Longitudes

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

Cover Story, October 2022: Stray Ornithologies—Laia Estruch

 Mon, Oct 3 2022

 

October 2022 cover story.


The October 2022 monthly Cover Story “Stray Ornithologies—Laia Estruch” is now up on our homepage: www.lttds.org

“Within the context of PUBLICS’ annual gathering Today Is Our Tomorrow, on 8 October Laia Estruch and Irina Mutt will lead a workshop in Helsinki as part of this year’s programme focusing on the presentness of the voice in its many sonic forms, vocal modes and acoustic modalities.” Continue reading 

After October 2022 this story will be archived here.

Cover Stories are published on a monthly basis on Latitudes’ homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial projects and activities.


→ RELATED CONTENTS: 

 2022, birdwatching, cover story, Helsinki, Laia Estruch, Max Andrews, parahost, podcast, PUBLICS, TBA21, website, Workshop
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“‘Minor’ Ornithologies” podcast conducted by Max Andrews of Latitudes for TBA21 on st_age

 Tue, Sep 27 2022



Listen to the podcast here.

Latitudes’ Max Andrews, a curator, writer and lifelong birder, recently conducted the podcast “Minor” Ornithologies for TBA21 on st_age (Season 4, Episode 4). The podcast’s guests are Alex Holt, a spokesperson for Bird Names for Birds, a movement to decolonise bird names, and zoömusicologist Dr Hollis Taylor who specialises in birdsong. Through their perspectives, we glimpse new and speculative kinds of human–bird narratives – what Anna-Sophie Springer and Etienne Turpin have coined “minor ornithologies”. 

The interviews are complemented by two audio clips, one of a Pied Butcherbird recorded in N Queensland, and another of a Superb Lyrebird mimicking birdsong and two flute phrases recorded in New South Wales, both courtesy of Hollis Taylor.

This edition accompanies Laia Estruch’s performance “Ocells Perduts V67” (2022) also produced by TBA21 on st_age, and takes flight into the realm of birds, looking at politics and practices that disrupt dominant historical narratives, and exceed scientific and cultural boundaries.


(Above and below) Laia Estruch, “Ocells Perduts” (2021) was performed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”. Commissioned by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Estruch’s research was supported by the grant Premis Barcelona 2020 of the Ajuntament de Barcelona. Photos: Miquel Coll.


“Ens han canviat el cel a ple vol” (Nos han cambiado el cielo a pleno vuelo / They changed the sky in mid flight) part of Laia Estruch’s “Ocells Perduts” (2021) installed at MACBA Museu d'Art Contemporani de Barcelona as part of the exhibition “Panorama 21. Notes for an Eye Fire”, October 2021–February 2022. Photos: Roberto Ruiz.


Latitudes has been collaborating with Laia Estruch since early 2020 in preparation for a year-long programme to be hosted at the Helsinki-based curatorial and commissioning agency PUBLICS, based around the notion of a partial, distributed, and fragmentary retrospective of her artistic practice. The pandemic changed those plans and soon after the invitation to curate MACBA’s first Panorama triennial (“Panorama 21: Apunts per a un incendi dels ulls”) came along, for which Laia presented the commission “Ocells Perduts” (2021). The project was produced with the support of PUBLICS, and for the research phase, Laia received the support of the beca Premis Barcelona 2020 of the Ajuntament de Barcelona.


→ RELATED CONTENT:



 2022, apunts per a un incendi dels ulls, birdwatching, decolonise institutions, Laia Estruch, Max Andrews, ocells perduts, podcast, PUBLICS, TBA21, world ecology
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Max Andrews reviews Bruno Zhu’s exhibition “I am not afraid”, Cordova, Barcelona

 Wed, Mar 30 2022

frieze magazine has published Max Andrews’ review of Bruno Zhu’s exhibition “I am not afraid” presented at Cordova space in Barcelona until May 28, 2022. The frieze summer issue will include a printed version.

“An outsized satin wristwatch hangs in Cordova’s small office. Large blue gingham and orange vinyl stars span the walls, windows, doors, floor and ceiling of the adjacent gallery. Bruno Zhu’s exhibition, ‘I am not afraid’, can be consumed quickly and, as its title assures, apprehended without alarm. Yet, the digestion of its curiouser-and-curiouser blend of scalable and temporal enigmas, and autobiography with fiction, appropriately transpires more gradually.” Continue reading


View of Bruno Zhu’s exhibition “I am not afraid” at Cordova. Photos: Latitudes.




