Longitudes

Tour around Ghent: TRACK, Sint-Jan and "Esta puerta pide clavo" at Galerie Tatjana Pieters


Described as "a contemporary city conversation" and "a unique art experience in the city of Ghent", TRACK enjoys the participation of around 40 artists that present (more or less) site specific works in/around the Belgium city, organised in several 'clusters' (Tondelier, Tolhuis, Macharius, Centrum, Blandijn and Citadel).

TRACK was initiated by the S.M.A.K. (it is curated by its artistic director, Philippe Van Cauteren and Mirjam Varadinis, curator at Kunsthaus Zürich) with the aim of continuing the tradition of two exhibition projects also organised by S.M.A.K.: the seminal Chambres d’Amis (curated by Jan Hoet in 1986), a show that exhibited art private houses around Ghent, and Over the Edges (2000, curated by Jan Hoet and Giacinto Di Pietrantonio), which took the idea of the corner as a starting point, or as the curators put it "the boundary between interior and exterior, between indoors and outdoors, between private and public".
Pilvi Takala's posters and a sound work on the notion of ‘lost pigeons’.

Nearby Pilvi Takala's work was the video work by Swiss artists Christina Hemauer & Roman Keller, which we sadly missed as TRACK sites are closed on Mondays. Keller & Hemauer talk about 'The Postpetrolistic Internationale' choir piece here

Their work began back in 2009 in Basel and has had iterations in Rotterdam (Latitudes' project 'Portscapes') and a year later in Aarhus, Denmark, where the piece was part of Hemauer/Keller's solo show "United Alternative Energies" (also curated by Latitudes). 'The Postpetrolistic Internationale' will be part of the group exhibition 'Ballena Negra' in late 2012 in MARCO Vigo, as part of the 10 year anniversary of the Prestige oil spill.


 Lara Almarcegui's 700m3 "Concrete Mountain" in the Tondelier cluster.
The artist speaks about her work in this video.


 Pascale Marthine-Tayou, "Le défi" (2012).

[from the website] "On 16 August 2009 the Jamaican Usain Bolt took the world record for the 10-metre sprint to an unreal 9.58 seconds. In 2012 Pascale Marthine Tayou has laid out a single-lane athletics track in the heart of the Tondelier district. Until the 1960s, this part of Ghent had been full of working industries. Although most of the factories have since been demolished or put to new use, one can even now still read the history of this neighbourhood in its eroded urban skin. Pascale Marthine Tayou’s "Le défi" is a red gravel track that comes to a dead end at a wall. It is clear how the work is to be read and used, but the consequences are ambiguous. Le défi will not be recognised as an artwork by most of the local residents. It is a playful but meditative reflection on the significance of sport, the acceptance of a challenge and the generation of social change and emancipation. In this way, Pascale Marthine Tayou has created ‘an image’ of both the global, Olympic heroism of a world record and the minor hitches facing every individual."


 Teresa Margolles' Mesa y dos bancos (Table and Two Benches), 2012 in the Tondelier cluster.

 "For TRACK [Margolles] had a public picnic bench cast in cement. She mixes this neutral substance with the water extracted from cloths that had been used to clean up the blood of victims of the Mexican drug war from the streets."
 Mekhitar Garabedian's work against the Butcher’s Hall façade.

[from the website] "‘Search and Destroy’ is not only the title of a hit by the 70s nihilistic American punk band The Stooges, but also a military strategy first employed in the Vietnam War. To Garabedian, this phrase refers to the way the history of a place is handled and the way a fracture in the past continues to torment the present."

S.M.A.K. museum façade, turned into TRACK.

The ‘Museum Graveyard’ project at Citadel Park by Leo Copers.

Due to safety reasons Danh Vo's work ‘WE THE PEOPLE’ was moved to the nearby Museum of Fine Arts, opposite S.M.A.K.

Sven Augustijnen, 'Spectres' in Citadel Park.

