The March 2017 Monthly Cover Story "Time travel with Jordan Wolfson" is now up on www.lttds.org– afterMarch it will be archived here.
"The film that lends its image to this month’s cover story – Jordan Wolfson’s Landscape for Fire, 2007 – was featured in the Latitudes-curated film programmeA Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008, which premiered in April 2008 at the Museo Tamayo, Mexico City, before touring several venues in Spain, Switzerland, the Netherlands and the U.K.
Landscape for Fire responded to a 1972 film of the same name by Anthony McCall in which the British artist, best known for his “solid light” works,
attempted to integrate performance, installation, sculpture and images
in movement. Thirty-five years on, Jordan had re-staged this work of the
past as though it were a ritual, the repetition of which invoked the
almost mystical aura that often surrounds the art of the late 1960s and
early 1970s."Continue readingby clicking the grey bar underneath the image
"While it has been widely exhibited in her native Portugal, Ana Jotta’s work hasn’t been presented in depth to the Barcelona public since the early 1990s.(1) So this mini-survey of her production from 1980 to the present, framed as part of the Barcelona Gallery Weekend, is overdue. “Abans que me n’oblidi (Before I forget)” begins (or ends) at the intermediary patio space that one crosses before entering the main exhibition space at ProjecteSD. Part of a curved wall is covered with irregular patches of light gray and pale pink paint, as if emulating swatch tests for a redecoration. This playful gesture sets the tone for the exhibition inside, a somber and subtle palette of delicate intonations and provisional arrangements."
Talk between Dora García and Isidoro Valcárcel Medina. Photos: Latitudes
Last night, a fascinating conversation between Dora García and Isidoro Valcárcel Medina took place at ProjecteSD, Barcelona, coinciding with the opening of the exhibition Forever, which featured works by both artists as well as Joe Scanlan. García led the dialogue which began around the concept of the over-excluded or the super-excluded artists in relation to Pierre Bal-Blanc's 2009 Secession exhibition and essay 'The Death of the Audience'(interview with the author here). Besides talking about this long-term interest of García around 'the marginal', the artists also discussed the role and sense of mission attributed to artists, censorship (and self-censorship), what it means to work ethically (or the ethics of work), the definition of quality and regret.
One of the highlights was this short exchange:
– Dora García: Do you identify with the idea of an artist without work? – Isidoro Varcárcel Medina: Is that possible? – DG: Well, there's a few examples in history... – IVM: With or without a catalogue...?
Dora García (Valladolid, Spain, 1965) studied Fine Arts at the Universidad de Salamanca and was resident at the Rijksakademie in Amsterdam (1989–1991). Recent projects and exhibitions include Kunsthalle Bern (2010), Index (Stockholm 2010) and Schirn Kunsthalle (Frankfurt, 2009). She participated amongst others at the Lyon Biennial 2009, the Sydney Biennial 2008, and Skulptur Projekte Münster in 2007. Dora García will represent Spain at the upcoming Venice Biennial (2011) with her new project The Inadequate.
Isidoro Valcárcel Medina (Murcia, Spain, 1937) moved to Madrid at the age of nineteen to study Architecture and Fine Arts. From 1972 on, after taking part in the Encuentros de Pamplona on conceptual art, his work involved actions and works for public spaces. He is one of the leading Spanish Conceptualists, not only historically, but also as an artistic referent for a new generation of creators. Valcárcel Medina had a retrospective exhibition at the Tàpies Foundation in 2002, exhibitions at MACBA in 2006, and at Museo Nacional Centro de Arte Reina Sofía in 2009. In 2007 he received the Premio Nacional de Artes Plásticas and recently (2011) he was awarded in the first edition of the Premios Arte y Mecenazgo. ProjecteSD Passatge Mercader 8, Baixos 1 08008 Barcelona T | F: + 34 93 488 1360 [email protected] www.projectesd.com Tuesday to Saturday 11–19h
Following their 2007 exhibition 'Mal de América' at ProjecteSD in Barcelona, Raimond Chaves(Bogotá, 1963) & Gilda Mantilla (Los Angeles, 1967) opened the exhibition 'Observaciones sobre la ciudad de polvo' (Observations around the city of dust) on Friday 5 June, which remains open until August 2010.
