Longitudes

Cover Story–July 2018: No Burgers for Sale

Latitudes' home page www.lttds.org


The July 2018 Monthly Cover Story "No Burgers for Sale" is now up on Latitudes' homepage: www.lttds.org


"In 1983, a Burger King opened on New York’s Governors Island, then a U.S. Coast Guard base. It was the first franchise to serve beer. After scoffing a Whopper combo, officers and enlisted men could enjoy a round of golf, play bingo, go to the movies, or throw balls at the adjacent bowling alley. In 1999, this Burger King featured in issue 615 of ‘The Amazing Spider-man’. After almost two centuries operating as a federal or military facility, the Island was vacated in 1996, and the Burger King shut up shop. The remnants were photographed in 2003 by Andrew Moore and Lisa Kereszi."

No burgers were on sale though, just wooden pretzels!

—> Continue reading

—> Project photo documentation
—> After July 2018 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:


  • Archive of Monthly Cover Stories
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group 4 June 2018
  • Cover Story – May 2018: "Shadowing Roman Ondák" 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017
  • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017

Colaboración en el catálogo digital de la exposición "7.000.000.000" de Arlandis/Marroquí para el Espai d'art Contemporani Castelló (EACC)

El próximo 31 de enero inaugura en el Espai d'art Contemporani Castelló (EACC) la exposición colectiva "7.000.000.000", un proyecto que parte de la idea de desarrollo sostenible. La exposición está comisariada por David Arlandis y Javier Marroquí.  

Arlandis y Marroquí han invitado a una serie de autores a contribuir textos para el catálogo digital, entre ellos a Mariana Cánepa Luna de Latitudes que ha escrito sobre Time/Bank, el sistema económico alternativo creado en el 2009 por los artistas Anton Vidokle y Julieta Aranda. Podéis leer o descargar la publicación desde este enlace.

Para la ocasión, como avanzan los comisarios en este texto, Time/Bank abrirá una sucursal "y colaborará con otra iniciativa similar, la Ecoxarxa, que se está desarrollando fuera del ámbito artístico. Time/Bank es un proyecto que consta de una instalación en la que podemos ver material diverso y documentación relacionada con las primeras iniciativas de banco de tiempo. La segunda parte trata de poner en marcha esa sucursal de banco de tiempo, con voluntad de continuidad, en la ciudad. Lo que se persigue es favorecer la implantación real de un modelo económico alternativo donde se intercambia con el tiempo como moneda."

Time/Bank en dOCUMENTA (13), 2012.
A continuación un extracto del texto de Cánepa Luna que se incluye en la publicación:

"Como acertadamente señala el antropólogo teórico David Graeber en su ensayo “The Sadness of Post-Workerism” (La tristeza del post-laboralismo), una de las ideas más ignoradas y, sin embargo, más poderosas y perdurables del marxismo, es que el mundo no solo consiste en la producción de mercancías que puedan ser compradas y vendidas, sino en acciones y procesos.[1] El sistema económico alternativo Time/Bank, de Anton Vidokle y Julieta Aranda, que utiliza el tiempo como unidad de cambio, se concretó en 2009, un año después de que la crisis actual llegara a su punto álgido. Time/Bank evolucionó de forma natural a partir de PAWNSHOP (2007), su negocio de préstamos a corto plazo para obras de arte, situado en un local comercial de la calle Ludlow, en Nueva York. Ambas iniciativas median inquietudes en torno a la circulación y la distribución, temas que siguen presentes en sus prácticas artísticas, y que posiblemente estén mejor ejemplificadas en e-flux, el servicio de mensajes por correo electrónico que fundaron conjuntamente en 1999, y que se utiliza dentro del mundo del arte para difundir información sobre acontecimientos relacionados con el arte, exposiciones y proyectos, entre sus más de 90.000 suscriptores electrónicos.

La creciente desconfianza hacia los sistemas económicos y financieros existentes creó la tormenta perfecta para que se materializara su propuesta Time/Bank, aunque Vidokle y Aranda insisten en situarlo en el contexto de otros casos previos de moneda alternativa o local, y de estructuras financieras basadas en la reciprocidad, como Ithaca HOUR, la moneda creada por el organizador de comunidades Paul Glover en 1991 en el norte del estado de Nueva York, que todavía está en funcionamiento y se ha convertido en la moneda local que más tiempo lleva en circulación en Estados Unidos. Vidokle y Aranda crearon Time/Bank con la intención de fomentar un sentimiento de valor cultural dentro de la comunidad cultural, donde a menudo se ha dado un intercambio de aptitudes y productos al margen de los sistemas monetarios –por ejemplo, intercambio de obras, ayuda durante la instalación, traducción, etc. Como sostiene Vidokle, "Time/Bank puede potencialmente convertirse en la base de una economía diferente, capaz de soportar nuevas y distintas formas de relaciones sociales y prácticas culturales... Esperamos ir más allá y crear una estructura económica que pueda ser compartida por otros y que sea capaz, hasta cierto punto, de atender a sus necesidades". [2]

[1] David Graeber, “The Sadness of Post-Workerism or“Art And Immaterial Labour” Congreso: A Sort of Review (Tate Britain, sábado 19 de enero de 2008)”. Editado en The Commoner, 5 de diciembre de 2013.  
[2] Jolien Verlaek, "Working With That 'We-Feeling'”, Metropolis M núm.1, 2011.

Billetes Time Bank diseñados por Lawrence Weiner.

