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

Two 'Portscapes' films presented in 'Scenographies', an exhibition at SMBA in Amsterdam

Still from Marjolijn Dijkman's "Surviving New Land" (2009). 
Courtesy of the artist and SKOR | Foundation for Art in Public Space.
 
Two of the films produced for 'Portscapes', the year-long programme of public art projects in the Port of Rotterdam curated by Latitudes back in 2009, are currently screened as part of the exhibion 'Scenographies'. The show, curated by Clare Butcher for SMBA Amsterdam, is "a dynamic exhibition programme based around the archive of SKOR | Foundation for Art in Public Space." On view until 16 November 2013, artists and artists' collectives will approach the legacy of SKOR, the former institution that realized more than a thousand projects in public space in the Netherlands over the past three decades.

The selected films are those by Dutch artists Jan Dibbets ("6 Hours Tide Object with Correction of Perspective", watch the making of part 1 and part 2), and Marjolijn Dijkman's "Surviving New Land" (watch a low res view here), and are screened between 3-16 October as part of the larger film programme "Constructed Sceneries" curated by High&Low Bureau (Yael Messer and Gilad Reich).

On Saturday 3 October at 8pm, High&Low Bureau will talk about their practice in relation to the subjects in the film programme. They will be joint by 'Scenographies' curator, Clare Butcher.

+ info:
Photos of Jan Dibbets' film here
Photos of Marjolijn Dijkman film here.
Info on the exhibition 'Scenographies', here (as a pdf)
Portscapes website.

 Production of '6 Hours of Tide Object with Correction of Perspective' (2009) by Jan Dibbets. Photo: Paloma Polo / SKOR.

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)

Publication "A Chronology of Energy- and Art-Related Developments (2013, ongoing)" edited by Christina Hemauer and Roman Keller

Photo: Edizioni Periferia.

Last week we received a copy of the wonderful publication by Zürich-based artists Christina Hemauer and Roman Keller, with whom we have collaborated twice in the past, on the Portscapes commission series in 2009 (see photos of project here and a 'making of' video here) and on their solo exhibition 'United Alternative Energies' in 2011 in Kunsthal Århus, Denmark.  

Christina Hemauer and Roman Keller maintain the thesis that throughout history, culture and energy have been reciprocal entities: technological change determines cultural achievements and vice versa.

 Title page with contributors names. This and the following photos: Latitudes.

Their publication "A Chronology of Energy-Related Developments (2013, ongoing)" is based on the appendix of the six-volume "Encyclopedia of Energy" (2004). Its 64-page appendix sums up historical events of relevance to energy since the existence of Earth. In collaboration with 32 art historians (including Steven Jacobs, Andreas Vogel, Dorothee Messmer), curators (including Fiona Parry, Pedro de Llano and ourselves) and cultural theorists (including Yvonne Volkart, Anke Hoffmann, Rolf-Peter Sieferle) and concluding with an epilogue by Bice Curiger, former Kunsthaus Zürich's curator, the artists have supplemented the appendix (white pages) with «art-related» entries (yellow pages) in words and pictures.

Endpapers of the publication based on the appendix of the six-volume "Encyclopedia of Energy" (2004).

Latitudes contributed six entries, those of 1901 (Giacomo Balla's "Street Light"), 1956 (Atsuko Tanaka's "Electric Dress"), two entries for 1972 (Victor Grippo's "Energy of a Potato" and Gustav Metzger's "Project for Stockholm (phase 1)", ca. 1987 (Fischli & Weiss's "The Way Things Go") and 2003 (Simon Starling's "Tabernas Desert Run").


The book was made possible by a Dr. Georg und Josi Guggenheim-Stiftung 2012 grant.

Christina Hemauer & Roman Keller
182 pages, 20 x 27 cm, in two colours, linen binding
Edizioni Periferia
ISBN: 978-3-906016-24-5
CHF 38 / EUR 30

Purchase here.



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)

Conferencia "El contrato curatorial: analogías y casos de estudio". Jueves 14 Junio a las 20h, CGAC, Santiago de Compostela

 'The Last..." los diez números semanales que conforman el catálogo final de la exposición "The Last Newspaper" (New Museum, 2010). 
Foto: Latitudes | www.lttds.org

| ES |

"El contrato curatorial: analogías y casos de estudio" analiza modelos extraídos de personajes de la cultura popular así como la terminología legal que pueden ayudarnos a definir algunos de los códigos éticos y profesionales que se establecen entre artistas y comisarios. A través del proyecto editorial 'The Last Newspaper' realizado por Latitudes en el New Museum en el 2010, se especulará sobre dicha relación y sobre como ésta dialoga con el público como participante del proceso curatorial. 

