Longitudes

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

Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’


June 2021 cover story on www.lttds.org

The June 2021 monthly Cover Story ‘Fitness food: Salim Bayri’s Amsterdam’ is now up on our homepage: www.lttds.org

“For me, sport brings aspects that I miss in art: direct group interaction and a clear reward and penalty system”, writes artist Salim Bayri in his Itinerary for the latest edition of Incidents (of Travel), in which he devised an alternative day-long tour of Amsterdam for curator Àngels Miralda.

 Continue reading

→ After June 2021 this story will be archived here.

→ Follow: #IncidentsofTravel 

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story–May 2021: RAF goes viral, 2 May 2021
  • Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
  • Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021 
  • Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
  • Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
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Episode #15 of ‘Incidents (of Travel)’ – Dispatch from Amsterdam by Àngels Miralda and Salim Bayri


A new episode of ‘Incidents (of Travel)’ from Amsterdam, is now live! This is the latest dispatch of the series produced by KADIST and edited by Latitudes since 2016, exploring the chartered itinerary as a format of an artistic encounter between curator/s and artist/s. 

In the 15th dispatch curator Àngels Miralda (current participant of de Appel's Curatorial Programme 2020-21) and artist Salim Bayri (current resident at Rijksakademie van beeldende kunsten 2019–21) follow a tour created during the winter 2021 Covid-19 restrictions in the Netherlands. 

When planning the itinerary for Incidents (of Travel)s 15th dispatch, Salim had to imagine what sites they would be able to visit bearing in mind the Dutch health protocols. With gyms and all cultural venues closed, meetings outside of a household limited to one other person, and a 9pm curfew in place, public parks and other outdoor spaces have become typical for getting together. Their day together features public sport locations as social meeting spaces, as well as urban architecture, a visit to a supermarket chain, and a food takeaway. 

Incidents (of Travel) is presented in one continuous immersive read interwoven with images and short videos in a mobile-friendly format. 

📲 TAP, SCROLL and SWIPE! 
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Desktop view of → http://incidents.kadist.org


Incidents (of Travel) was conceived in 2012 when Latitudes commissioned 5 day-long artist-led tours around Mexico City in the framework of their short residency at Casa del Lago. The project had sequels in 2013 in Hong Kong with live dispatches published through social media, including soundscapes, and in 2015 in San Francisco with daily posts as part of Kadist's Instagram take over initiative “Artist Not In The Studio Curator Not At The Office”.

A year later, KADIST and Latitudes partnered in a new ‘distributed’ phase of Incidents (of Travel) extending the invitation to curators and artists working around the world and publishing their dispatches as part of KADIST's Online Projects.

Since 2016, fifteen extended conversations have taken place in Amsterdam (the Netherlands), Singapore (Singapore), Cabo Rojo (Puerto Rico), Tbilisi (Georgia), Panama City (Panama), Rio de Janeiro (Brazil), Reykjavík (Iceland), Buenos Aires (Argentina), Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 


The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.


The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.


The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by “men and women who work(ed) multiple jobs as fishermen, housebuilders, boat builders, farmers, coconut pickers, food producers, and everything else that matters.”


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.


The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home-sharing their mutual love for quinces.


In the eighth 'Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.


In the ninth dispatch, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík's surroundings considering Þorgerður's “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites collecting moments and considering the ways in which geologic time surfaces in the context of human time.”



The tenth dispatch begins with an itinerary proposed by Barcelona-born, Rio de Janeiro-based artist Daniel Steegmann Mangrané and is followed by images and videos recording a day roaming Rio's natural and artistic landscapes with Bogotá-born, Mexico City-based curator Catalina Lozano, who narrates their day spent together. 


In the 11th episode, Swiss curator Sandino Scheidegger (Random Institute) visits Panama City in preparation for a solo exhibition by Donna Conlon and Jonathan Harker at Casa Santa Ana in 2021. Conlon and Harker collaboration since 2006 (while also pursuing their own individual art practices) has resulted in seventeen video works to date. The places Sandino, Donna and Jonathan visited together pointed to the origin of some of their video works, the ideas behind them, or simply served as stages in their pieces, turning into “an exercise in sneaking through fences to reach former recycling plants, imagining how things looked before the skyscrapers took over, and navigating the complex social fabric of Panama City — all while getting a taste of local food between every stop.” 


The 12th episode from Tbilisi, Georgia, set a different tone in the online series as it was programmed to take place in late May 2020, during the Covid-19 pandemic. The itinerary set by Tbilisi-based artist Nino Kvrivishvili to lead Melbourne-based Associate Professor Tara McDowell became a WhatsApp video tour/conversation around Nino's artistic practice and the Georgian silk industry — a production that began in Tbilisi in the 5th century and continued until the collapse of the Soviet Union in the 1990s. 