"The starting point for [his multi-part work] ‘Spectres’ is the murder of Patrice Lumumba a few months after his election victory in the Congo in 1960. For TRACK, Augustijnen sought in vain for the tree against which Lumumba was shot. It had probably been chopped down to make charcoal. In the Citadel Park, Augustijnen sets up an installation in which this charcoal – an indispensable source of income but also a symbolic remnant of the tree – is transported by bicycle, a ‘typically’ Congolese means of conveyance. Augustijnen deliberately located this installation near the ‘Moorken’. This small black sculpture on top of artificial rocks in the Citadel Park dates from 1888 and is a reminder of the time when the Congo was still Leopold II’s private pleasure garden. The ‘Moorken’ portrays the Congolese boy Sakala, whom the pioneer Lieven Van de Velde brought back to Belgium in 1884."

 Entrance to Galerie Tatjana Pieters at Nieuwevaart 124, Ghent

'Esta puerta pide clavo' (2 June–19 August 2012), is a group show curated by Rivet (Manuela Moscoso & Sarah Demeuse) with the participation of: Philippe van Snick, Lorea Alfaro, Rey Akdogan, June Crespo, Rubén Grilo, David Jablonowski, Lisa Oppenheim, Kiko Pérez, Asaha Schechter, Daniel Steegman-Magrané and Batia Suter.

[From the press release]

"Based on an idiom that literally translates as 'This door asks for a nail,' Esta puerta pide clavo not only highlights an economy of means that informed the making of the selected works but also emphasizes the equipment-like agency of matter over and above hermeneutics. One strand of "Esta puerta pide clavo" veers towards abstraction, possibly echoing a common language of design as well as artistic actions from the 20th-century."

Entrance to the show.

(...) "David Jablonowski's sculptures [photo above and below] awkwardly materialize and juxtapose processes of scanning with generic computer visualization, digitized archival imagery as well as what look like casts spat out by 3-D printers."



(...) "Rey Akdogan's gathering of packed and piled light filters remind of the mass-produced products that are supposedly applicable anywhere and that continue to shape our mode of perception."

"Batia Suter's enlarged and superposed scans of found printed matter turn the offset image into a sculptural object, and equally obstruct indexical readings of the photographic material."

[Floor] "Asha Schechter's sculptures (belated puns to Duchamp) take stock imagery or common designs into a formal non-communicative context that prioritizes relations between infinite background and foreground." (Background, hanging) Lorea Alfaro and (right, wall) Kiko Pérez.


(left and opposite wall) June Crespo and (right, wall) Lisa Oppenheim.

"Equally focused on intermediary material components and backgrounds in the process of photography, Lisa Oppenheim's unique photograms resemble digitally designed patterns while being the repositories of a darkroom interpretation of Victorian flower arrangements."

"The other strand insists on specificity of materials and imagery. June Crespo's precise scans provide the source material for layered sculptures that force the object-image into three-dimensionality and volume."

June Crespo, "Plegada", 2010.
Lambda print on PVC, metal rivets, plastic and spray, textile. 100x70cm.

Asha Schechter (left, floor) and (right, hanging) Lorea Alfaro.

"Kiko Pérez's murals, specifically made for this occasion and interpunctuating the entire gallery space, as well as his stacked works on paper ambiguously refer to a language of branding and re-introduce the notion of gesture within this landscape."

"Lorea Alfaro's hanging paintings stem from non-descript backdrops used in portrait photography in China."

"Taking a distinctly wide-angle, associative approach, Rubén Grilo's voracious online search for 'Hobbes' gave for a randomized PowerPoint presentation of the comic strip hero, seen from two vantage points, with excerpts from Leviathan."

"Daniel Steegmann-Mangrané's slide projection installation, born from a reprise of a Jan Dibbets photo, thrives because of the confusion between surface, depth and viewpoint inherent within the photographic image."

"Philippe van Snick's Kleurmachine, though made in the 1970s, foreshadows a similar language of generic abstraction. (...) Van Snick's photography simultaneously fuses object and processed image, similarly collapsing two- and three-dimensionality."  

Jan Hoet and Hans Martens curated Sint–Jan (until 29 July 2012), an exhibition running paralel to TRACK, in which 51 artists present their work around spirituality and religion at the Saint-Bavo's Cathedral in the center of Ghent. The artist list includes Kris Martin, Navid Nuur, Michaël Boremans, Abdel Abdessemed, Berlinde De Bruyckere, Bruce Nauman, David Adamo, Luciano Fabro, Mandla Reuter, Marlene Dumas, Wim Delvoye…

Catedral of Sint–Jan in the center of Ghent.

