication 'Amikejo' at the border tri-point (drielandenpunt) where the Netherlands, Belgium and Germany meet, 2 June, 17h


| UK |

Coinciding with the opening days of Manifesta 9, Latitudes will launch the publication 'Amikejo' at the border marker which represents the apex of the former Neutral Moresnet-Amikejo at Vaalserberg. This tripoint (drielandenpunt) that joins the Netherlands, Belgium and Germany, was once a four-border-point before Neutral Moresnet was absorbed in Belgium. 

Confused? Then read Ryszard Żelichowski's essay included in the publication titled "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna" which offers an overview of how Neutral Moresnet (the state 'renamed' Amikejo in 1908) came into existence.

The publication accompanies the year-long cycle of exhibitions that took place at the Laboratorio 987, the project space of MUSAC, León, thoughout 2011, with exhibitions by Pennacchio Argentato (29 January–3 April 2011); Iratxe Jaio & Klaas van Gorkum (9 April–12 June 2011); Uqbar (Irene Kopelman & Mariana Castillo Deball) (25 June–11 September 2011); Fermín Jiménez Landa & Lee Welch (24 September 2011–15 January 2012).

Editor: Latitudes
Publisher & Distribution: Mousse Publishing
Format: 22.5 x 15.5cm, 216 pp, hardcover
Texts: Giorgio Agamben, Theo Beckers, Latitudes, Prof. Peter Osborne, Georges Pérec, Prof. Dr. Menno Schilthuizen, Ryszard Zelichowski
Language: English and Spanish
ISBN: 9788896501832
Price: 26 Euro
Purchase via Mousse (Milan) or Motto (Berlin).

Photos: Latitudes
| ES |

Coincidiendo con la inauguración de Manifesta 9, Latitudes presentará la publicación 'Amikejo' en el trifinio (drielandenpunt) en el que convergen las fronteras de los Países Bajos, Bélgica y Alemania, y que antaño fue un punto cuadrifinio antes de que Neutral Moresnet-Amikejo fuese finalmente absorbido por Bélgica.

¿Confuso? Lee el texto "Moresnet Neutral y Amikejo: los hijos olvidados del Congreso de Viena" del Prof. Ryszard Żelichowski que se incluye en la publicación y que repass la historia de Neutral Moresnet (el estado 'rebautizado' Amikejo en 1908).
La publicación acompaña el ciclo de exposiciones que tuvo lugar en el Laboratorio 987, el espacio proyectual del MUSAC, León, a lo largo del 2011, con exposiciones de Pennacchio Argentato (29 enero–3 abril 2011); Iratxe Jaio & Klaas van Gorkum (9 abril–12 junio 2011); Uqbar (Irene Kopelman & Mariana Castillo Deball) (25 junio–11 septiembre 2011); Fermín Jiménez Landa & Lee Welch (24 septiembre 2011–15 enero 2012).

Edita: Latitudes
Publica & Distribuye: Mousse Publishing
Formato: 22.5 x 15.5cm, 216 pp, tapa dura
Textos: Giorgio Agamben, Theo Beckers, Latitudes, Prof. Peter Osborne, Georges Pérec, Prof. Dr. Menno Schilthuizen, Ryszard Zelichowski
Idioma: inglés y español
ISBN: 9788896501832
Precio: 26 Euro
Compra via Mousse (Milan) o Motto (Berlin).

Más fotos de la publicación aquí.

Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

RECUERDA: Presentación de la publicación 'Amikejo': Martes 22 Mayo, 20h en Múltiplos (c/ Lleó 6, 08001 Barcelona)


NOTA DE PRENSA

Presentación de la publicación 'Amikejo' editada por Mousse Publishing en colaboración con MUSAC.

Martes 22 Mayo, 20h
Múltiplos (c/ Lleó 6, 08001 Barcelona)

Presentación a cargo de Fermín Jiménez Landa (artista) y Latitudes (editores y comisarios del ciclo expositivo 'Amikejo').

La publicación concluye el ciclo de exposiciones 'Amikejo', que a lo largo del 2011 ha incluído muestras de Pennacchio Argentato; Iratxe Jaio & Klaas van Gorkum; Uqbar (Irene Kopelman & Mariana Castillo Deball y Fermín Jiménez Landa & Lee Welch en el Laboratorio 987, el espacio proyectual del Museo de Arte Contemporáneo de Castilla y León (MUSAC). (+ info...)

El volumen incluye textos sobre cada proyecto escritos por los comisarios del ciclo, así como reimpresiones de Giorgio Agamben ("Notas sobre el gesto", 1996) y Georges Perec (extractos de "Especies de espacios y gestos Otras Piezas", 1974 ), vistas de las exposiciones y biografías de los artistas participantes.
 