The works present a reading of the Peruvian capital Lima, the city where the artists currently live, and inspired by its peculiar climate: "a city with an opaque atmosphere, cloudy and little renewed, due mostly to the city location. Encircled by the Northern mountain range, the city holds the vapours coming from both the coast and the perspiration of the fertile vegetation that surrounds it, and given the weakness of southern winds, the fog cannot overcome the moutain tops" (quote by Hipólito Unanue included in the press release).
'Observaciones sobre la ciudad de polvo' presents a range of delicate two and three dimensional works made out of recycled cardboard (the tones ranging from grey to brick to beige in reference to Lima's climate) as well as wood and acrylic.A related series is concurrently shown atGaleria Revólver in Lima (until 19 June). The project was awarded with a Fundación Marcelino Botín grant (2008–9).
Chaves & Mantilla have collaborated since 2001, and have published books including Hangueando Periódico de Cordel – Descarga Cultural en Puerto Rico (2004) and Dibujando América (2009) amongst others. They recently participated in the 27ª Bienal de Sao Paulo (2006) and the II trienal Poli/Gráfica de San Juan, Latinoamérica and the Caribean (2009).
Los premiados (izq. a dcha): Max Andrews y Mariana Cánepa Luna (Latitudes), David G. Torres y Montse Badia (A-Desk), Anna Mª Guasch (recoge premio en nombre de José Luis Brea), Sílvia Dauder (ProjecteSD), Helga de Alvear y Joan de Muga (Galeria Joan Prats). Foto de Oriol Duran publicada en el periodico 'El Punt' (26 Febrero 2010).
Los Premios GAC 2010, III Noche del galerismo fueron entregados ayer noche. Los premios, otorgados por el Gremio de Galerías de Catalunya, tienen como objetivo dar difusión a las galerías como elemento fundamental del mercado artístico y de la promoción de artistas. + info
El premio consiste en la entrega de un galardón-escultura basada en la reinterpretación de un dibujo del artista Joaquín Torres García, cedido por el museo dedicado al artista con sede en Montevideo, Uruguay.
Premio basado en un dibujo de Joaquín Torres García
El jurado ha galardonado Latitudes por su labor "curatorial y especialmente por su implicación en el contexto local y su esfuerzo en difundir el arte nacional en el contexto internacional. No resulta nada fácil establecer una colaboración ni establecer las bases de una plataforma que tenga como fin producir proyectos y crear comunidad artística. Atentos a lo nuevo, pero con una visión crítica sobre la herencia histórica, Latitudes ha sabido hacerse un hueco y compartir este mismo espacio para hacer de Barcelona un lugar más abierto".
Jurado de la edición 2010:
Sergi Aguilar, director, Fundación Suñol; Mery Cuesta, crítica de arte; Ignacio de Lassaletta, galerista; Àngels de la Mota, galerista; Bartomeu Marí, director, MACBA; José Martínez Calvo, galerista; Enrique Ordóñez, coleccionista; Rocío San Claudio, galerista; Ernesto Ventós, coleccionista; José Francisco Yvars, crítico de arte.
El comité organizador está formado por representantes de las cuatro asociaciones de galeristas (Asociación de Galeristas de Arte Independientes de Cataluña, Asociación Art Catalunya, Asociación Art Barcelona, Gremio de Galerías de Arte de Cataluña).
This past Wednesday 17 December saw the opening of three compelling exhibitions in Barcelona. Erick Beltrán's "Calculum Series" was a precise suite of objects and texts (including Rasputin's finger nails and a bone die) which circulated around a consideration of value. The show continues at Galería Joan Prats until late January 2009. Nati Bermejo presented an exquisite set of large scale black-and-white drawings at Estrany de la Mota ("Look Left / Look Right" continues until February 12th 2009). Meanwhile at ProjecteSD, Peter Piller showed "Swiss Landscapes" – photographs gleaned from over 500,000 images taken for insurance claims purposes from the digital archives of the Swiss insurers Bâloise.