"7.000.000.000" permanecerá abierta hasta el 27 de abril 2014.
Artistas participantes: ANETTA MONA CHIŞA & LUCIA TKÁČOVÁ, BASURAMA, CARLOS MOTTA, DANIELA ORTIZ Y XOSÉ QUIROGA, JOHAN GRIMONPREZ, JULIETA ARANDA Y ANTON VIDOKLE, JUAN JOSÉ MARTÍN ANDRÉS, NÚRIA GÜELL, TUE GREENFORT, REGINA JOSÉ GALINDO, OLIVER RESSLER, OLIVER RESSLER Y ZANNY BEGG, THE OTOLITH GROUP, URSULA BIEMANN
 
Posts relacionados:
dOCUMENTA (13) in pictures & as seen by the critics, 9 June–16 September 2012 (12 June 2012)



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.

Report from New York: Gramcsi Monument, visiting critics at ISCP, Carol Bove at The High Line and galleries route

Visiting Thomas Hirschhorn's "Gramcsi Monument", a project produced by Dia Art Foundation at Forest Houses, in the south Bronx. Some recent articles on the project are available via Artfagcity's "How Do People Feel About the Gramsci Monument?" and a summary with more reviews via the Gallerist.
 

On the September 4 and 12 we were 'visiting critics' at the International Studio & Curatorial Program (ISCP) in Bushwick, Brooklyn. The first round included seven visits to the studios of Sofie Thorsen, Niko Luoma, Ramiro Chaves, Mojé Assefjah, Shigeyuki Kihara, Javier Barrios and Tobias Dostal. In the second round (12 visits), we visited Paulien Oltheten (participant in our 2009 project "Portscapes"), Henrjeta Mece, Deva Graf, Bernard Williams, Hugues Reip, Ruth Campau, Tricia Middleton, Savas Bovraz, Sasa Tkacenko, I-Chen Kuo, Mónica Ferreras and Petr Sprincl and collaborator Marie Hájková. A selection of images below.

Back in 2006, Max Andrews of Latitudes edited the publication and wrote the catalogue essay for an exhibition at Victoria Miro Gallery in London of Danish artist John Kørner, also a current resident at ISCP.


(Above) Studio visit with Danish-born, Vienna-based artist Sofie Thorsen.
 (Above) Studio visit with Finnish artist Niko Luoma.
 (Above) Studio visit with Argentinian-born, Mexico City-based artist Ramiro Chaves.
 (Above) Studio visit with Dutch artist Paulien Oltheten.
 (Above) Studio visit with Kurdish-born Turkish-based artist Savas Bovraz, recipient of the 2013 Victor Fellowship of the Hasselblad Foundation.
(Above) Studio visit with Chicago-based artist Bernard Williams.
 (Above) Studio visit with Berlin-based artist Tobias Dostal, creator of this magic trick
you'll be amazed!
  (Above) Studio visit with Canadian artist Tricia Middleton.

On September 11, we joined a tour along the northernmost part of The High Line (the as yet unopened section from 34th to 30th street). Alongside Carol Bove's works (read New Yorker review here), and despite the infernal temperatures, there were amazing views of New York's midtown, soon to disappear with the forthcoming construction of Hudson Yards

 

On Friday 13, we visited a few Chelsea galleries, starting at 18th street with a bombastic show by Matthew Day Jackson show at Hauser Wirth. A concise review of the exhibition in this New Yorker article.
(Above) Ho Chi Minh City and Los Angeles-based collective The Propeller Group at Lombard Freid.

(Above) An overview of the 1960s–2000s work by the late John McCracken occupied David Zwirner's spaces.
(Above) Phil Collins at Tanya Bonakdar.


 (Above) "Some Dreamers of the Golden Dream" a cross-generational group show with works by Ed Ruscha, Alex Israel, Alex Hubbard, Julie Becker, Lutz Bacher, and Rachel Harrison at Greene Naftali Gallery.


(Above) The always great Annette Kelm presents 2013 photographs at Andrew Kreps – on view until November 2nd.


(Above) Claudia Wieser's mirrors, ceramics, wooden sculptures, geometric prints at Marianne Boesky


Barbara Gladstone Gallery showed Damián Ortega's 25 twisted steel sculptures which cast the alphabet with their shadows.


At Metro Pictures, David Maljkovic's show includes the animation "Afterform" – on view until October 19.


(Above) Wonderful photographic work by Leslie Hewitt at Sikkema Jenkins – on view until 5 October. Another short view of the exhibition on this New Yorker article.


(Above) Bortolami Gallery presented paintings by Morgan Fisher based on colour swatches from a prefab house company owned by artist father.

(Above and below) Pablo Helguera's "Librería Donceles" at Kent Fine Art (210 11th Avenue, 2nd floor). "Librería Donceles" is an itinerant bookstore of 10,000 used books in Spanish, of virtually every subject, and the only Spanish-language used-book store in the city. On view until 8 November. 


In the Lower East Side, Simon Preston presented one of the best shows in town centered around the new film 'Provenance' (2013) by Chicago-born artist Amy Siegel. The 40min. the film documents the interior of homes of avid collectors in New York, London, Belgium and Paris that have furnished their homes with 1950s tables, chairs, settees and desks originally conceived by Le Corbusier and Pierre Jeanneret, for several buildings in Chandigarh, India. Go see it, ends 6 October.