Conferencia organizada en colaboración con el Máster en Arte, Museología y Crítica Contemporáneas, Universidad de Santiago de Compostela, donde Latitudes será profesor invitado el viernes 15 Junio, y donde discutirá algunos de sus proyectos incluídos No Soul for Sale (en X Initiative y en Tate Modern), Portscapes, Campus y Amikejo

CGAC (Centro Galego de Arte Contemporánea)
Rúa Valle Inclán s/n
15704 Santiago de Compostela
T: 981 546619 


Commissioner Gordon calls Batman: the institutional alliance with those operating outside the law.

| UK |

 The lecture "The curatorial contract: analogies and case studies" draws from popular culture and legal terminology to help define some of the ethical and professional codes at work between artists and curators. Through the editorial project 'The Last Newspaper' developed by Latitudes at the New Museum in 2010, the presentation will speculate on this relationship and how it dialogues with the public-as-participant.

Conference organised in collaboration with the Máster en Arte, Museología y Crítica Contemporáneas where on June 15, Latitudes will be visiting lecturers and discuss a range of their projects including No Soul for Sale (at X Initiative and at Tate Modern), Portscapes, Campus and Amikejo.

CGAC (Centro Galego de Arte Contemporánea)
Rúa Valle Inclán s/n
15704 Santiago de Compostela
T: 981 546619 


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.

FAQ: Where can I find the publications edited by Latitudes?

We often receive enquiries from folks interested in purchasing our publications. As editors (or contributors) we only hold a few copies, which over the years have been mostly entirely gifted to colleagues and donated to expand institutional archives.

MACBA’s Centre d'Estudis i Documentació (MACBA Study Centre) and The Banff Centre Library (Banff, Canada) hold reference copies of all of our publications – including the 2006 publication 'Land, Art: A Cultural Ecology Handbook' (out of print); exhibition catalogues such as Amikejo (2011), 'Greenwashing. Environment: perils, promises and perplexities' (2008) and The Last Newspaper (2010), the monograph 'Lara Almarcegui, Projects 1995–2010’ (2010) publications accompanying projects such as Ignasi Aballí's Nothing or Something (2009), Simon Fujiwara's Museum of Incest (2009), Mataró Chauffeur Service (2010), Campus (2011) or Portscapes' (2010) limited edition which includes Jan Dibbets' DVD with his commissioned film '6 hours tide object with correction of perspective' (1969–2009); exhibition booklets of the exhibition 'Exposition International...' at Meessen de Clercq in Brussels, and that dedicated to Lawrence Weiner 2008 exhibition at Fundació Suñol.

MACBA's library also holds two further references: a recording of the conversation we organised as part of our #OpenCurating research with Dia Art Foundation Curator, Yasmil Raymond in 2013, later published as the #7 in the download-free edition; and Charley Independents, the issue that appeared coinciding with our participation in the second iteration of the festival 'No Soul for Sale' launched at TATE Modern in 2010. 

Below is a list of all our publications and links to the distributors from where you can purchase them:

'Amikejo' (Mousse Publishing, 2012)
+ info on the exhibition series.

'Lara Almarcegui, Projects 1995–2010' (Archive Books, 2011/12)
+ info on the publication
 
Roman Keller & Christina Hemauer, 'United Alternative Energies: Christina Hemauer & Roman Keller' (The Århus Art Building, 2011)
+ info on the exhibition

Martí Anson and Latitudes,'Mataró Chauffeur Service' (Save As...Publications, 2011)
Available via La Central (stores in Barcelona & Madrid)
+ photos 
+ info on the project

'The Last Newspaper' (Latitudes & The New Museum, 2010)
Available via Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid). Special edition (in the box) available via the New Museum store (New York)
+ photos
+ info on the exhibition

'Portscapes' (SKOR / The Port of Rotterdam, 2009)
Available via Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid)
+ photos 
+ info on the commissioning series

Simon Fujiwara, 'The Museum of Incest' (Archive Books, 2009)
Available via Archive Books (Berlin) and La Central (stores in Barcelona & Madrid)
+ photos
+ info on the exhibition