 

Incidents (of Travel) from Cabo Rojo

In the 13th dispatch, and on week 23 of lockdown, Sofía Gallisá and Marina Reyes begin their day together driving to the Cabo Rojo Salt Flats where Sofía researched her 2018 film ‘Assimilate & Destroy I’. They later end up in Poblado de Boquerón, the queer capital of Puerto Rico's south where a large public beach and a usually busy street still show traces of 2017’s devastating Hurricane Maria.


Incidents (of Travel) from Singapore.

In the 14th dispatch, Singapore-based curator Kathleen Ditzig joins artists Fyerool Darma and Nurul Huda Rashid nearby ‘Safe Entry‘ (2020), a mural presented at the Singapore Art Museum (SAM) by the artist Heman Chong that repeats a single, enlarged QR code, “the new digital skin of the city”, as Nurul points out. From there, they head towards the boardwalk connecting Harbourfront with Sentosa Island, the pleasure island home to many tourist attractions. Fyerool and Nurul weave in stories of past pirates and deities against the backdrop of the glass-green waters that stage the “blue aesthetics against the imported sands [from Indonesia] of reclaimed lands.”


→ RELATED CONTENT:

Episode #14 of ‘Incidents (of Travel)’ – Dispatch by Kathleen Ditzig and artists Fyerool Darma and Nurul Huda Rashid from Singapore, 21 December 2020

Episode #13 of ‘Incidents (of Travel)’ – Dispatch by Marina Reyes and Sofía Gallisá from Cabo Rojo, Puerto Rico, 27 Sep 2020

Episode #12 of ‘Incidents (of Travel)’ – Dispatch by Nino Kvrivishvili and Tara McDowell from Tbilisi, 25 Jun 2020 
https://www.lttds.org/longitudes/index.php?id=7159211982397983135/episode-12-of-incidents-of-travel

Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City, 9 April 2020
https://www.lttds.org/longitudes/index.php?id=4425215029591365006/11-episode-of-incidents-of-travel

Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro, 
29 January 2020
https://www.lttds.org/longitudes/index.php?id=144735152408473327/tenth-episode-of-incidents-of-travel

The ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir, 8 February 2019
https://www.lttds.org/longitudes/index.php?id=6371927610418460689

The eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi, 6 September 2019
https://www.lttds.org/longitudes/index.php?id=8721104601538735691

Seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania, 28 June 2018
https://www.lttds.org/longitudes/index.php?id=1055853895543348027

The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia, 1 March 2018
http://www.lttds.org/blog/blog.php?id=5887133486742947361

The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia, 26 April 2017 
http://www.lttds.org/blog/blog.php?id=4083951540089486920

The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal, 2 March 2017 
http://www.lttds.org/blog/blog.php?id=4185860148466062617

The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China, 6 September 2016 
http://www.lttds.org/blog/blog.php?id=1437935620149738144

Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda, 30 June 2016 
https://www.lttds.org/longitudes/index.php?id=2504250800654900933

Kadist and Latitudes present 'Incidents (Of Travel)' online, 31 May 2016
http://www.lttds.org/blog/blog.php?id=1076947282278624159


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Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com

https://www.art-agenda.com/features/306593/amsterdam-roundup
“Many cities have adopted the gallery weekend format, and while there is a risk that this proliferation can lead to homogeneity, the particular strength and energy of Amsterdam Art Weekend lies in its steadfast commitment to art and artists, and to not limiting its remit to the commercial sector. Now in its eighth edition, the event grew out of the Rijksakademie Open, the yearly open studio presentations by the forty-plus artists in the institution’s two-year postgraduate residency program.”

Continue reading. 

Originally published in art-agenda on December 13, 2019.

Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port. 

 (Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
  (Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
 Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
 Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
 Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York. 
  (Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.

(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
 Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.

 Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
  Studio by Christopher Manon during the RijksakademieOPEN 2019.
  Studio by Jude Crilli during the RijksakademieOPEN 2019.
 Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
 Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019. 

Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Dan Zhu during the RijksakademieOPEN 2019.

Studio by Lotte van Geijn during the RijksakademieOPEN 2019.

Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
Studio by Arturo Kameya during the RijksakademieOPEN 2019.
  (Above and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a los árboles, se les reconoce por sus frutos’ [Revolutions, like trees, are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
Rozenstraat – a rose is a rose is a rose presented the multichannel video-installation “Beyond Index” (2017) by Dutch artist Gerald van der Kaap.