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)

"Free Forms: An interview with Lauren Cornell", Curator, 2015 Triennial, Digital Projects and Museum as Hub, New Museum, New York. 9th in the #OpenCurating interview series.


"Free Forms: An interview with Lauren Cornell" is available on ISSUU to view on screen and is also downloadable. It is also available as pdf format via Latitudes' web.
 
After serving for seven years as Executive Director of new media non-profit Rhizome, in 2012 Lauren Cornell was appointed “Curator, 2015 Triennial, Digital Projects and Museum as Hub” of the New Museum, New York. During her tenure at Rhizome – a New Museum affiliate – Cornell initiated programmes including the annual Seven on Seven conference series, which bridges contemporary art and technology fields by pairing technological innovators with visual artists and challenging them to develop something over the course of a day. At the New Museum, Cornell was part of the curatorial team for The Generational: Younger Than Jesus (2009) and has curated exhibitions including Young-Hae Chang Heavy Industries’ Black on White Gray Ascending (2007), and Free (2010), a group show that examined “how the internet has changed our landscape of information and our notion of public space”. She is currently preparing the 2015 Triennial, the institution’s signature exhibition, which she will curate together with artist and filmmaker Ryan Trecartin.

Follow:
@LTTDS 
#OpenCurating 
@newmuseum
@lcornell
#MuseumAsHub

ABOUT #OPENCURATING

Drawing on the emerging practices of so-called 'Open Journalism' – which seek to better collaborate with and use the ability of anyone to publish and share#OpenCurating is a research project that investigates how contemporary art projects may function beyond the traditional format of exhibition-and-catalogue. #OpenCurating is concerned with new forms of interaction between publics – whether online followers or physical visitors – with artworks and their production, display and discursive context.

The project is articulated around a series of ten new interviews with curators, artists, writers and online strategists published as a free digital edition [read here the published ones so far], a Twitter discussion moderated around the hashtag #OpenCurating and an public conversation with Dia Art Foundation curator which took place at MACBA on the 19 February.

#OpenCurating is a research project by Latitudes produced through La Capella. BCN Producció 2012 of the Institut de Cultura de Barcelona. 










Content partners: Walker Art Center

 




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

#OpenCurating: "Latitudes in conversation with Yasmil Raymond", Curator, Dia Art Foundation, New York. Tuesday 19 February, 19:30h. Auditori MACBA, Barcelona

Dia Art Foundation curator, Yasmil Raymond. Photo: Lina Bertucci

| ENG |
 
"Latitudes in conversation with Yasmil Raymond" 

Tuesday 19 February 2013, 19:30h
Auditori MACBA, Barcelona
Free admission. Limited seating. With simultaneous translation.

This event is part of Latitudes' ongoing #OpenCurating research, which analyses the implications of Web 2.0, participation and transparency for contemporary art production and programming. The core of #OpenCurating is formed through a series of interviews, freely available online, most recently with Steven ten Thije (Van Abbemuseum, Eindhoven), Sònia López and Anna Ramos (MACBA, Barcelona), and Badlands Unlimited (New York).

The conversation with Dia Art Foundation's curator Yasmil Raymond will address Dia's historical identity, the evolving role of the curator, and Raymond's vision in commissioning and preserving art projects. The dialogue will be later transcribed and published as the seventh interview of the #OpenCurating research series.

The evening will incorporate "crowd-sourced" questions by the public previously solicited via Twitter (hashtag #OpenCurating) and Facebook (http://www.facebook.com/LTTDS).

Yasmil Raymond has been Curator at the Dia Art Foundation since 2009, where she has organized exhibitions and projects with artists such as Jean-Luc Moulène (2012); Yvonne Rainer (2011-12); Koo Jeong A (2010-11); Franz Erhard Walther (2010-2012); and Trisha Brown (2009-10). Prior to joining Dia, Raymond worked at the Walker Art Center (2004–2009) in Minneapolis where she organized solo exhibitions with Tomás Saraceno (2009), Tino Sehgal (2007) and group exhibitions including Abstract Resistance (2010); Brave New Worlds (2007, co-curated with Doryun Chong). Raymond studied at The School of the Art Institute of Chicago (1999) and the Center for Curatorial Studies, Bard College (2004).

As a non-profit institution founded in 1974, the Dia Art Foundation is renowned for initiating, supporting, presenting, and preserving art projects. Between 1987 and 2004, the Dia Center for the Arts in Chelsea, New York, saw presented site-specific exhibitions and projects including those by Robert Gober, Jenny Holzer, Jorge Pardo and Pierre Huyghe. Dia:Beacon opened in 2003 in upstate New York, as the home for Dia’s distinguished collection of art from the 1960s to the present. Dia Art Foundation maintains long-term, site-specific projects including Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), Joseph Beuys’s 7000 Eichen (7000 Oaks) (1988), and Dan Flavin’s untitled (1996), all in Manhattan; the Dan Flavin Art Institute in Bridgehampton, New York; De Maria’s The Vertical Earth Kilometer (1977) in Kassel, Germany; Robert Smithson’s Spiral Jetty (1970) in the Great Salt Lake, Utah; and De Maria’s The Lightning Field (1977) in Quemado, New Mexico. Currently Dia is developing a project space on West 22nd Street in New York City.


#OpenCurating is a research project by Latitudes produced through BCN Producció 2012. La Capella, Barcelona City Council.   