'Greenwashing. Environment: Perils, Promises and Perplexities' (The Bookmakers Ed. / Archive Books, 2008)
+ photos
+ info on the exhibition

Three of our earlier publications are out of print:
'Land, Art. A Cultural Ecology Handbook' (Arts Council England & Royal Society of Arts, 2006)
Out of print. Available for consultation at MACBA's library.
+ photos
+ info on the publication


UOVO #14 (The Bookmakers Ed., 2007)
Out of print. Available for consultation at MACBA's library.
+ photos
+ info on the publication

Ignasi Aballí, 'Nothing, or Something' (Today Art Museum, 2009)
+ photos
+ info on the exhibition

All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)

(Part 1) In pictures: Fifth March Meeting, 17–19 March 2012, Sharjah, United Arab Emirates

Sign marking directions to the March Meeting venues.

Latitudes participated in the March Meeting (17–19 March 2012), a three-day symposium organised by the Sharjah Art Foundation which featured presentations by around 80 artists, art professionals and institutions working on the production and presentation of art. The programme of this fifth edition focused on Working With Artists and Audiences on Commissions and Residencies and comprised a series of lectures, debates and breakout sessions that took place in Dar Al Nadwa and other locations around Sharjah's Heritage Area.

More images of the fifth March Meeting and other related events on our Flickr.

 Arrival day – Tour to the Barjeel Art Foundation (collection of Sultan Bin Sooud Al-Qassemi) and the Maraya Art Centre, Al Qasba.

The opening of the exhibition "Ziad Antar: Portrait of a Territory" by Lebanese artist Ziad Antar, Collections Building, Heritage Area, Sharjah. Curated by Christine Macel, Chief Curator, Musée National D’Art Moderne Centre Pompidou Paris.
 
 Day 1 – Registration desk at Dar Al Nadwa in Sharjah's Calligraphy Square, the venue where most of the talks took place.

As announced in a previous post, Latitudes presented on the first day two case studies of commissions and residencies as participants in the panel "Minding the Gap: the Critical Role of Smaller Organisations" alongside Hu Fang (Vitamin Creative Space, China), Daniella Rose King (MASS Alexandria, Egypt) and moderated by Samar Martha (ArtSchool Palestine, Palestine). 

 Panel "Minding the Gap: the Critical Role of Smaller Organisations". Photo: Alfredo Rubio/Sharjah Art Foundation 

Latitudes during their presentation. Photo: Alfredo Rubio/Sharjah Art Foundation.

Firstly, Latitudes introduced the commission in the context of 'Portscapes' that was developed from its invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA) to live and work for a month in Rotterdam's Maasvlakte, and secondly, presented a commission addressed to Latitudes in the context of 'The Last Newspaper' in which we worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition.

 Lunch breaks took place at the beautiful Bait Al Naboodah, a two-storey house from 1845.

Plaque marking the entrance to the Bait Obaid Bin Eissa Al Naboodah house.

 Guests were treated to wonderful Emirati food.

At the end of the first day, the film "1395 Days without Red" by Anri Sala was premiered at Sharjah's Institute of Theatrical Arts. Šejla Kameric's film was screened on the 18 March at the courtyard of Bait Al Shamsi, Arts Area, Sharjah. Commissioned by UK's Artangel.

 Second day – Panellists getting ready for the discussion on "The Importance of Site". With Yusaku Imamura (Tokyo Wonder Site, Japan), Adam Sutherland (Grizedale Arts, UK), Khalil Abdulwahid (Dubai Culture and Arts Authority, UAE), Lu Jie (Long March Space, China) and moderated by Anne Barlow (Art in General, USA).

Day 2 – Panel "Artist as nomad" with Basma Alsharif, Ziad Antar, Šejla Kamerić, Nikolaj Bendix Skyum Larsen and moderated by Sama Alshaibi (University of Arizona, USA).

Day 3 – Panel "The Biennial as Commissioning Agent" with Paul Domela (Liverpool Biennial, UK), Yuko Hasegawa (Museum of Contemporary Art Tokyo, Japan & curator of the forthcoming Sharjah Biennial 2013), Abdellah Karroum (independent art researcher, publisher and curator, Morocco), Riyas Komu (Kochi Biennale Foundation, India) and moderated by Marieke van Hal (Biennial Foundation, Greece).