Detail of Bruno Zhu’s “Are you OK?” 2022. Satin, quartz clock movement, batteries, foam and plastic. Dimensions variable.

 2022, Barcelona, Cordova, Exhibition, Frieze, Max Andrews, online, print, Reviews
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Max Andrews' Valencia Feature in frieze magazine, November-December 2019

 Sat, Nov 2 2019
Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.

Max Andrews, co-director of Latitudes and contributing editor to frieze magazine, has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ for the November–December 2019 (issue 207) of frieze. 
The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.

Fermín Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.

"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art." 

→ Continue reading here.


View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
(Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019. 


→ RELATED CONTENT:
       2019, Bombas Gens, Fermin Jiménez Landa, Frieze, IVAM, Max Andrews, report, rethinking institutions, Valencia, writing
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      Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’

       Fri, Nov 1 2019
      Latitudes' homepage www.lttds.org

      The November 2019 monthly Cover Story ‘Fighting fires in Valencia: the 30-year story of the IVAM’ on Latitudes' homepage: www.lttds.org       

      "How does a museum recover from scandal? What imperatives exist for regional institutions outside of capitals? When, in 1989, the IVAM (Institut Valencià d’Art Modern) opened the doors to its imposing, new, slab-like building on the edge of what was once Valencia’s medieval walled core, it became the first public museum in Spain dedicated to collecting and exhibiting 20th-century art. Discussing IVAM’s rise, fall and reinvention, an article in the current frieze (issue 207, November–December) by Latitudes' Max Andrews (also a frieze Contributing Editor) is a case study on how right-wing politics impacted an entire city art ecology."


      → Continue reading
      → After November 2019, this story will be archived here.

      Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.

      → RELATED CONTENTS: 
       1989, 2019, case study, cover story, Frieze, IVAM, Max Andrews, museums, rethinking institutions, Spain, text, writing
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      Helene Romakin interviews Latitudes for artfridge.de

       Tue, Oct 8 2019


      Over the course of the Summer, Helene Romakin (PhD candidate at the Institute for the History and Theory of the Architecture, ETH Zurich) interviewed us for the Berlin-based online platform www.artfridge.de run by the art historian and curator Anna Lena Werner.

      As Helene mentions in her introduction, we met last July in Valencia, after Mariana's conversation with Lara Almarcegui on the occasion of her solo exhibition “Agras Volcano. Mining Rights” at the Institut Valencià d'Art Modern (IVAM). Afterwards, we had a lively discussion on several topics surrounding Lara's practice, our thoughts on other artistic practices tackling a range of environmental issues, the Extinction Rebellion, etc. so we were happy to continue our conversation when she proposed doing this interview looking back at several projects we produced in the mid-two thousands. 


      → RELATED CONTENTS:

      • Conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016) 31 October 2016
      • In conversation with Lucas Ihlein for Artlink Magazine 5 September 2016
      • Witte de With and Spring Workshop's 'Moderation(s)' publication 'End Note(s)' is out! 5 March 2015
      • Interview with Nicholas Mangan in Mousse Magazine #47, February–March 2015 11 February 2015
      • "Focus Interview: Iratxe Jaio & Klaas van Gorkum", frieze, Issue 157, September 2013 14 September 2013

       2019, 4543 billion, Barcelona Gallery Weekend, Composiciones, Harald Szeemann, interview, Lara Almarcegui, latitudes, Mariana Cánepa Luna, Max Andrews, press coverage, world ecology
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      PUBLICS' Library in Helsinki incorporates Latitudes-edited publications

       Fri, Sep 27 2019

      We are glad to announce that PUBLICS in Helsinki now has all Latitudes publications available for consultation in their library (with the exception of the monograph "Lara Almarcegui, Projects 1995–2010" which is out of print). Our first publication, "LAND, ART: A Cultural Ecology Handbook" (RSA/Arts Council England, 2006, also out of print), was already in their library. 

      PUBLICS library is the third location where the whole set of Latitudes' publications reside, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.

      We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).


      PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.