 






Content partner: Walker Art Center, Minneapolis / walkerart.org





Related posts:
"Host and Ambassador: A Conversation with Yasmil Raymond" Curator of Dia Art Foundation, New York. Seventh in the #OpenCurating research series (7 March 2013)


| ES |

"Latitudes conversa con Yasmil Raymond"

Martes 19 de febrero, 19:30h
Auditori MACBA, BarcelonaEntrada gratuita. Aforo limitado. Con traducción simultánea.  

Este evento es parte del proyecto de investigación #OpenCurating de Latitudes, enfocado en el análisis de las implicaciones de la web 2.0, así como la expectación de participación y transparencia, en la producción y programación de arte contemporáneo. El núcleo de #OpenCurating consiste en una serie de diez entrevistas, disponibles en línea y gratuitas, con artistas, comisarios y escritores tales como Steven ten Thije (Van Abbemuseum, Eindhoven), Sònia López and Anna Ramos (MACBA, Barcelona), y Badlands Unlimited (Nueva York).  

La conversación con la comisaria del Dia Art Foundation, Yasmil Raymond se centrará en la identidad histórica del Dia, la evolución del rol del comisario y la visión de Raymond en el encargo y el comisariado de proyectos artísticos. La charla será posteriormente transcrita y se publicará como la séptima entrevista en la serie #OpenCurating .

La sesión incorporará preguntas previamente enviadas por el público a través de Twitter (@LTTDS con hashtag #OpenCurating) y Facebook (http://www.facebook.com/LTTDS).

Yasmil Raymond ha sido Comisaria del Dia Art Foundation en Nueva York desde el 2009, donde ha organizado exposiciones y proyectos de artistas como Jean-Luc Moulène (2012); Yvonne Rainer (2011–12); Ian Wilson (2011–13); Robert Whitman (2011); Koo Jeong A (2010-11) (2010-11); Franz Erhard Walther (2010-2012); y Trisha Brown (2009–10). Anteriormente Raymond trabajó en el Walker Art Center en Minneapolis, donde organizó exposiciones individuals de Tomás Saraceno (2009), Tino Sehgal (2007) y exposiciones colectivas como Abstract Resistance (2010); Statements: Beuys, Flavin, Judd (2008); y Brave New Worlds (2007, co-comisariada con Doryun Chong). Raymond estudió en The School of the Art Institute of Chicago (1999) y cursó un máster en el Center for Curatorial Studies, Bard College (2004).

Como institución sin ánimo de lucro fundada en el año 1974, el Dia Art Foundation es conocida por haber iniciado, apoyado, presentado y preservado proyectos artísticos. Entre 1987 y 2004, el Dia Center for the Arts en Chelsea, Nueva York, presentó exposiciones y proyectos site-specific de Robert Gober, Jenny Holzer, Jorge Pardo y Pierre Huyghe, entre otros. Dia: Beacon abrió sus puertas en 2003 en el norte del estado de Nueva York, como sede de la distinguida colección de arte desde la década de 1960 hasta la actualidad. Dia Art Foundation mantiene proyectos a largo plazo en sitios específicos tales como The New York Earth Room (1977) y The Broken Kilometer (1979) ambos de Walter De Maria; Times Square (1977) de Max Neuhaus, 7000 Eichen (7000 Oaks) (1988) de Joseph Beuys; untitled (1996) de Dan Flavin, todos en Manhattan; el Dan Flavin Art Institute in Bridgehampton, Nueva York; The Vertical Earth Kilometer (1977) de Walter De Maria en Kassel, Alemania; Spiral Jetty (1970) de Robert Smithson en Great Salt Lake, Utah; y The Lightning Field (1977) Walter De Maria  en Quemado, Nuevo Mexico. En la actualidad, Dia está desarrollando un espacio para proyectos en la calle West 22nd de Nueva York. 

#OpenCurating es un proyecto de investigación de Latitudes producido por La Capella. BCN Producció 2012 del Institut de Cultura de Barcelona. 


 







Content partner: Walker Art Center, Minneapolis / walkerart.org





Contenido relacionado:"Host and Ambassador: A Conversation with Yasmil Raymond" Curator of Dia Art Foundation, New York. Seventh in the #OpenCurating research series (7 de marzo 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 individual photo captions).  
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Selection of press coverage of Latitudes' weekly newspaper for 'The Last Newspaper' exhibition at the New Museum

Following is a selection of press reviews that has appeared in relation to 'The Last Newspaper' exhibition (New Museum, 6 October 2010–9 January 2011), in particular those who focused on Latitudes' edition of a weekly newspaper as catalogue-in-formation:

Holland Cotter, 'Art and News, Intersecting in the Digital Age', The New York Times, 7 October 2010:

"And at the behest of the
New Museum a print-savvy group called Latitudes from Barcelona is issuing another tabloid, this one weekly and edited from the third-floor gallery, that will double as an exhibition catalog. That publication would, of course, be the ideal place for the curators and participating artists to go on the record, at un-Twitterish length and polemical breadth, about the viability of analog journalism — and analog art — in the digital age. (...) Meanwhile the Latitudes news team — Max Andrews and Mariana Canepa Luna are the editors — has invited everybody and anybody, meaning you and me, to submit editorial suggestions and pitch stories, either in person or by e-mail ([email protected]). In the loosey-goosey spirit of the show, their paper will change names weekly, from the “The Last Post” to “The Last Gazette” to “The Last Register,” etc. But a genuinely “last newspaper” is still nowhere in sight. And you read that here."