Sheikha Hoor Al-Qasimi, President of the Sharjah Art Foundation, giving her closing remarks of the March Meeting 2012.

 Day 3 – Final drinks and snacks at Bait Al Naboodah before Tarek Atoui's performance at the Calligraphy Square. During the drinks, Sheikha Hoor Al-Qasimi announced the recipients of the 2012 Production Grants worth a total of 200,000 U$: Sean Gullette, Mario Rizzi and Lindsay Seers. The grants were judged by PS1 curator Peter Eleey, artist Isak Berbic, and Sharjah Art Foundation President Hoor Al Qasimi. More here.

Impressive setting for Tarek Atoui's performance "Revisiting Tarab" at the Calligraphy Square. Photo: Sharjah Art Foundation.

Tarek Atoui's (Lebanon 1980, lives in Paris) 5.5-hour-long incredible performance "Revisiting Tarab" involved the participation of 17 musicians and sound artists. Atoui writes: 

"Tarab" is used in Arab culture to describe the emotional effect of music, and refers to the older repertoire rooted in the pre-World War I musical practice of Egypt and the East Mediterranean Arab world. In the occasion of Performa 2011, Atoui invited musicians and sound artists to travel to Beirut to explore the world's most extensive collection of Classical Arab music owned by Lebanese collector Kamal Kassar, which comprises over 5,000 old 78rpm shellac discs and tapes dating from 1903 to 1950s. Participants selected excerpts from the collection and independently composed their own interpretations of both the content and its possibilities in relation to the history of "Tarab". 

(...) The structure and orchestration of the "Re-visiting Tarab" performance is inspired by the rules of the traditional wasla –literally meaning a connection or chaining together. In Egyptian music and Near East is a suite of several vocal and instrumental pieces composed and improvised anchored to the same maqam or harmonic mode– that compiles and shifts between musical forms such as the dulab – a short melodic and rhythmic introduction – the taqsim – an instrumental solo improvisation– and the muwashah – a song based on an Arab-Andalusian or Oriental poem. The performance was produced by Sharjah Art Foundation with the support of AMAR Foundation. More info: http://www.visitingtarab.com

20 March: Guests waiting to take the bus to Kalba opposite the Sharjah Art Museum.

On the last day a group of guests and journalists were taken 110km from Sharjah city to Kalba, the third most important city in the Emirate, on its east coast, whose road extends up to the border with Oman. Here the Sharjah Art Foundation is currently readapting a 200m2 concrete building by the creek to become the Kalba Art Centre, planned to open in a years time. (Ziad Antar’s ongoing exhibition "Portrait of a Territory" at Sharjah's Collection Building, includes photo documentation of this coastline taken between 2004 and 2011.)

 Judith Greer, Associate Director of International Programmes at the Sharjah Art Foundation,
holds a map of the area where Kalba's future art centre will be while Hisham Al Madhloum, director of the Sharjah Directorate of Art, points out the location and particularities of Kalba and its surroundings.
Bus nearby Kalba's creek, a mangrove swamp.

The future site of the Kalba Art Centre occupies a total area of 13,000 m2 and in the 1970s was originally intended to be used as a fish fertiliser factory but is now intermittently used as an ice factory and a boat repair shop. The former factory will have a space for exhibitions, a cafeteria, spaces for workshops and host artist residencies, and will be managed and programmed by the Sharjah Art Foundation.

  
 Façade of the future Kalba Art Centre. This triple height pitched space overlooks the protected mangroves and heritage area across the creek.

 Interior space of the future Kalba Art Centre.

Back in Sharjah, we did a final tour to see the show "What should I do to live in your life?" at Bait Al Serkal, opposite the Sharjah Art Museum, which presented film works by Lee Kit, Minouk Lim, João Vasco Paiva, Part-time Suite and Yuk King Tan.

Entrance to Bait Al Serkal exhibition space.


All photos: Latitudes | www.lttds.org (except where noted otherwise in the photo caption)

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

Latitudes participates in the fifth annual March Meeting organised by Sharjah Art Foundation, 17–19 March 2012, Dar Al Nadwa, Heritage Area, Sharjah


Latitudes' 3-month residency at the New Museum in 2010. Photo: Latitudes

 FGA month residency at the Maasvlakte in 2009. Photo: FGA

March Meeting, a three-day symposium featuring presentations by artists, art professionals and institutions on the production and dissemination of art. March Meeting 2012: Working With Artists and Audiences on Commissions and Residencies will take place March 17–19, in Sharjah's scenic Heritage Area.