  Mandla Reuter (on the wall, a Rubens).

 David Adamo in one of the side chapels.

 Adel Abdessemed (in the crypt)

 Luciano Fabro (in the crypt)

All photos: Latitudes | www.lttds.org

'Antes que todo', Centro de Arte Dos de Mayo (CA2M), Móstoles, hasta 9 Enero 2011



'
Antes que todo'

Centro de Arte Dos de Mayo, Móstoles, Madrid
18 Septiembre 2010 – 9 Enero 2011

Artistas: Ignasi Aballí; Lorea Alfaro; Txomin Badiola; Antonio Ballester Moreno; Erick Beltrán; Bestué / Vives; Rafel G. Bianchi; Carles Congost; June Crespo; Discoteca Flaming Star; Patricia Esquivias; Jon Mikel Euba; Esther Ferrer; Nuria Fuster; Dora García; Fernando García; Rubén Grilo; Lilli Hartmann; Daniel Jacoby; Jeleton; Fermín Jiménez Landa; Adrià Julià; Dai K.S.; Tamara Kuselman; Daniel Llaría; Erlea Maneros Zabala; Pablo Marte; Fran Meana; Asier Mendizabal; Jordi Mitjà; Momu & No Es; Julia Montilla; Itziar Okariz; Antonio Ortega; Kiko Pérez; Juan Pérez Agirregoikoa; Gabriel Pericàs; Paloma Polo; Sergio Prego; Wilfredo Prieto; Tere Recarens; Red Caballo; Alex Reynolds; Xavier Ribas; Carlos Rodríguez-Méndez; Francesc Ruiz; Xabier Salaberria; Jorge Satorre; Javi Soto; Julia Spínola; Sra. Polaroiska; Alain Urrutia; Isidoro Valcárcel Medina; Azucena Vieites; Oriol Vilanova; WeareQQ

Comisariado: Aimar Arriola & Manuela Moscoso

'Antes que todo' es una exposición que se propone penetrar en el presente del arte en el Estado Español. La muestra, que ocupa la totalidad de los espacios del CA2M y en la que participan 56 artistas, no pretende arrojar una mirada totalizadora sobre el “aquí y ahora”, sino que da una mayor visibilidad, y por primera vez de manera concentrada, a formas de trabajo que se han desarrollado en los últimos 20 años en focos específicos del contexto. En la base del proyecto subyace el interés por problematizar la noción de actualidad, con el objetivo de generar una mayor conciencia respecto al lugar que ocupamos en relación a un determinado presente.

El marco conceptual del proyecto se ha articulado en torno a la idea de “expectativa” entendida como una bisagra mediadora entre pasado, presente y futuro. Una de las subtramas del proyecto se centra en explorar hilos de continuidad entre prácticas de diferentes generaciones, con la voluntad de crear puentes y de evidenciar sus resonancias con el presente. Más info…

Las piezas realizadas por Jordi Mitjà ('Floating Lines' (Second Cabinet)) e Ignasi Aballí ('Tomar Medidas') presentadas en la exposición derivan de proyectos comisariados por Latitudes en el 2009 para la Galleria Umberto di Marino, Nápoles, y en Suitcase Art Project, Pekín, respectivamente.

Catálogo 'Antes que todo' 
(próximamente disponible)
Diseño: ferranElOtro Studio
Ensayos: Peio Aguirre, Sofie van Loo, Aimar Arriola y Manuela Moscoso.
Textos artistas: Max Andrews, David Armengol, Haizea Barcenilla, Ellen Blumenstein, Juan Canela, Mariana Cánepa Luna, Amanda Cuesta, Maite Garbayo, Miren Jaio, Willy Kautz, Martí Manen, Mariano Mayer, Tania Pardo, Alberto Sánchez Balmisa, Andrea Valdés Vigil, y los comisarios de la exposición.

Centro de Arte Dos de Mayo
Avda. Constitución 23
28931 Móstoles, Madrid
http://ca2m.org

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

Latitudes | www.LTTDS.org (except when otherwise noted).

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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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