Danielle Aronowitz, 'New Museum exhibit is black and white and read all over', Columbia Spectator, 8 October 2010:

(...) "A second group, Latitudes—a curatorial organization based in Barcelona, Spain—will compile, edit, and publish a weekly newspaper that will catalogue information about the exhibit and the contributing artist groups over the next 10 weeks. To emphasize its importance, [exhibition curator Richard] Flood referred to this publication as “the journal of the exhibition.”

Luc Sante, 'Disappearing Ink', The New York Review of Books's blog, 1 November 2010:

(...) and a tabloid, edited by the Barcelona-based curatorial office Latitudes, that has been variously called The Last Post, The Last Gazette, and The Last Register. (...) The tabloid, which focuses on newspapers, as well as on the show itself, is rather puckish. The Last Gazette includes, for example, a record of a quixotic attempt by Ines Schaber to approach the underground facility in western Pennsylvania where the photo agency Corbis keeps its archive of some 70 million pictures. The story evokes the cold-war espionage genre—an unremarkable setting masks a culture of such militant secrecy that the best the author could manage is a murkily distant photo of the facility’s parking lot. Its meandering text and bland snapshots, on the other hand, evoke the whimsical record-keeping of 1970s conceptual art, which is rather more in keeping with the spirit of the show.


Valerie Seckler, 'Hyper-local Newspaper as Museum Piece? Not exactly', The Urban Times, November 2010:

“How is a museum, such as New Museum, no longer (just) in the artwork display business?” asks an editorial in The Last Post. “Is it a producer, a publisher or a distributor? Should a museum or a newspaper be a community, a platform or a network, for example?” The newspapers themselves are hybrids: actual publications and art object. (...) The Last…” newspaper series comprises “final” editions with names like “The Last Observer,” “The Last Monitor,” and (the first edition) “The Last Post.” They are dedicated to illuminating “The Last Newspaper” fine art on exhibit. Some of the reportage ranges beyond it. (...) The Last Post” itself is an arch reference to the never-ending practice of posting 21st century news online. “The Last Post’s” Oct. 6th edition’s screaming front page headline makes the humorous proposition: “Ink vs Link.” Smaller decks stacked below it read: “Lippmann vs Dewey, Fact vs Interpretation, Editor vs Curator,” and conclude with the query: “How do you get your information?”

Adam Chadwick, 'Art and journalism …sometimes a fine line…', http://fittoprintfilm.wordpress.com, 1 December 2010:

This past Saturday members of the group Latitudes – an independent Barcelona-based curatorial office – hosted an event for the “Fit to Print” production team at the New Museum in the Bowery neighborhood of lower Manhattan. (...) I was too intrigued by the wall-to-wall displays of vintage newspaper front pages in one of the rooms. It was hard not to examine the way in which newspapers implemented multiple sub-headlines back in the early part of the twentieth century. In a way, many start-up news websites are creating similar sub-heads to draw reader attention in the vast wild west of search engine optimization. This would be a topic our guest speaker, Jason Fry, would speak about during our panel discussion.

[Read an edited transcription of the event here.]

This is tomorrow, 'The Last Newspaper', 5 December 2010:

Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers.

'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... is the evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited during a 10 week editorial residency by Latitudes. Produced from a micro-newsroom placed on the third floor of the museum the tabloids will be an archive in formation companioning The Last Newspaper’s exhibition, artworks and events, as well as being a platform for critical reflection on the wider agency of art and artists with respect to concerns about how information is produced, managed, recorded, re-ordered, and disseminated.

With kind permission from Latitudes we are reproducing two selected text from their catalogue/newspapers, written by The Last Newspaper London correspondent and 'this is tomorrow' features editor Lorena Muñoz-Alonso (continue reading...)

Kristin M. Jones, 'Chronicles of a Medium in Crisis', The Wall Street Journal, 16 December 2010:

(...) Via a micronewsroom, Latitudes, a Barcelona-based curatorial team, produced a tabloid whose name changed each week. The spirited articles include stories on artists, filmmakers and topics ranging from ProPublica to the history of cast-iron newsstand paperweights; its issues will be bound together after the show ends in lieu of a catalog. The editors commissioned profiles and interviews related to the show but also solicited story ideas, headlines inspired by personal events and other information from the public.

Read more articles and reviews here.

'The Last Newspaper' exhibition catalogue available from the New Museum Store

Produced by Latitudes for ten consecutive weeks from a micro-newsroom placed in the third floor galleries of the New Museum, the compilation of 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 accompanying the show The Last Newspaper (on view until 9 January 2011), curated by Richard Flood and Benjamin Godsill.

Featuring over 100 contibutors, and including essays and interviews with participating artists and organisations, this compilation also brings together articles and special features around an expanded selection of work that addresses the news, the newspaper, and its evolving form and function.


New Museum & Latitudes; 2010; 11.5" x 14"; 10 newspapers + 4 page supplement with final editorial, table of content and index
Price: $15 (New Museum members $13.50)
Or buy online from the New Museum Store


Night at the (New) Museum

Coinciding with the end of our New Museum editorial project we'd like to share these great shots of what has been our working space during the past 10 weeks at the New Museum: our micro-newsroom during the night.

The photos have been taken by New Museum night guard and photographer Steven Slawinski during the third week of our editorial residency – when 'The Last Register' (#3) was the newspaper of the week. We would like to thank Steven for sharing his archive, and to New Museum guard Carol Fassler for putting us in touch.