Latitudes will present two case studies of commissions and residencies. Firstly, a Latitudes commission in the context of 'Portscapes' that was developed from their invitation to the Rotterdam-based artist and editorial duo Fucking Good Art (FGA). Based from a shipping container the extremity of Rotterdam port for a month, FGA initiated a temporary web radio and research station. And secondly, a commission addressed to Latitudes in the context of 'The Last Newspaper' in which the curatorial duo worked in the New Museum galleries for 3 months editing a weekly newspaper which became an incremental catalogue based on the micro-community of the exhibition. Both residencies explored editorial and curatorial approaches as well as formats of publishing or broadcasting and highlight how small organisation can operate flexibly and critically within a larger structure – whether a huge industrial infrastructure project or a museum exhibition.

Speakers of the three-day symposium include: Abed Al Ju'beh, Director, Khalil Sakakini Cultural Centre (KSCC) (Palestine); H.E. Abdul Rahman Al Owais, UAE Minister of Culture; Noura Al-Sayeh, Architect & Curator (Bahrain); Palmina D'Ascoli, Manager of Department of Residencies, Institut Français (France); Shezad Dawood, Artist; Peter Eleey, Curator, MoMA/PS1 (USA); Amal Khalaf, Edgware Road Project: Assistant Curator of Serpentine Gallery (UK); Yuko Hasegawa, Chief Curator, Museum of Contemporary Art, Tokyo (MOT) (Japan); Louise Hui-Juan Hsu, Curator, Museum of Contemporary Art Taipei (Taiwan); Danda J, Director, Kuona Trust Centre for Visual Arts (Kenya); Lu Jie, Founder & Director, Long March Space (China); Eungie Joo, Curator, New Museum (USA); Riyas Komu, Director of Programmes, Kochi-Muziris Biennale (India); James Lingwood, Co-Director, Artangel (UK); Salwa Mikdadi, Head of Arts & Cultural Program, Emirates Foundation (UAE); Ayeh Naraghi, Cultural Programmes Specialist, UNESCO Doha Office (Qatar); Susan Pfeffer, Curator, KW Institute for Contemporary Art (Berlin); Andrea Rose, Head of Visual Arts, British Council (UK); Beatrix Ruf, Director/Curator, Kunsthalle Zürich (Switzerland); Anri Sala, Artist; Ramin Salsali, Founder, Salsali Private Museum (UAE).

The March Meeting and related events are free and open to the public. Registration is recommended at [email protected] Read more here

March Meetings 2012
Dar Al Nadwa, Heritage Area
Sharjah
United Arab Emirates

Newsletter #37 - October/octubre 2011


Newsletter en Español | Newsletter in English

THIS MONTH...

Participation in the symposia 'Antimonuments: Critique of Public Space', Espai d'Art Contemporani de Castelló, Saturday 22 October 2011. Coordinated by Ángela Molina and with the participation of Iria Candela (Assistant Curator, Tate Modern, London), Patricia Esquivias (artist, Madrid), Latitudes (independent curators, Barcelona) and Racons Públics (curator/architect, Barcelona).


UNTIL 15 JANUARY 2012...
'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León,
24 September 2011–15 January 2012

Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their collaborative working process (in Spanish).

Follow #amikejo

FROM THE ARCHIVE...

Coinciding with the first anniversary of the beginning of 'The Last Newspaper' exhibition at the New Museum (6 October 2010–9 January 2011), readers are now be able to flick through the pages of the exhibition catalogue via Issuu: #0 Contents + Index; #1 The Last Post; #2 The Last Gazette; #3 The Last Register; #4 The Last Star-Ledger; #5 The Last Monitor; #6 The Last Observer; #7 The Last Evening Sun; #8 The Last Journal; #9 The Last Times; #10 The Last Express.

Read the first issue 'The Last Post':


...The rest (#2 to 10 plus #0 with Contents+Index) now available on Issuu!