LA-artist Matthew Monahan at Fons Welters, Amsterdam.

Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).


(Above) Alejandro Cesarco and Cecilia Vicuña (below)


(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.


(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.


Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.

Tahmina Negmat at Althuis Hofland.
Charbel-joseph H Boutros and Stéphanie Saadé at rongwrong.


Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).

And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.

→ RELATED CONTENT:

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Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018

A snowy Belvederegarten. All photos (unless stated otherwise): Latitudes.

As part of this year’s VIENNA ART WEEK, Latitudes was invited to get to know Vienna's art scene over the course of three days (19–21 November). On Tuesday 19 November, the visiting group of curators and artists participated in the panel ‘Some Current Positions of Curating’ at das weisse haus. The panel, chaired by Alexandra Gausman of das weisse haus, briefly introduced recent projects by Argentinian artists Guillermo Faivovich & Nicolás Goldberg; soon-to-be Paris-based curator Claire Hoffmann (Centre Culturel Suisse de Paris); artists and curators FICTILIS from San Francisco; Avi Lubin (Faculty at Jerusalem’s Beit Berl College); and Stephanie Weber (Curator of Contemporary Art at Lembachhaus in München).

Above and below photos: eSeL.


Grand staircase of the Kunsthistorisches Museum in Vienna.

(Above and nine below) Views from the exhibition ‘Spitzmaus Mummy in a Coffin and other Treasures’ guest curated by filmmaker Wes Anderson and writer and illustrator Juman Malouf, in collaboration with Jasper Sharp (Kunsthistorisches Museum) and Mario Mainetti (Fondazione Prada). ‘Anderson and Malouf have assembled more than 400 objects drawn from all fourteen of the museum’s historical collections. Among them are Egyptian, Greek and Roman antiquities, Old Master paintings, selections from the Kunstkammer and the Imperial Treasury, items from the Imperial Armoury, Coin Collection, and Collection of Historic Musical Instruments, as well as pieces from the Theatermuseum, the Weltmuseum, the Imperial Carriage Museum, and Schloss Ambras Innsbruck. A handful of special guests from the Natural History Museum are also included. Particular attention was given to the museum’s storage: more than 350 of the objects have been brought from depots, with many of them on public display for the very first time. (...) The gathering and arrangement of these treasures – from the earliest, a necklace of ceramic beads strung together in Ancient Egypt, to the most recent, a wooden monkey carved in Indonesia almost 5,000 years later – suggest the spectacular breadth, depth, history and complexity of the Kunsthistorisches Museum’s collections.’ (from the venue website)



(Above and below) Donna Huanca exhibition ˝Piedra quemada˝ at the Lower Belvedere.

 (Above and two below) One of the rooms at the Naturhistorisches Museum (NHM). Below Faivovich and Goldberg intervention ˝In Search of Mesón de Fierro˝, part of their long-term research on meteorites at El Chaco region in northern Argentina. For the exhibition, they presented a 19-gram fragment in a meteorite in the collection of the NHM Vienna, which they were able to trace quite convincingly to Mesón de Fierro.


(Above and three below) On our own time, we arranged a visit to the artist-run-space Guimarães. Hugo Canoilas, one of the artists that run it alongside Nicola Pecoraro and Christoph Meier, gave us a detailed tour of the show which explored the concept of excessive sentimentality. ‘SCHMALTZ’ showcased unique editions, amusing finds, objects that accompany artists in their studio, as well as artworks by over 50 artists. 
A special edition of Luisa Gardini's photos. 

(Above and four below) Views from ‘55 dates. Highlights of the MUMOK collection’, presenting 55 works with exhibition design by (Portscapes artist) Hans Schabus.
(Above and below) Also at MUMOK, "a photographic journey through Austrian history from 1918 to the present" was the focus of ‘Photo/Politics/Austria’ this time with exhibition design by Markus Schinwald.

 (Above and two below) Views from Asier Mendizábal's solo exhibition at Galerie Martin Janda.


 At the nearby Kunsthalle Wien, Vanessa Joan Müller and Nicolas Schafhausen curated ‘Antarctica. An Exhibition on Alienation’, showing works by Viltė Bražiūnaitė / Tomas Sinkevičius, Burak Delier, Buck Ellison, Isabella Fürnkäs, Eva Giolo, Thibaut Henz, Jan Hoeft, Hanne Lippard, Joanna Piotrowska, Jeroen de Rijke / Willem de Rooij, Jana Schulz, Andrzej Steinbach, Ingel Vaikla, Peter Wächtler, Ian Wallace and Tobias Zielony. ˝The exhibition explores how the term “alienation” functions in our world today. In doing so, it also addresses the following question: What other forms of relationship to the self and to the world do we need? Before we can even begin to create something like a space supportive of self-determination and self-realization?" (from the venue website)
 One of the nine studio visits at Prater Ateliers. Here with Christian Kosmas Mayer. 
Studio visit with Judith Fegerl at Prater Ateliers.