We would like to express our thanks to everyone at the New Museum. Thank you to Lisa Phillips, Toby Devan Lewis Director, and The Last Newspaper co-curators Richard Flood, Director of Special Projects and Curator at Large, and Benjamin Godsill, Curatorial Associate, for hosting us and inviting us to collaborate in this expansive and timely project. Our sincere gratitude and praise are due to Richard and Benjamin for their support and trust and for the brave exhibition whose works have become our local community.

Thank you to Joshua Edwards, Exhibitions Manager and Shannon Bowser, Chief Preparator for sharing expertise on producing Luciano Fabro’s Pavimiento-Tautologia. Praise is due to Desiree B. Ramos, Curatorial Fellow; Eungie Joo, Keith Haring Director & Curator of Education & Public Programs; Cris Scorza, Manager of Tours and Family Programs and Joseph Keehn II, Associate Educator; to Gabriel Einsohn, Communications Officer and Annie Wachnicki, Marketing Manager for their help in many ways. We are most grateful to each of the inspiring New Museum guards and guides for their support and interest in our weekly progress and for taking care of our working space.

We would like to express our gratitude to Marta Rincón and Eloisa Ferrari for securing the financial support offered by The State Corporation for Spanish Cultural Action Abroad (SEACEX), which has made it possible for us be in New York during these months.

The graphic design of the newspapers has been an absolutely critical element to the tone of the project and we salute Chad Kloepfer and Joel Stillman, who have been so generous with their time and incredible talent in establishing the visual identity of The Last... newspapers, and in giving up their weekends laying them out. Thank you to Daniel Thiem, Retail Operations Manager at the New Museum, for taking care of the afterlife of this print adventure, and to Tammy Lin at Linco Printing for making the printing and delivery run smoothly.

Sharing the third floor of the New Museum with the other partner organizations has been a memorable experience and we are particularly appreciative of Alan Rapp as well as Virginia Millington and Natalia Fidelholtz – our temporary neighbors at the New City Reader and StoryCorps respectively.

The project would also not have been possible without the assistance of our news team, who have been crucial in their dedication and good humor, and in toiling late hours, and while juggling other commitments, in writing sterling words. Kudos to Editor-at-Large Janine Armin, to Greg Barton, Irina Chernyakova, Collin Munn and Gwen Schwartz. We would also like to highlight the generous contributions of Adam Chadwick, Julienne Lorz, Andrew Losowsky and our London correspondent Lorena Muñoz-Alonso.

We have been pleased to have been able to involve an incredible network of writers, curators, artists and journalists that week after week have graced, and been splashed over, the pages of 'The Last...' Visual artist Francesc Ruiz, project cartoonist with his series ‘The Woods’, and our advertising department, artist Ester Partegàs, we thank especially for their amazing work and for their stamina in signing up to the weekly deadlines.

We are indebted to all of the participating artists and organizations as well as many other individuals for their efforts, for having trusted our editorial skills and for having given time and contributions pro bono – Ignasi Aballí; Lars Bang Larsen; Judith Bernstein; Dara Birnbaum; Pierre Bismuth; Andrea Bowers; Fernando Bryce; Luis Camnitzer; Sarah Charlesworth; Emily Cheeger; Doryun Chong; City-As-School class; Ana Paula Cohen; Scott Cole; Christine Cooper; Holly Coulis; Marc d'Andre; Chris Dercon; Patricia Esquivias; Jacob Fabricius; Luciano Figueiredo; Angela Freiberger; Jason Fry; Simon Fujiwara; Dora García; Martin Gran; Hans Haacke; Ilana Halperin; Rick Herron; Ridley Howard; Marcel Janco; Adrià Julià; Maria Loboda; Nate Lowman; Renzo Martens; Rob McKenzie; Simone Menegoi; Aleksandra Mir; Rodrigo Moura; Nick Mrozowski; Angel Nevarez & Valerie Tevere; Sophie O'Brien; Damián Ortega; Alona Pardo; Amalia Pica; Michalis Pichler; Ed Pierce; Peter Piller; William Pope L.; Michael Rakowitz; Christian Rattemeyer; Yasmil Raymond; Kolja Reichert; Mauro Restiffe; Kathleen Ritter; Kirstine Roepstroff; Julia Rometti & Victor Costales; David Salle; Mike Santisteven; Joe Saltzman; Ines Schaber; Paul Schmeltzer; Charity Scribner; Manuel Segade; Adam Shecter; Harley Spiller; Stephen Spretnjak; Alexandra Tarver; Mi Tijo; Wolfgang Tillmans; Rirkrit Tiravanija; Nicoline van Harskamp; Pablo Vargas Lugo; Sergio Vega; Marie Voignier; Mark von Schlegell; Haegue Yang; Carey Young; Sarah Wang; Warren Webster; and Jordan Wolfson. Thanks too the New Museum Facebook and Twitter contributors: aodt; Kristi Collom; Michele Corriel; djnron; Isadora Ficovic; A.J. Fries; Rachel Elise Greiner; Sioux Jordan; Eleanor Martineau; Acht Millimeter; Sofia Pontén; Jenny Pruden; Bonnie Severien; Kate Shafer; Liz Shores; Goso Tominaga; and Anne Wölk.