Participación en el simposio 'Antimonumentos: Crítica en el Espacio Público', Espai d'Art Contemporani de Castelló, Sábado 22 Octubre 2011

Programa simposio

10.30 h: Ángela Molina Climent, Organizadora del simposio: 'ANTIMONUMENTOS: CRÍTICA EN EL ESPACIO PÚBLICO'

Más allá de su papel como sitey depósito de obras de arte, el museo como instrumento cultural –que se ha ido desarrollando paralelamente a la museización de la propia cultura– es una institución normalizadora y disciplinaria. Como repositorios de objetos del pasado, los museos dan sentido a la historia, pero también construyen activamente las relaciones entre la producción de la subjetividad y la producción de objetos materiales. Durante los últimos años, con la tendencia a fusionar los lugares de producción y exhibición (lugares discursivos), todo el aparato institucional que rodea a la obra participa en la creación de nuevos valores y significados estéticos. El activismo y el arte han transformado sus estrategias para producirgrupos de artivistas favorables a una concepción educativa y participativa de la institución. En este simposio, artistas, comisarios, historiadores y urbanistas hablarán de la necesidad de una crítica independiente desde el espacio público, con el fin de perturbar una cultura dominante que depende de un sistema de valores y líneas de autoridad aparentemente incólumes.

Ángela Molina Climent es Licenciada en Filología Española y doctora en Teoría de la Literatura y Literatura Comparada por la Universitat Autònoma de Barcelona (UAB), ejerció la crítica de arte en el suplemento de cultura del diario ABChasta 2000. Desde 2001 colabora en las secciones de arte y literatura de los suplementos culturales Babeliay Quadern (El País), y en publicaciones especializadas (LARS, Revista de Libros). Ha dirigido la revista de arte y pensamiento Art&Co, y es especialista en teoría feminista y estudios de género. Editora del libro Los Lugares de la Crítica(Ed. Universidad Pública de Navarra, 2011) y autora de La máquina de las solterasde próxima publicación (Ed. Periférica). 

11 h: Iria Candela: 'LATINOAMÉRICA: LA CALLE COMO EXPERIMENTO' 

El arte en Latinoamérica de las dos últimas dos décadas viene ensayando formas de intervención poético-políticas en la ciudad que difieren de las prácticas subversivas y anti-institucionales de las dos décadas anteriores, caracterizadas por el represivo contexto de las dictaduras. Estas nuevas formas se insertan en los diversos procesos de democratización y desdemocratización que experimenta el continente, cuestionando ciertos modelos culturales de la globalización y apuntando nuevos desafíos en el interfaz entre estética y política. Se discutirán algunos ejemplos destacados, como las intervenciones recientes de Héctor Zamora en Bogotá o Regina José Galindo en Guatemala.  

Iria Candela es curadora adjunta en la Tate Modern de Londres desde 2009, donde ha trabajado en exposiciones de artistas como Theo van Doesburg, Gabriel Orozco, Alejandro Cesarco y, actualmente, Tacita Dean y Roy Lichtenstein, entre otros. Es doctora en Historia del Arte por la Universidad Autónoma de Madrid y máster en Arte Moderno por Columbia University de Nueva York.Autora de los libros Sombras de Ciudad. Arte y transformación urbana en Nueva York 1970-1990 (Alianza, 2007) y Joan Miró(Tate, 2011), ha realizado la edición crítica del catálogo Francesc Torres. Da Capo(Macba, 2009). Ha escrito sobre arte para publicaciones como The Burlington Magazine, Lápiz,Tate EtcyEl País, y ha impartido ponencias en las universidades de Harvard, Oxford y Sorbonne. Miembro del Comité de Adquisiciones Latinoamericanas de la colección de la Tate, actualmente ultima la publicación de un libro sobre arte contemporáneo en América Latina.

12.30 h: Patricia Esquivias: 'LIEBE FRAU'  
Patricia Esquivias observa Castellón a la distancia y reflexionará en torno a su identidad geográfica. Compuesto de pequeños monólogos dirigidos a una señora alemana, que ocupa en la obra el papel de censora, Liebe Frauexpone los problemas que supone hablar de realidades estrambóticas. Al igual que en otros trabajos de la serie Folklore(videos seudoeducativos sobre España), la artista elaborará exquisitas asociaciones entrelazando referencias personales, cotidianas e históricas. En Liebe Frau, Esquivias llevará un paso más allá la naturaleza subjetiva de su trabajo, y pondrá en evidencia la limitación del lenguaje para explicar ciertas idiosincracias.