 Tour by curator Moritz Stipsicz of Tomás Saraceno's intervention in the baroque Karlskirche in Karlsplatz. 
 Views of Karlsplatz and Vienna skyline from the cupola.


 (Above and three below) Ed Ruscha's ‘Double Americanisms’ at Secession
(Above) Detail from Philipp Timischl's ‘Artworks For All Age Groups’ in the downstairs galleries of Secession.
(Above) View of Kris Lemsalu's ‘Keys Open Doors’ in the upper Secession gallery.

On November 22, we took off to Amsterdam taking advantage of the Amsterdam Art Week events which included the Rijksakademie open, the opening of two exhibitions at Stedelijk Museum (a solo show by Raquel van Haver and the biannual group exhibition presenting Amsterdam’s Municipal Art Acquisitions, ‘Freedom of Movement’). We also visited De Appel, kunstverein, Rongwrong, a few galleries that opened jointly.


(Above and below) De Appel exhibited Ben Russel's film ‘Good luck’ (2017) premiered during documenta 13. ‘Accompanying the installation, the artist created a sculptural analogue to process and portraiture, Good Luck (Echo) that turns a sheet of copper into a resonant, speaking subject.’ (from the venue website)
 Mr Peanut exhibition at kunstverein Amsterdam, gathering material from Vincent Trasov who became Mr. Peanut in 1971. In 1974 he ran for mayor of Vancouver. ‘The exhibition traces the history of Trasov’s revolutionary alias and includes historical documents, publications, correspondence, video footage as well as more recent drawings of Mr. Peanut and paintings by Vincent Trasov. A major retrospective on Image Bank will follow in the summer of 2019 at Kunst-Werke in Berlin.’


 (Above and below) Works by Cees Mogami de Haas.

 (Above and below) Works by Riet Wijnen.


 (Above and below) Works by Marieke Zwart.


 (Above and below) Works by Morgan Courtois.
  (Above and below) Works by Marina Xenofontos.

 (Above and below) Works by Mire Lee.


  (Above and below) Works by Omar A. Chowdhury.

 (Above and below) Works by Maurice van Es.


  (Above and below) Works by Isabelle Andriessen.

  (Above and below) Works by Omar Vega Macotela.

   (Above and below) A film by Tyna Adebowale.

 (Above and below) Works by Josse Pyl. 

  (Above and below) Works by Gaëlle Choisne.

  (Above and below) Works by Dan Zhu.

  (Above and below) Works by Danielle Dean.


 (Above and below) Works by Polina Kani.


  (Above and below) Works by Femke Herregraven.


  (Above and below) Works by Kévin Bray.


  (Above and below) Library display initiated by Anna Dasovic. 


(Above) Exhibition by Paul Kooiker at the tegenboschvanvreden gallery.

 Gabriel Lester exhibition at Fons Welters, Amsterdam. 

 Lara Almarcegui's video at Ellen de Bruijne. 
 Rory Pilgrim exhibition at andriesse eyck.

 Conversation with Janet Cardiff at Oude Kerk. Below her work, with Georges Bures Miller, an intervened mellotron ‘The Instrument of Troubled Dreams˝ (2018), with 72 keys each of them programmed with a sound effect, a vocal track or a musical fragment.


(Above and four below) Stedelijk Collection in the basement of the museum. 

 (Above and two below) Metahaven exhibition at the Stedelijk Museum.


Merlin Carpenter exhibition at Rongwrong.



RELATED CONTENT:
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Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend

 Above: de Appel director Niels van Tomme during his welcome speech.  
This and following photos: Carina Erdmann/De Appel.

Latitudes participated in de Appel Arts Centre two-day symposium "You are such a curator!" on 23 and 24 November 2016. Coinciding with the Amsterdam Art Weekend, the event presented lectures, discussions, performances and papers marking the conclusion of a three-year research project into the dynamics of de Appel’s curatorial programme and its position in the wider field of curatorial education.

Latitudes' presention "Following the Holy Greyhound" reflected "on the disinterment of a sculpture from 1991 – part of an exhibition by the Venezuelan artist José Antonio Hernández-Díez curated by Latitudes at MACBA, Barcelona, earlier this year – and their approach to a group exhibition in preparation for CAPC Musée d’art contemporain de Bordeaux in 2017. Their point of departure was responding to the question "what does the wrongful killing of a dog in medieval France have to tell us about the micro and the macro, the hyper-specific and the universal?"  