We would also like to thank those who have helped us obtain images or permission to reprint texts: Barbican Art Centre, London; Edoardo Bonaspetti, Mousse magazine; Bugada & Cargnel, Paris; Janine Iamunno, patch.com; Nick Hunt/PatrickMcMullan.com; Jeff Khonsary, Fillip; Lisa Middag at the Walker Art Center, Minneapolis; kurimanzutto; Michele Robecchi; Benoit Pailley; Peres Projects, Berlin; Katie Sokolor/Gothamist.

– Latitudes (Max Andrews & Mariana Cánepa Luna), December 2010.

Excerpted from 'FROM THE EDITORS’ DESK – Last words, clarifications, frequently asked questions, and thanks from Latitudes' originally published in 'The Last Newspaper' catalogue.

'THE LAST EXPRESS' AVAILABLE NOW! #10 and final issue of the Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

FINAL ISSUE! Issue 10: 'The Last Express'
(READ IT ON ISSUU)

Table of contents:


Cover:
Hans Haacke News (1968–2008)
Exclusive interview: Inhotim curator Rodrigo Moura talks to artist Mauro Restiffe

Dirt Sheet column: Janine Armin on TLN Dexter Sinister's 'The First/Last Newspaper (November 4–21, 2009)'
Report: 'Fit to Print?: The newsroom reinvented', conversation at the New Museum between ‘The Last...’ columnist Adam Chadwick and web veteran Jason Fry
100 years ago...: 'Los Angeles Herald' (Los Angeles, California) 1900-1911, December 8, 1910
Focus:
Blu Dot's self-assembly office furniture for the ‘The Last Newspaper’ partner organizations
The Next Newspaper (Profiling the organizations, projects, initiatives and individuals redefining ink-and-paper news): The Daily

Focus: 'Do you love milk and honey?', Greg Barton on Emily Jacir's TLN work 'SEXY SEMITE' (2000-02)
Picture Agent-Our singular picture agency: Simon Fujiwara
Media Habits: Michalis Pichler

'Embrace the Ambiguity', ‘The Last Newspaper’ curators Richard Flood and Benjamin Godsill reflect on the project’s journey.
Focus: 'Reading the Reader', Greg Barton and Irina Chernyakova on TLN partner organisation the 'New City Reader' 
Exclusive interview: 'The Wires', Janine Armin talks to TLN artist Hans Haacke
Cartoon: 'The Woods: The End' by Francesc Ruiz
Advertising Department:
Ester Partegàs

 

Video of issue 10 - videos of previous issues here

EXCLUSIVE CONTENT!

REPORT
'Fit to Print?: The newsroom reinvented'



27 November 2010: Public gathered for the talk on the 4th floor's 'Peace Arena'.

On November 27, Latitudes organized a conversation at the New Museum between ‘Fit to Print’ filmmaker (and ‘The Last...’ columnist) Adam Chadwick, and Jason Fry, an expert in the challenges faced by newspapers in the digital world. 

Jason Fry: I started at The Wall Street Journal in 1995, when they were a single free section and after thirteen years I had seen it become a full paper and go beyond its roots of being a financial paper to become a source of general news. It became a subscription site far ahead anyone else. One reason why so many jobs are disappearing in newspapers now, is that some top publishing executives do not understand the business they are in and are only slowly realizing that is suicide. They have become very confused between the mission of journalism and the business of journalism. The business is decaying, leaving the mission looking for new financial backing.


Jason Fry during the talk

Adam Chadwick: How did journalism come to this breaking point? It began in the early 1960s, starting with how television affected the newspaper industry as it became the media where most people got their information from. Newspapers started changing their priorities back then...



Adam Chadwick during the talk

JF: Newspapers were mostly family-owned operations, others were true public servants. Soon after some became owned by corporations and that changed the calculus for the business and how they made money. They were depending on performance and shareholders. Even in the 1990s newspapers were making a profit margin of 30% year after year, without really understanding the business they were in. Television has certainly created a star mentality amongst reporters which is not entirely working to the benefit of journalism. Newspapers have been historically successful because publishers essentially had a localized monopoly on printing and distribution. Retail stores would communicate their products by placing ads in a newspaper – the publishers owned a distribution mechanisms. In the last ten to fifteen years that has changed, as advertising has moved to the internet – everything from furniture to job listings. Advertising was the business that funded journalism – the financial underpinnings have been knocked down.

AC: 80% of the content that is broadcast on National Public Radio comes from newspapers. It’s the same with CBS News – Russell Mitchell for instance has told me they are pulling content from The New York Times and The Washington Post. So the erosion of the newspaper is also hugely affecting TV.


Public watching the trailer of 'Fit to print' screened at the beginning for the talk.

JF: Newspapers used to compete with whoever started a new one locally; now they try to compete with the entire world. There is way too much content out there. How many thousands of movie reviews can you find online of the latest Harry Potter movie? And how many do we actually need?

AC: Is the web an echo-chamber of news, particularly with search engine optimization and ‘content farms’ dragging traffic? Or, if you boil it down, is it all only coming from The New York Times or The Washington Post? What is being lost now that the business model is broken? Investigative reporting?

JF: I’m not worried about journalism, I am worried about newspapers. We cannot confuse the two. The web has been wonderful to open up voices and to demystify reporting while letting a lot more people use their own expertise. But yes, investigative journalism is missing and it takes a long time and it’s very expensive. If the The New York Times wants to cover a story on the dodgy doings of an organization, they will continue doing it, even if the organization goes into battle with lawyers, they won’t be intimidated. But that won’t happen if you are blogger or freelancer no matter how smart or committed you are. I wonder if that kind of reporting has to be done institutionally though.