      Latitudes' publications available at PUBLICS Library (bibliography online):

      Joan Morey: COLLAPSE
      Various locations, Barcelona
      September 2018–January 2019
      Exhibition guide/programme guide, opuscule, poster

      4.543 billion. The matter of matter
      CAPC musée d'art contemporain, Bordeaux
      June 2017–January 2018
      Exhibition guide & symposium guide

      Amikejo
      Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
      April 2012

      United Alternative Energies
      Christina Hemauer & Roman Keller
      Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
      January 2012

      Campus
      Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
      July 2011
      Also available online.

      Portscapes
      Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
      February 2010

      Martí Anson, Mataró Chauffeur Service
      Catalogue of the project, 'No Soul For Sale', Tate Modern, London
      January 2011

      The Last Newspaper
      Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
      October–December 2010

      Lawrence Weiner: THE CREST OF A WAVE
      Booklet of the exhibition, Fundació Suñol, Barcelona
      October 2008

      Simon Fujiwara: The Incest Museum–A Guide
      Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
      May 2009

      Ignasi Aballí: 没有，有 Nothing, or Something
      Catalogue of the exhibition, Suitcase Art Projects, Beijing
      July 2009

      Ecology, Luxury & Degradation
      UOVO #14
      Summer 2007

      Greenwashing. Ambiente: Pericoli, Promesse e Perplessità 
      (Greenwashing. Environment: Perils, Promises and Perplexities)
      Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
      February 2008


      → RELATED CONTENT

       2019, Amikejo, editorial, FAQs, Greenwashing, Helsinki, Lara Almarcegui, latitudes, Library, Mariana Cánepa Luna, Martí Anson, Max Andrews, Portscapes, publications, PUBLICS, Rasmus Nilausen, UOVO
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      Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden

       Mon, Sep 16 2019

      Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.

      Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ (PDF) opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.

      ‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’

      —Max Andrews

      The exhibition is on view until November 24, 2019.

      Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.

      → RELATED CONTENTS:
       2019, copenhagen, Essay, Max Andrews, painting, Rasmus Nilausen, writing
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      Cover Story – May 2019: ‘Buenos Aires in Parallel’

       Wed, May 1 2019
      Latitudes' homepage www.lttds.org

      The May 2019 Monthly Cover Story ‘Buenos Aires in Parallel’ is now up on Latitudes' homepage: www.lttds.org

      “Latitudes recently participated in the Parallel Rooms talks programme of Art Basel Cities: Buenos Aires. Developed in collaboration with the arteBA Fundación, and taking place during the arteBA art fair itself, these events transpired in four temporary domes that popped-up on the central showground of La Rural, a venue more used to hosting prize-winning cattle than forty-two curators, artists, and collectors.      ”

      —> Continue reading
      —> After May it will be archived here.

      Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


      RELATED CONTENT:
       2019, Buenos Aires, conversations, cover story, Mariana Cánepa Luna, Max Andrews, museums, public art, public programme, talks programme
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      Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019

       Mon, Apr 1 2019

      Art Basel Cities: Buenos Aires in collaboration with arteBA Fundación will host a Talks Programme between April 12–14, 2019. Forty-two speakers from across the cultural sphere will discuss salient topics with the Buenos Aires audience. 

      Max Andrews and Mariana Cánepa Luna of Latitudes will each participate in Parallel Rooms, an Art Basel programme format that began in 2017 allowing attendees to choose from and roam among multiple conversations happening simultaneously. Check the full events programme here (in Spanish).

       Parallel Rooms takes place at arteBA, Pista Central de la Rural, Palermo, and are free and open to the public.


      Parallel Rooms | Session 2 | Room 3
      "First Things First: Making Exhibitions for a General Audience"
      Saturday 13 April 2019
      6:30      —      7:30pm

       In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?

      This session is free and open to the public and will be held in Spanish.


      Parallel Rooms | Session 3 | Room 2
      "Beyond the Museum: New Institutional Frames for Art"
      Saturday 13 April 2019
      7:30—8:30pm

      Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.

      This session is free and open to the public and will be held in Spanish.
      + info


      RELATED CONTENT:

       2019, Art Basel, Buenos Aires, Curatorial Practice, exhibition-making, field trip, Mariana Cánepa Luna, Max Andrews, offsite, prácticas curatoriales, talks programme
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