Además cuenta con una serie de ensayos de académicos y científicos especialmente escritos para la ocasión:

Peter Osborne (Profesor de Filosofía moderna y director del Centro de investigación de filosofía europea moderna de la Kingston University London) con el texto ‘Fragmentos del futuro': Notas sobre el espacio proyecto" que se centra en peculiar idea de la 'sala de proyectos', espacio que se caracteriza por ser total en su idoneidad para un determinado tipo de temporalización: la temporalización del proyecto. ¿Cuál es su distintiva espacialización?, Y ¿cómo le afecta la codificación específicamente artística de un proyecto?.

Ryszard Zelichowski (Profesor y Director de Investigaciones Científicas en el Instituto de Estudios Políticos de la Academia Polaca de Ciencias) contribuye con el texto "Neutral Moresnet y Amikejo - Los niños olvidados del Congreso de Viena" ofrece una visión general de cómo Moresnet Neutral (el estado rebautizado como 'Amikejo' en 1908) llegó a existir.

Theo Beckers (Ex-profesor de Estudios de Ocio de la Universidad de Tilburg y en la actualidad miembro del cuerpo docente del Centro de Sostenibilidad de Tilburg y profesor visitante de la Academia china de ciencias)** escribe el texto "El tiempo libre. Auge y caída de un proyecto social", en el que rastrea la relación de la sociedad occidental con el trabajo y el tiempo, desde Séneca el Joven, a través del auge de las fábricas y de los 'Principios de Administración Científica' (1911) de Frederick Winslow Taylor, hasta la actual confusión hoy en día entre trabajo y ocio.

Menno Schilthuizen (Científico de investigación en NCB Naturalis, Cátedra para la biodiversidad de los insectos en la Universidad de Groningen y Profesor asociado en la Universidad de Leiden) escribe "Sobre las imágenes especulares en la naturaleza: cómo formas idénticas pueden ser totalmente distintas", principio que se refleja en la exposición del dúo Uqbar entorno a la quiralidad: en animales y plantas asimétricas, a veces ambas formas especulares existen lado a lado, pero a veces sólo existe una de ellas y el otro es "prohibido".


Título: Amikejo
Edita: Latitudes
Publica y distribuye: Mousse Publishing en colaboración con MUSAC
Fecha publicación: Abril 2012
Formato: 22.5x15.5cm, 216 págs, tapa dura
Idioma: inglés/español
Distribuye: Mousse Publishing
ISBN: 9788896501832
Precio: 26 Euros
Compra online

La publicación estará disponible durante la presentación.

Múltiplos es una librería y distribuidora independiente de Barcelona especializada en libros de artistas.


All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

SAVE THE DATE: Presentation of the publication 'Amikejo' with artist Fermín Jiménez Landa. Tuesday 22 May, 20h at Múltiplos, Barcelona

All photos: Latitudes | www.lttds.org

Latitudes will present the publication together with 'Amikejo' artist Fermín Jiménez Landa, who will discuss the project presented together with Lee Welch for the final exhibition of the cycle. Jiménez Landa will discuss one of the works, 'Himno Nacional' (2011), in which a marching band was commissioned to compose and play a new national anthem. Composed in the most archaic tradition, markedly romantic, military and patriotic, the anthem enacted a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

The publication accompanies the cycle of four exhibitions by Pennacchio Argentato (29 January–3 April 2011); Iratxe Jaio & Klaas van Gorkum (9 April–12 June 2011); Uqbar (Irene Kopelman & Mariana Castillo Deball) (25 June–11 September 2011); Fermín Jiménez Landa & Lee Welch (24 September 2011–15 January 2012) that took place at the Laboratorio 987, the project space of MUSAC, León, thoughout 2011. (+ info...) 

Editor: Latitudes 

Publisher & Distribution: Mousse Publishing 

Format: 22.5 x 15.5cm, 216 pp, hardcover 

Texts: Giorgio Agamben, Theo Beckers, Latitudes, Peter Osborne, Georges Pérec, Menno Schilthuizen, Ryszard Zelichowski 

Language: English and Spanish 

ISBN: 9788896501832 
Price: 26 Euro 

The publication will be available for purchase during the presentation
Múltiplos is an independent bookshop that specialises in artists publications.


Pennacchio Argentato's show "Conversion" at Wilkinson Gallery, London

Below images of "Conversion" the recently opened solo show of Amikejo artists Pennacchio Argentato. The exhibition is on view in the Upper Gallery of Wilkinson gallery in London until 17 June 2012.

General view of the exhibition.

General view of the exhibition.
'Set in the Same Universe', 2012. Acrylic resin, print transfer (200 × 95 × 45 cm) 
'West End', 2012. Aluminium, cord (Dimensions variable)
(Wall) 'Shield#0 – #00001', 2012. Acrylic resin, iron, print transfer, bike hooks (130 × 92 × 40 cm), (Right, free standing) 'Set in the Same Universe', 2012. Acrylic resin, print transfer (200 × 95 × 45 cm) 
'FAQ', 2012. Plexiglas, digital projection (35×70 cm). All images: Courtesy the artists and Wilkinson Gallery, London

(Excerpts from the gallery press release):

"Conversion" presents sculptures as free standing agents, hanging off the wall and suspended from the ceiling. As if overcome by a crisis of aesthetic register, a stylistic battle takes place between the artworks’ broad formal references, ranging from minimalist tendencies and optical illusion, to gothic font text paired with “new age” video.