Public gathered for the talk on the 4th floor's 'Peace Arena'.

AC: ProPublica is one of the only models, they are a non-profit for investigative reporting organisation with about thirty reporters and editors. [See The Last Post, page 9] They have deep pockets which enable them to pay competitive salaries. Other smaller examples are Investigative Voice from Baltimore led by Stephen Janis, who started it with Alan Forman, a former Baltimore Sun journalist. It focuses on crime and corruption in west Baltimore, which if you’ve seen The Wire you’ll know about. They don’t compete with the Baltimore Sun, as they cover stories they wouldn’t. They also operate thanks to donations, but don’t know for how much longer they can continue working like this. How sustainable this model is, nobody knows. Even with grant organisations like the Knight Foundation there is only so much money they can throw in. Carmen, what is your experience at The Trenton Times?

Carmen Cusido: I’m a full-time reporter now, we have five members in the staff – it used to be more than twenty. It does get tougher because we don’t have the resources to cover investigative stories. I have to pull out the resources on my own. I cover education, county news, and immigration news because I’m the only Spanish speaking reporter. When we were a larger organisation, we used to have lunch breaks and discuss things as a group, but now you really need to prioritise. It’s hugely difficult as you have to take work home with you and there are no boundaries with your private life; it’s a 24/7 job. Before you could go out and talk to people, get their trust and understand their perspective. Now I cannot even leave the desk, as I have to cover three stories and have to do everything over the telephone.



Carmen Cusido during the talk

Question: Do people really want hard news anymore? Do newspapers understand their readers?

JF: Take the recent health care discussion: a hugely complex issue to follow and one that matters to all of us. Newspapers would cover the most recent political victory, but never show the bones of the story. This isn’t easy stuff. To the shock of newspaper editors, a lot of people read Wikipedia to understand complex situations as you get a straight forward recitation of what’s going on. That’s a model newspapers haven’t done as they continue to follow a telegraph system for getting news out. It’s not satisfying readers’ needs.

AC: Most people I’ve spoken to want the hard news, the meat and potatoes of good journalism. Readers have stopped trusting newspapers for various reasons, some felt they were not catering a certain demographic of people or literally because news organizations have removed the newspaper dispenser boxes from poorer communities, to reach out to richer ones that would potentially advertise with them.

Question from the audience: What is your view on paywalls?

JF: News organisations should realize they are competing with the web. The success of the The Wall Street Journal’s paywall, has been in that it is targeted mostly at business readers, yet The New York Times covers everything. You pay for something therefore you think it’s valuable. Paywalls are getting in trouble in two ways: the hassle of entering a password, finding a reliable payment method. It’s not very immediate. Secondly, in the way they are implemented. If you are seeing nothing of the content you are about to buy you’re taking a blind leap of faith in paying for something you are likely going to read only once.

AC: It’s not cheap to produce content for the iPad either. If you put up a paywall you are no longer part of the linking culture such as The Huffington Post.

IF: You cannot create a walled garden that nobody can get into. You have to tease readers and let them share.

 
Question from the audience
: Is hyper-local journalism the way to go? Or to be more brutal, what will ultimately save journalism?

AC: Paying reporters and establishing a sustainable business model. Does non-profit model work? It does right now – but for how long?

– Transcribed by Mariana Cánepa Luna


All photos: Latitudes | www.lttds.org

'THE LAST TIMES' AVAILABLE NOW! #9 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

Issue 9: 'The Last Times'
(READ IT ON ISSUU)
  
1 December 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’, New Museum Guard & Tour Guide Mike Santistevan on Mike Kelleys's work
Picture Agent: Pablo Vargas Lugo
100 Years Ago…: The Seattle Star (Seattle, Washington) 1899-1947, December 1, 1910

Next newspaper: Web aggregation
Focus: Sarah Sex Sport-Trait’, Lorena Muñoz-Alonso on TLN work 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' by TLN artists Angel Nevarez & Valerie Tevere + Mark Twain’s ‘Amended Obituaries’ (1902)
Focus and exclusive interview: ‘Graphite Testimony’, Greg Barton on Andrea Bowers’ work 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’s work Newspaper (1992)
Cartoon:
'The Woods: Fahrenheit 451' by Francesc Ruiz
Advertising:
Ester Partegàs

 



EXCLUSIVE CONTENT!

Picture Agent: Our Singular Picture Agency
Pablo Vargas Lugo, artist


In 1996, NASA released images of the probable remains of extraterrestrial life in a meteorite of Martian origin found in Antarctica. Back then I quickly latched on to the enthusiasm caused by this news, and rather opportunistically used this image as part of an ambitious newspaper project. However, shortly afterwards, scientists disputed the authenticity of these supposedly fossilized bacteria, citing the possibility of an inorganic origin. Obviously the said newspaper project lost its edge once the findings were disproved, and was shamefully filed at the end of my portfolio.

Last year the original scientific team found traces of organically produced materials on their treasured meteorite, using more potent microscopes; but the cheers didn’t last for long, as their evidence was contradicted by another group working in a lab across the hall, and headed by the brother of the leader of the first team. As questions on the urgent matter of extraterrestrial life are appropriately resolved between siblings in close quarters, and hoping for further validation of the original findings, I file this picture in this other newspaper project, as a personal reminder of the troubled relationship between art, trustworthiness and whatever we choose to call news.


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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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2005—2019