Patricia Esquivias nació en Caracas y creció en Madrid. Estudió arte en Londres y San Francisco.  En Madrid trabajó junto con Manuela Moscoso en la programación de los29enchufes.  Desde el 2005 trabaja en video y ha expuesto sus trabajos entre otros en Madrid (Museo Nacional Reina Sofía, Galería Maisterravalbuena, Centro de Arte Dos de Mayo), Alemania (Frankfurter Kunstverein, 5th Berlin Biennale), Nueva York (White Columns, Murray Guy, New Museum), Italia (Arcos Museum, Artissima) y en Inglaterra (East International, Royal College of Art). Actualmente disfruta de una beca en la Akademie Schloss Solitude en Stuttgart.

[Pausa almuerzo]

16h: Latitudes (Max Andrews and Mariana Cánepa Luna): 'PORTSCAPES: ITINERARIOS Y DESTINACIONES EN EL PUERTO DE RÓTERDAM' 
'Making of' de Jan Dibbets '6 hours tide object with correction of perspective' (2009).

Con la participación de diez artistas de diversos países (Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Roman Keller and Christina Hemauer, Paulien Oltheten, Jorge Satorre y Hans Schabus (web: Maria Barnas (poesía) y Markus Miessen (entrevistas)), el proyecto Portscapesexaminó las implicaciones físicas y conceptuales de los nuevos horizontes del Maasvlakte 2, la extensión de la zona portuaria e industrial de Róterdam, la más extensa de Europa, que entre el 2008 y 2013 robará 2.000 hectáreas de terreno al mar. Portscapes giró entorno al leitmotifitinerarios y destinaciones, creando proyectos de escala y temporalidad variable (performances, excursiones, esculturas efímeras y proyecciones), con la intención de desarrollarse como una guía de la zona portuaria que se extiende a lo largo 40 kilómetros. En el simposio se analizarán cuatro proyectos de Portscapes, los realizados por Jan Dibbets, Jorge Satorre, Lara Almarcegui y Cyprien Gaillard (no realizado), y se pondrá en cuestión la noción de anti-monumento y específicamente las negociaciones y retos que se plantearon a nivel artístico y curatorial. 

Latitudeses una oficina curatorial independiente dirigida por Max Andrews y Mariana Cánepa Luna, fundada en el 2005 y con sede en Barcelona. En el 2009 comisariaron Portscapes, una serie de diez proyectos públicos en el Puerto de Róterdam producidos en el contexto de la expansión del puerto, la zona portuaria e industrial más extensa de Europa. Latitudes ha participado en el festival de organizaciones independientes NO SOUL FOR SALE(X Initiative, Nueva York, 2009 y Tate Modern, Londres, 2010); fue organización asociada en la exposición The Last Newspaper, New Museum, Nueva York (2010–11) para la que publicó un periódico semanal durante la exposición. Durante la temporada 2011 ha comisariado el ciclo Amikejoen el Laboratorio 987, MUSAC, León.

17.15h: Racons Públics (Sara Dauge y Alejandro Giménez): "ARTE Y MICROCIRUGÍA URBANA"
La constante transformación de nuestras ciudades deja atrás espacios residuales, huecos y rincones. En el paisaje urbano actual, esos rincones ponen de manifiesto la falta de atención al detalle en el acelerado proceso de desarrollo que transforma nuestras ciudades. Son problemas de pequeña escala que quedan enquistados en los intersticios de la gran metrópoli: roces entre tejidos, en los perímetros y en el contacto con las infraestructuras, las dificultades de adaptación al relieve, las discontinuidades en las tramas, la desertización de la ciudad abierta, los monocultivos funcionales, las medianeras desnudas como evidencia de los conflictos internos de los crecimientos compactos, los cambios normativos, las imprecisiones del planeamiento, la desafección del promotor privado y la falta de recursos materiales o técnicos. El concurso de participación ciudadana en el diseño de la ciudad Racons Públicses una iniciativa que plantea la recuperación y dinamización de lugares degradados, olvidados o desaprovechados, para su uso público. Sus objetivos son abrir la disciplina urbanística a otras áreas del conocimiento, de las ciencias y de las artes al tiempo que se recuperan ocho enclaves significativos de la ciudad de Castellón.