Cast in acrylic resin from the front glass of a car, the artists characterize the four shield-like sculptures Shield#0- #00001 as troops deployed in a row, prepared for battle. According to the artists’ selfdevised system, all matter, including the artists’ themselves, are convertible entities; this conversion is likewise reflected in our daily lives, whether it be in terms of converting file formats or currency.
 
FAQ operates as a sculpture illuminated by a video projection of mathematical fractals abstracted into an array of shifting lights, colors and forms. Acting as a visual anchor, it only but alludes to the presence of answers, instead manifesting as a form of light amusement or distraction. In formal contrast, sculptures such as Long Bones, placed at the entrance to the gallery, as well as West End, a ladder sculpture suspended from the ceiling, adopt a more tectonic composition.
 
The incandescent photographic flames that optically engulf the freestanding sculpture, Set in the same universe function as the fuel that formally unites the subsequent artworks in the exhibition. Taken from a larger image of civil riots found in recent news, the sculpture acts as a centripetal force within the exhibition by introducing an element of reality into the fictional discourse and diversit of styles that are otherwise present in the gallery.

50-58 Vyner Street
London E2 9DQ
Wednesday to Saturday: 11–18h
Sunday: 12–18h

Mousse Publishing and MUSAC release the publication 'Amikejo' edited by Latitudes

 Publication in front of MUSAC's façade, León. Photo: Carlos Ordás.

The publication concludes the 2011 exhibition cycle 'Amikejo' curated by Latitudes, which included exhibitions by Pennacchio Argentato; Iratxe Jaio & Klaas van Gorkum; Uqbar (Irene Kopelman & Mariana Castillo Deball and Fermín Jiménez Landa & Lee Welch at the Laboratorio 987, the project space of the Museo de Arte Contemporáneo de Castilla y León (MUSAC).

Inside the publication: section dedicated to Pennacchio Argentato.

As advanced in previous posts, the publication includes essays by:  

Peter Osborne (Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy at Kingston University London) text "‘Fragments of the future’: Notes on project space" centres on the idea of ‘project space’ as a peculiar one insofar as it characterizes a type of space wholly by its appropriateness for a particular kind of temporalization: the temporalization of the project. What is the distinctive spatialization corresponding to this? And how is it affected by the specifically artistic coding of a project?; 

Ryszard Żelichowski (Professor and Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences) text "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna" offers an overview of how Neutral Moresnet (the state 'renamed' Amikejo in 1908) came into existence; 

Pages with Ryszard Zelichowski's essay on the history of Neutral Moresnet/Amikejo.

Theo Beckers (Former Professor of Leisure Studies at Tilburg University and currently faculty member of the Tilburg Sustainability Center and Visiting Professor of the Chinese Academy of Sciences) text "Free time. The rise and fall of a social project" traces western society’s relation to work and time, from Seneca the Younger, through the rise of the factory and Frederick Winslow Taylor's 'The Principles of Scientific Management' (1911), to today's blurring of labour and leisure; 

Pages with Theo Beckers' essay.

Menno Schilthuizen (Research scientist at NCB Naturalis, an endowed chair for Insect Biodiversity at the University of Groningen and an Associate Professor at Leiden University) contributed a text "On Mirror Images in Nature: How Identical Forms Can Be Completely Different" reflects on Uqbar's exhibition centered on chirality: on how in asymmetric animals and plants, sometimes both mirror-image forms exist side by side, but sometimes only one exists, the other being "forbidden"; 
 
Pages dedicated to Uqbar and to Prof. Dr. Menno Schilthuizen's essay.
as well as texts on each project by exhibition curators Latitudes, reprints by Giorgio Agamben ('Notes on Gesture', 1996) and Georges Perec (excerpts from "Species of Spaces and Other Pieces Gesture", 1974), installation views and biographies of the participating artists.

Pages with Georges Perec's reprint.
Pages with installation views of Pennacchio Argentato's exhibition.
Pages with spanish translations.

More info on the exhibition series, and photos of the shows by Pennacchio Argentato, Iratxe Jaio & Klaas van Gorkum, Uqbar (Irene Kopelman & Mariana Castillo Deball) and Fermín Jiménez Landa & Lee Welch (see performance)

'Amikejo' publication, beginning to end. Photos: Mousse Publishing

Title: Amikejo
Edited by: Latitudes
Publisher & Distributor: Mousse Publishing
Format: 22.5x15.5cm, 216 pp., hardcover
Language: English and Spanish
Publication date: April 2012 
ISBN: 9788896501832
Price: 26 Euros


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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Latitudes
2005—2019