Above: Chris Sharp during his presentation 'The Willfully Minor Anomaly of Lulu'. 
Below: Q+A session.
 
Above: Presentation by Aneta Rostkowska and Jakub Woynarowski.  
Below: Latitudes' presentation "Following the Holy Greyhound".
 
Above: galerie founders Adriano Wilfert Jensen and Simon Asencio during their presentation. 
Below: Attentive (femenine!) audience. 

Above: (Intensive) Q+A amongst speakers and audience. 
Below: Renata Cervetto during her presentation '(Art) Mediation Projects. In & Out The Museum'.

Above: Kim Nguyen during her presentation 'That's Why We Love the Moon'. 
Below: Niels van Tomme during one of the many Q+A's.

Above: Prem Krishnamurthy during a Q+A.

The two-day symposium included contributions by Mira Asriningtyas, Lucrezia Calabrò Visconti, Renata Cervetto, Mateo Chacon-Pino, Galerie (Adriano Wilfert Jensen and Simon Asencio), Natasha Hoare, Kati Ilves, Prem Krishnamurthy, Inga Lace, Latitudes (Max Andrews and Mariana Cánepa Luna), Shona Mei Findlay, Fadwa Naamna, Kim Nguyen, Emma Ines Panza, Aneta Rostkowska and Kuba Woynarowski, Chris Sharp, Niels Van Tomme and Huib Haye van der Werf.
  
We also visited a few exhibitions and attended a few events  programmed for the Art Amsterdam Weekend (24–27 November). One of the highlights was Marinus Boezem's exhibition at Oude Kerk's grand Gothic architecture, one of its finest and oldest examples in Holland. Boezem's pieces resonated with the Gothic style of the church, an architecture that has fascinated him throughout this artistic practice – he has produced several pieces using plans of cathedrals, his most famous one being "Gothic Growing Project" (1978–1987), popularly known as "The Green Cathedral" in a polder landscape near Almere, composed of 178 Italian poplars.
 
"Progetto Spaziale" (1970/2016) video works, and "Meteorieten" (2016) on the floor.

(above) "Windschaal" (Wind Scale) (1968) projected in the Holy Sepulchre chapel.
Majestic "Labyrinth" (2016) piece above and below.
(above) "New Improvisation with Bart de Kroon", one of the five performances Jeremiah Day presented at Ellen de Bruijne Projects.

And of course Friday is the big day at the Rijksakademie OPEN 2016, where we found interesting presentations by Argentinian performance artist Mercedes Azpilicueta; the Argentinian-Dutch Aimée Zito Lema; the abstracted images of Claudia Martínez Garay (below); the sculptural and archival material of British artist Alex Farrar around his suit; the glass work of German artist Christine Moldrickx; the drawings, paintings and small sculptures of Dutch artist Eva Spierenburg; the sculptural works by the also Dutch artist Marije Gertenbach and the large video work "Band Rumorose" by French artist Pauline Curnier Jardin on the Sicilian festivity devoted to San Sebastiano.


Abstracted images by Claudia Martínez Garay

(Above and below) Installation on the ground floor by Eva Spierenburg.

Sculptural and archival material by British artist Alex Farrar around his suit.

More work by Eva Spierenburg was presented in a more intimate presentation on the second floor.

 Glass piece by German artist Christine Moldrickx (above and below). 

The beautiful retrospective "Machine Spectacle" by Swiss artist Jean Tinguely was cleverly paired with Jordan Wolfson's "Manic / Love" – part 1 of his first solo show in a Dutch institution. The show premieres his newest animatronic in Europe: "Colored sculpture" (2016) and is accompanied by three other works only: the video "Raspberry poser" (2012), a series of large inkjet prints and "The Crisis" (2004), one of his earliest video works. In February a second part (Truth / Love) will follow with his first animatronic (Female Figure, 2014) and a new videoinstallation.

(Above) Two of the rooms presenting works by Jean Tinguely at Stedelijk Museum.

Jordan Wolfson's "Colored Sculpture" (2016).

San Serriffe art book shop in the red light district.

kunstverein new location in Hazenstraat 28, presented "Staples", 20 years of work by typographic artist Will Holder.

RELATED CONTENT:
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Report: Amsterdam Art Weekend, 27–30 November 2014 now on Storify

 Amsterdam Art Weekend advertising.

Below the thread of tweets and Instagram posts we published during our trip, now archived on Wakelet:


Below some more photos that didn't make it to our live reporting posts:

View of De Appel's group show "When Elephants Come Marching In", through which guest curator Mark Kremer investigates "the ongoing influence that Psychedelia and Conceptualism still have in contemporary Western art".