X, Y, etc.! is an array of videos motivated by the methodological project of Charles Fort a quack to some, a visionary to others, Fort was a relentless researcher of ‘paranormal’ phenomena avant la lettre, yet he made no attempt to present a coherent theory, or to endorse what he compiled. Instead, his accounts of uncanny artifacts, unexplained disappearances, objects falling from the sky, etc., comprise a satire of acceptable theories and beliefs. X, Y, etc.! is titled after two of Fort’s early manuscripts – X and Y – which were burned by the author yet became the basis for his iconoclastic The Book of the Damned (1919). Fort’s masterful collections of oddities can seem random and jumbled, yet they are also a carefully clustered continuum of humor, data, wonder, and ridicule. Hence in X, Y, etc.!, everything can be considered plausible – the banal with the unique, artistic with non-artistic, fact with fake, sincere with insincere, correct with incorrect, etc. In this contrary borderland of knowns and unknowns, cynicism and speculation, science and fiction, each film is anomalous and the whole is underdetermined. Art and reality are far more mysterious, complex and nuanced than we realise. “It does not matter where we begin”, Fort wrote, “whether with stars, or laws of supply and demand, or frogs, or Napoleon Bonaparte. One measures a circle beginning anywhere.”
* Mark Titchner, Ivy Meets Mike, 2007, Peres Projects, Berlin & Los Angeles * Hans Op de Beeck,The Building, 2007, Galleria Continua, San Gimignano / Beijing / Boissy-le-Châtel * Christelle Lheureux, Non ricordo il titolo, 2008, Artericambi, Verona * Elizabeth McAlpine,The Film Footage Missed by the Veiwer Through Blinking While Watching the Feature Film ‘Don’t Look Now’, 2003, Laura Barlett Gallery, London * Elizabeth McAlpine, Light Reading (1500 Cinematic Explosion), 2005, Laura Barlett Gallery, London * Michael Fliri, Early Morning With Time to Waste, 2007, Galleria Raffaella Cortese, Milano * Emilie Pitoiset, Othello, 2006, Galerie Lucile Corty, Paris * Gianni Motti, The Messenger, Raël and Brigitte Boisselier, 2003, Cosmic Galerie, Paris * Sven Johne, Elmenhorst, 2006, Klemm’s, Berlin * Swetlana Heger, Untitled (The Cohen Residence / Paradise Valley), 2006, Galerie Frank Elbaz, Paris * Morag Keil, Fainting for YT, 2008, Grimm Fine Art, Amsterdam * Danai Anesiadou & Sophie Nys, X, A & M, 2008, Elisa Platteau Galerie, Brussels * Christian Jankowski, Hollywood Schnee, 2004, Cosmic Galerie, Paris * G.R.A.M., Zephyr, 2007-8, Christine König Galerie, Vienna * Anja Kirschner & David Panos,Trail of the Spider, 2008, Hollybush Gardens, London
* Carles Congost, La Mala Pintura, 2008, Artericambi, Verona * Andrea Büttner, Little Works, 2007-8, Hollybush Gardens, London * Pia Maria Martin, Go, 2008, Galerie Reinhard Hauff, Stuttgart * Jordan Wolfson, Favourite Things, 2008, T293, Naples * Judith Hopf & Deborah Schamoni, Hospital Bone Dance, 2005, Croy Nielsen, Berlin * Shana Moulton, Whispering Pines #4, 2007, Pianissimo, Milano * Gianni Motti, Shock and Awe, 2003, Cosmic Galerie, Paris * Sergio Vega, The Ants, 2006, Umberto Di Marino Arte Contemporanea, Napoli * Julika Rudelius, Adrift, 2007, Galerie Reinhard Hauff, Stuttgart * Delphine Reist, Averse, 2007, Triple V, Dijon * Gareth James & Cesare Pietroiusti, Untitled, 2006, Franco Soffiantino ArteContemporanea, Torino * Haris Epaminonda,Tarahi I, 2006, Rodeo, Istanbul * Haris Epaminonda,Tarahi III, 2006, Rodeo, Istanbul * Aurelien Froment, Théâtre de Poche, 2007, Motive Gallery, Amsterdam * Shimabuku, Fish & Chips, 2006, NoguerasBlanchard, Barcelona