Sara Dauge es historiadora urbana. Estudió en la Universidad de París Panthéon Sorbonne. En su doctorado investigó las formas de sociabilidad en Barcelona desde 1833 hasta 1844. Se dedicó a la investigación histórica y urbana dentro del despacho de arquitectura, urbanismo y paisaje de Beth Gali, Barcelona. Fue comisaria de la exposición Urbanismo y ocio en la Barcelona de 1850, casa Elizalde, Barcelona 1999. Desde 1998 en colaboración con Alejandro Giménez se dedica al comisariado y coordinación del concursode participación ciudadana Racons Públics, organizado en Barcelona en 2004 y 2010 porel FAD (Foment de les arts i del disseny) y con el apoyo del Ayuntamiento de Barcelona. Desde 2006 es secretaria ponente de la comisión de esculturas del Ayuntamiento de Barcelona, encargada de establecer un diálogo entre el arte contemporáneo y el espacio público.
Alejandro Giménez es arquitecto por la Escuela Técnica Superior de Arquitectura de Barcelona, donde es profesor en el Departamento de Urbanística y Ordenación del Territorio desde 1998. Es profesor en la Universidad de Salamanca, máster de Diseño de Interiores, desde 2004y profesor en la Universidad Pompeu Fabra, máster de Nuevos Formatos Expositivos. Ha colaborado con arquitectos de Barcelona: Beth Galí, Enric Miralles, Oriol Bohigas, y otros. Desde 1998 forma estudio propio, con proyectos de espacio público para el centro de Dublín, edificación y rehabilitación en Barcelona y otras poblaciones catalanas. Es comisario y coordinador del concurso Racons Públicsde participación ciudadana en el diseño urbano. 

18.30h: MESA REDONDACON LA PARTICIPACIÓN DE TODOS LOS PONENTES
    INSCRIPCIÓN AL SIMPOSIO
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    Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme

     
    Land Art Contemporary year-long initiative showcases works of art located in the countryside of Drenthe, a province in the northeastern Netherlands, which will be complemented with an international events programme dealing with the contemporary aspects of Land art. Starting on 17 September 2011, the programme is linked to the 40th anniversary of the creation of Robert Smithson's film Broken Circle/Spiral Hill in Emmen for the exhibition Sonsbeek 1971.  

    Coinciding with the anniversary, Land Art Contemporary kicks off with the exhibition 'Robert Smithson – Broken Circle/Spiral Hill Revisited', at the Centre for Visual Arts (CBK) in Emmen. The exhibition's star piece will be the recently completed film 'Breaking Ground: Broken Circle/Spiral Hill' (1971–2011), uncompleted due to Smithson's untimely death in 1973, which is now finally produced, following his instructions for direction and editing, by his widow Nancy Holt in collaboration with SKOR. The film will also be screened once on 22 September at the Stedelijk Museum Amsterdam. Holt will introduce the video.

    Parallel to this major exhibition, SKOR is also organising The Ultraperiferic (17 September – 27 November 2011), an exhibition that will feature the work of Lara Almarcegui (ES/NL), Jorge Satorre (MX/NL) and Cyprien Gaillard (FR/DE), three artists with whom Latitudes has worked in the recent past and whose work will also be featured in Max Andrews' essay "'A Dark Spot of Exasperation: From Smithson to the Spime'" in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (ISBN 9789081531481) to be published by Alauda Publications in early 2012. The essay and The Ultraperiferic both feature Jorge Satorre's 'The erratic. Measuring compensation' (2009) which was produced in the context of 'Portscapes' and recently featured in his exhibition at Labor, Mexico City.


    The project will continue in 2012–13, with a series of 'assignments' to contemporary artists "a number of artists will be set the assignment of creating a work in the spirit of Smithson, whereby the landscape is viewed as a continual process that is constantly in a state of transformation due to the interaction between man and nature", to be curated by SKOR's curators Nils van Beek and Theo Tegelaers. + info...


    Land Art Contemporary is an initiative of STICHTING LACDA, Drenthe, a foundation established in 2011 by the Sanders-Ten Holte family. The program has been made possible thanks to (content and financial) support from SKOR | Foundation for Art and Public Domain, Province of Drenthe, European Agricultural Fund for Rural Development: Europe Investing in Rural Areas (LEADER), Municipality of Coevorden, Municipality of Emmen, Cultuurfonds BNG and the Sanders-Ten Holte family.

    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