We also visited the solo show of Dutch conceptual artist Marinus Boezem at Upstream Gallery. The show focused on "the significance of the artist’s physical presence and absence for the concept of his artworks" and included jewels like this 1969 "Piss Project" piece, which was too difficult to capture as it's a sequence of photographs, hence the photo taken from the catalogue available at the gallery.

 

On our last few hours, we paid a visit to Jeanine Hofland which had a group show with works by Andrea Kvas, Mohamed Namou, Alek O., Gino Saccone, Yonatan Vinitsky and Jessica Warboys revolving around the idea of painting without paintings.




And to end our Amsterdam Art Week, we went back to the Stedelijk Museum to see Marlene Dumas's retrospective properly as well as the exhibition 'How Far How Near. The World at the Stedeljk' curated by SMBA's Director Jelle Bouwhuis, which included a great film work by Godfried Donkor 'The Currency of Ntoma' on the symbolism and the financial value that textiles (Dutch Wax, batik, kente cloth and lace) have for women in Ghana.


View of the first room of 'How Far How Near. The World at the Stedeljk'.

Related posts:


This is the blog of the independent curatorial office Latitudes. 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.
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Audio y videos conferencias 'Cuatro casos de estudio de educación artística', 28 y 30 junio, Espai Cultural Caja Madrid, Barcelona


Ya están disponibles en la página de CAMPUS (véase bajo 'Calendario') los cuatro archivos de audio y los dos videos de las conferencias "Cuatro casos de estudio para la educación artística" organizadas por Latitudes con motivo del inicio de Campus, la escuela/residencia de artistas que tiene lugar en el Espai Cultural Caja Madrid hasta el 29 de Julio.

Las presentaciones analizaron cuatro modelos educativos destinados a artistas que actualmente tienen lugar en Ámsterdam (Rijksakademie presentado por Bartomeu Marí,
Director, Museu d'Art Contemporani de Barcelona (MACBA), México D.F. (SOMA presentado por Jennifer Teets, Comisaria independiente y escritora, París), Los Ángeles (The Mountain School of Arts, presentado por Carles Guerra, Director, La Virreina Centre de la Imatge, Barcelona) y Frankfurt (Städelschule presentado por el Prof. Nikolaus Hirsch, Rector, Städelschule).

Agradecemos una vez más la implicación de los cuatro conferenciantes en
Campus.

Síguenos en Twitter #campusespai
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CAMPUS, programa conferencias: 'Cuatro casos de estudio de educación artística', 28 y 30 junio, Espai Cultural Caja Madrid, Barcelona

PROGRAMA DE CONFERENCIAS
˝Alrededor de Campus: Cuatro casos de estudio para la educación artística˝

Martes 28 y jueves 30 de junio de 2011, 19—21h

Entrada gratuita. Aforo limitado. Traducción simultánea (*)

 
Coincidiendo con el inicio de 'Campus', Latitudes organiza las conferencias ‘Alrededor de Campus: Cuatro casos de estudio para la educación artística’, que presentarán y analizarán cuatro modelos educativos independientes destinados a artistas visuales que tienen lugar en Amsterdam, México D.F., Los Angeles y Frankfurt.

PROGRAMA 

MARTES 28 JUNIO 2011 
Auditorio, Espai Cultural Caja Madrid, Barcelona

19h

Bienvenida e introducción por Latitudes, oficina curatorial y directores de
'Campus'
19.10–19.50h
 

Bartomeu Marí, Director, Museu d'Art Contemporani de Barcelona (MACBA), presentará la Rijksakademie, Ámsterdam.
19.50–20.30h

Jennifer Teets, Comisaria independiente y escritora, París, presentará a SOMA, México D.F.
20.30h–21h
 

Preguntas y respuestas.

PROGRAMA JUEVES 30 JUNIO 2011

Sala exposiciones,
Espai Cultural Caja Madrid, Barcelona


19h
 

Bienvenida e introducción por Latitudes, oficina curatorial y directores de 'Campus'
19.10–19.50h
 

Carles Guerra, Director, La Virreina Centre de la Imatge, Barcelona, presentará The Mountain School of Arts, Los Ángeles.
19.50–20.30h

Prof. Nikolaus Hirsch, Rector, Staatliche Hochschule für Bildende Künste - Städelschule, Frankfurt-am-Main, presentará la Städelschule, Frankfurt-am-Main.
(*) Con traducción simultánea inglés-castellano.