* Hans Schabus, Loch, 1999-2000, Zero..., Milano * Harry Dodge & Stanya Kahn, All Together Now, 2008, Elizabeth Dee, New York * Donna Conlon, Low Tide, 2004, Galleria Giorgio Persano, Torino * Donna Conlon, Summer Breeze, 2007, Galleria Giorgio Persano, Torino * Alice Cattaneo, Untitled 1, Untitled 2, 2007, Galleria Suzy Shammah, Milano * Patrick Tuttofuoco, La Noce d’Oro, 2005, Studio Guenzani, Milano * Guillaume Leblon, Notes, 2007, ProjecteSD, Barcelona * Clemens von Wedemeyer & Maya Schweizer, Rien du Tout, 2007, Galerie Jocelyn Wolff, Paris * Alterazioni Video, Black Hole ... Our Understanding of the Universe is About to Change, 2008,V.M. 21 arte contemporanea, Roma * Cezary Bodzianowski, Cacadu, 2006, Zero..., Milano * Matthew Darbyshire & Sam Gunn, Le Chant du Rossignol, 2008, Herald St, London
_TOTAL SCREENING TIME_ 6 hours 20 min The films will be shown continuously each day in a specially-constructed screening environment, and will also be available on three video-on-demand consoles.
For further information on Artissima 15 programme, dowload the newsletter 'Radio Sick 2008 #3' here
Lingotto Fiere via Nizza 280 10126 Torino, ITALIA T +39 011 197 441 06 F +39 011 197 461 06 [email protected] www.artissima.it 7-8-9 November 2008. Open to the public 11.00 am - 8.00 pm Image credits: (TOP) Leaflets of the programme. Photo: Latitudes. BELOW: Aurélien Froment, production still of 'Théâtre de Poche', 2007 (12 min). Photo: Aurélien Mole. Courtesy: the artist and Motive Gallery, Amsterdam.
RevolverArchiv für aktuelle Kunst founder and general wise man Christoph Keller (on left in photo 2) gave a sparkling presentation yesterday at ProjecteSD about books, publishing, raising rare breeds, bespoke fruit schnapps and his new Christoph Keller Editions books with young artists published withJRP | Ringier. Inspirational stuff.
"ProjecteSD is pleased to present its second exhibition of artist's books. For this occasion two young independent editors have been invited: Christoph Keller and ROMA Publications. Working in different environments but with similar attitudes and interests, Roma and Keller have pursued outstanding careers and created for themselves a solid space in the publishing field of contemporary art.
Peter Piller's show Arrows at ProjecteSD, Barcelona, has been extended until 5 January."The installation brings together 37 pictures of different formats, colour and black & white, all showing “arrows”. Arrows are symbols commonly seen on local German newspapers used by editors to underline supposedly interesting features on the image illustrating the news."
Following an excerpt on Peter Piller's work published on the Cal Cego collection web, written by Mariana Cánepa Luna from Latitudes: "Peter Piller was born in Fritzlar, former West Germany in 1968, and currently lives between Hamburg and Leipzig, where he has been a professor at Hochschule für Grafik und Buchkunst since 2006. Piller began to work for the media agency Carat in 1997, and for years held the post dealing with evaluating and archiving regional newspapers and editing their advertisements. It was monotonous work, but there is no doubt that it helped him develop a keen and patient ability to appreciate details that are normally overlooked. In 1998 he defined his artistic method and began to collect, systemise and inventory images, a process that he defines as “an exercise in productive misunderstanding”.  " – Read more here.  Artist quoted in ‘Classified Information’, Dominic Eichler. Frieze, November-December issue, 2006, p. 139 [Image: From 'Pfeile 2/Arrows 2'. Archiv Peter Piller 2000/2006. Pigment Print, 72 x 51 cm. Ed. 6. Courtesy the artists and ProjecteSD, Barcelona.]