20.30h–21h
 

Preguntas y respuestas



SOBRE LOS CASOS DE ESTUDIO

 


La Rijksakademie van beeldende kunsten en Ámsterdam, es un "instituto de artistas nacionales e internacionales de máximo talento". Su nombre alude a las academias clásicas, un lugar donde filósofos, académicos y artistas se reúnen e intercambian ideas y conocimiento. La Rijksakademie ofrece residencias de investigación y producción de un máximo de 2 años de duración a unos 25 artistas por año, ofreciéndoles la oportunidad y el apoyo económico para que éstos puedan concentrarse en su investigación, en la producción y la discusión de su trabajo, con la idea de que éste expanda y acelere así su profesión, ya sea a nivel individual y social. La Rijksakademie también organiza el Prix de Rome, el premio bianual estatal ofrecido a artistas y arquitectos menores de 35 años. 

http://www.rijksakademie.nl/



web de SOMA


SOMA es un espacio destinado al arte contemporáneo sin fines de lucro, concebido por los artistas Yoshua Okón, Aimee Servitje y Eduardo Abaroa, y cuya dirección académica corre a cargo de Bárbara Hernández. La iniciativa incluye tres elementos: en primer lugar, un programa educativo de profesionalización artística con duración de dos años cuya finalidad es poner en contacto a jóvenes artistas de México con comisarios y artistas destacados. El SOMA Summer, dirigido por Carla Herrera-Prats, es un curso de verano que recibe a artistas jóvenes de varios países del mundo. SOMA también organiza cursos de divulgación cultural para el público general. En segundo lugar, SOMA programa eventos semanales gratuitos y abiertos al público: 'Miércoles de SOMA ', a cargo de Homero Fernández, en los que se presentan libros, performances, proyecciones de video o el trabajo de artistas. En último lugar, SOMA tiene un programa de residencias que recibe a artistas y comisarios internacionales con el fin de que interactúen el grupo de estudiantes.
http://somamexico.org




The Mountain School of Arts es una escuela independiente y gratuita establecida en 2005 por los artistas Piero Golia y Eric Wesley, con el objetivo de ofrecer una alternativa orgánica al modelo universitario mediante un programa libre de estrés, gratuito y de mutuo beneficio para los participantes. 15 alumnos de diversas procedencias se reúnen anualmente entre enero y marzo en la sede de MSA^: el bar 'The Mountain', en Chinatown, donde asisten a clases dos veces por semana, 3 horas al día. El programa también incluye conversaciones semanales y conferencias a cargo de artistas visitantes, cineastas, científicos y destacados expertos.
http://www.themountainschoolofarts.org

 

web de la Städelschule

La Städelschule es una academia internacional dedicada a las artes visuales y a la arquitectura, que cuenta con el 60% de los estudiantes y profesores provenientes del extranjero. Städelschule se distingue por ser gratuita y por el perfil del profesorado, que incluye a reconocidos artistas tales como Douglas Gordon, Mark Leckey, Simon Starling, Wolfgang Tillmans, Martha Rosler, Willem de Rooij o Tobias Rehberger. El programa académico de la Städelschule parte del diálogo con el tutor elegido por el estudiante y se centra en el trabajo individual de éste en su estudio. Asímismo, se complementa con un intenso programa conferencias de renombrados profesionales que visitan anualmente Städelschule. Desde el 1987, la Städelschule programa el espacio Portikus, un importante centro de arte experimental donde artistas de todo el mundo exhiben y donde los estudiantes tienen la oportunidad de participar activamente en la producción de exposiciones.  
http://www.staedelschule.de



BIOGRAFÍAS PONENTES (por orden de aparición)
Bartomeu Marí (Eivissa, 1966. Vive y trabaja en Barcelona) es director del Museu d'Art Contemporani de Barcelona desde 2008, donde fue Comisario Jefe desde el 2004. Licenciado en Filosofía por la Universidad de Barcelona, Marí fue comisario de exposiciones en la Fondation pour L'Architecture, Bruselas (1989–1993), conservador en el Instituto Valenciano de Arte Moderno Centre Julio González (1993-1995) y director del Witte de With Center for Contemporary Art en Rotterdam (1996–2001). En el 2002, Marí comisarió la Bienal de Taipei en Taiwan junto con Chia-chi Jason Wang, y en el 2004 comisarió con James Lingwood la exposición Juan Muñoz. La Voz Sola. Esculturas, dibujos y obras para la radio, La Casa Encendida, Madrid. En el 2005 fue comisario del Pabellón Español en la 51 Bienal de Venecia en la que Antoni Muntadas fue el artista invitado. Marí ha comisariado numerosas exposiciones de artistas tales como Raoul Hausmann, Lawrence Weiner, Rita McBride, Eulàlia Valldosera, Francis Picabia, Pierre Bismuth, Marcel Broodthaers, Michel François, y Francis Alÿs, entre otros.

Jennifer Teets (Houston, 1978. Vive y trabaja en París) es comisaria independiente y escritora. Entre el 2003–7, Teets fue comisaria jefe de 'El Cubo', en la Sala de Arte Pública Siqueiros en México D.F. En el 2007 fue residente en Platform Garanti, Estanbul, y en el 2009 residente en la Kadist Art Foundation, Paris, donde presentó la exposición This place you see has no size at all… Entre sus proyectos curatoriales destacan: HaVE A LoOk! Have a Look!, FormContent, Londres (2010), If you do know that “here is one hand” en el CAC, Lituania (2010); Locus Solus, MYTO, México D.F. (2007), Pink Not Dead! (co-comisariada con Maurycy Gomulicki), Garash Galería, México D.F. (2006), Réplica, Museo Universitario de las Ciencias y las Artes, México D.F. (2004). Actualmente está preparando exposiciones en la Fondazione Giuliani, Roma, y para la galeria stereo en Poznan, Polonia. Teets contribuye en revistas tales como frieze, Mousse, SPIKE y Novembre y en el 2010 formó parte del equipo de profesorado de SOMA Summer en México D.F.

Carles Guerra (Amposta, 1965. Vive y trabaja en Barcelona) es director de La Virreina Centre de la Imatge desde el 2009 y ha sido recientemente nombrado Conservador Jefe del Museu d'Art Contemporani de Barcelona, donde se incorporará a partir de Septiembre 2011. Guerra es doctor en Bellas Artes por la Universitat de Barcelona y en The New School for Social Research, Nueva York. Guerra colabora como profesor asociado en la Universitat Pompeu Fabra, así como profesor invitado en la Universitat de Barcelona y la Universitat de Girona. Ha sido profesor invitado en el Center for Curatorial Studies del Bard College (Annandale-on-Hudson, Nueva York), Konstfack (Estocolmo). Entre sus publicaciones destacan N de Negri. Una conversació amb Antonio Negri (2000), Allan Sekula habla con Carles Guerra (2005) y ensayos o artículos en numerosos medios. Ha sido vocal del consejo de administración del Instituto de Cultura del Ayuntamiento de Barcelona (ICUB), y desde 2009 es miembro del comité científico del Lieven Gevaert Research Centre for Photography, Bélgica. En el 2011 ha sido galardonado con el Premio Ciutat de Barcelona en la modalidad de artes visuales.

Nikolaus Hirsch (Karlsruhe, 1964. Vive y trabaja en Frankfurt) es arquitecto y desde el 2010 es Rector de la Städelschule, en Frankfurt. Hirsch ha sido profesor en el Institute of Applied Theatre Studies en la Giessen University (2003-2004), en HfG Karlsruhe (2004), en la Architectural Association en Londres y en UPenn en Philadelphia, y es miembro del programa Comisariando Arquitectura de Goldsmiths College en Londres. Su trabajo arquitectónico incluye proyectos como la Dresden Synagogue, el Hinzert Document Center, el European Kunsthalle en Colonia, United Nations Plaza (con Anton Vidokle) en Berlín, Cybermohalla Hub en Delhi o un espacio-estudio para The Land de Rirkrit Tiravanija. Ha sido galardonado con premios como el World Architecture Award 2002 o el German Critics Award 2001. Su obra ha sido expuesta en New German Architecture (2003), Utopia Station, Venice Biennale (2003) y Can Buildings Curate?, Architectural Association, London y Storefront Gallery, Nueva York (2005). Entre sus publicaciones destaca On Boundaries (Sternberg Press, 2007), una selección de textos sobre las relaciones entre arquitectura, modelos artísticos y de comisariado.

(Moderador)

Latitudes es una oficina curatorial independiente dirigida por Max Andrews (Bath, 1975) y Mariana Cánepa Luna (Montevideo, 1977) fundada en el 2005 y con sede en Barcelona. Recientemente, Latitudes participó como organización asociada en la exposición The Last Newspaper, en el New Museum de Nueva York (2010–11) para la cual editaron un periódico semanal durante diez semanas y actualmente son comisarios invitados de la temporada 2011 del Laboratorio 987, en el Museo de Arte Contemporáneo de Castilla y León (MUSAC). 

Proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid.

Síguenos: #campusespai


Espai Cultural Caja Madrid
Plaça Catalunya 9 (esquina Rambla de Catalunya), 08002 Barcelona
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