Longitudes

Cover Story—February 2018: Paradise, Promises and Perplexities


Latitudes' home page www.lttds.org 

The February 2018 Monthly Cover Story "Paradise, Promises and Perplexities" is now up on www.lttds.org – after this month it will be archived here.

"This month marks ten years since the opening of Greenwashing, curated by Latitudes and Ilaria Bonacossa. Subtitled Environment: Perils, Promises and Perplexities, this exhibition at the Fondazione Sandretto Re Rebaudengo, Turin, addressed the melding of corporate agendas and individual ethics in the wake of the exhaustion of traditional environmentalism." Continue reading

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

RELATED CONTENT:


Archive of Monthly Cover Stories
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
Cover Story — February 2017: The Dutch Assembly, five years on 1 February 2017
Cover Story – January 2017: How open are open calls? 4 January 2017


    'THE LAST REGISTER' AVAILABLE NOW! #3 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum

    Issue 3: The Last Register
    (READ IT ON ISSUU)

    October 20, 2010


    Cover: ‘Exhibit: Exposed!’. Installing 'The Last Newspaper' wall text
    Report: ‘Reaction Distraction’: Gwen Schwartz on the TLN talk with participating artists Nate Lowman, Aleksandra Mir and Sarah Charlesworth
    Focus: Doryun Chong on TLN artist Adrian Piper’s Vanilla Nightmares (1986)
    Media Habits: Dora García
    Dirt Sheet: Janine Armin on truth and fiction
    Picture Agent: Sergio Vega
    The Next Newspaper: Paul Schmelzer on the American Independent News Network
    Feature: ‘Broadcasting’, Joe Salzman on the representation of the journalists on TV
    Exclusive interview: Latitudes with TLN cartoonist Francesc Ruiz
    ‘Patricia Esquivias on...The French Revolution’
    100 Years Ago…: New York Tribune
    Feature: ‘Hyphen-ated’ by Stephen Spretnjak
    Photo essay: ‘Behind the Scenes’, Installing ‘The Last Newspaper’
    Cartoon: ‘The Woods: Scratch Lottery’ by Francesc Ruiz
    Advertising: Ester Partegàs with Adam Shecter



    This Week's Headlines
     

    Philadelphia Newsstand (2010), installation at Temple Gallery, Philadelphia.
    Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

    “Before the internet, newsstands were the closest thing we had to web browsing”

    Barcelona-based artist Francesc Ruiz is creating ‘The Woods’, a specially-commissioned cartoon strip for the back cover of each of ‘The Last...’ newspapers. The Editors-in-Chief of ‘The Last Register’ caught up with him as he prepared for an exhibition in Cairo.


    Latitudes
    : Is 'The Woods' a family, or is it a place?

    Francesc Ruiz:
    They're kind of a family or a community, as well as a place. The name was inspired by the last part of François Truffaut’s 1966 film based on Ray Bradbury’s 1953 novel Fahrenheit 451. It’s set in a totalitarian society in which books have been made illegal and are being burned. A group of people go into hiding in the woods and decide to memorize great works of literature. They create a community that transmits books orally from generation to generation. Each of them incorporates a different book: there are five ‘Moby Dick’s, four ‘Don Quixote’s, and so on. It talks about the power of human knowledge to adapt to difficult and new situations, which is something that – although under a completely different perspective – is happening right now with the threat to printed matter and the adaptation of content to new formats. In ‘The Woods’ I'm using the city newsstand, magazines and newspapers, as a way of talking about different lifestyles, about specialization and ideology. I want to create a kind of masquerade ball in which everybody is represented or at least plays a role in the social architecture, something also very related to web 2.0 and platforms such as Facebook.

    L: Where if anywhere do you draw the lines between art and design, or artists and designers?

    FR: It’s all about self-consciousness and a critical perspective. As long as cultural object producers (which is what I consider both artists and designers to be) look at their work as something critically produced, to me it makes no sense to establish differences. Looking at it from a slightly different angle, someone asked me recently if I’d ever produced a ‘mainstream’ comic. I think comic books and design can be understood in different ways, just as both experimental cinema and popular cinema coexist. I try to work on the experimental side, but whether this work is read as art or not depends entirely on the context in which it’s received.

     
    L: Can our readers follow the cartoon strip as an ongoing narrative?  

    FR: No it doesn't follow a linear narrative – each issue shows a situation. The whole cartoon strip creates a series of scenes which build on my recent experiences working with a newsstand scenario before in Philadelphia, and now in Cairo. I did consider creating something more narrative led using characters that keep reappearing, but decided against it.
     
    Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
    Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

    L: Specialist magazines target a public that has already been identified, yet they can also create new and perhaps unexpected followings. How does the newsstand feature in this relationship?

    FR: Before the internet, newsstands were the closest thing we had to a web browsing experience. You could go there, buy specialist papers and magazines, check out the contacts sections, the classified ads, and see all the niches you could initiate yourself into. Through the printed press you were able to discover new things, it was the main knowledge distribution channel. With most of this now moving online the fetishistic element is not the same. Although there are some web-based attempts to create a similar interface to the newsstand, its visual power of the newsstand is unique.
    For me a newsstand is a form of information architecture, a superstructure or a special building with inhabitants that change periodically. It’s an amazing tool with which to analyse the world and contemporary society. The matter of what will happen to newsstands as printed material begins disappears is something that is already visible: they're converting into lottery card retail points, as well as beverage and snack stands. But maybe they will have a different use in the future? I'm thinking of creating ‘The Newsstand Museum’, a museum with different newsstands from different countries and periods. Every stand will show the content exactly as it was in a specific time and place. For example September 10, 2001.

    L: Can you tell us more about the Philadelphia project you mentioned, made for the Philagrafika 2010?

    FR: I presented a newsstand for which I created all the printed content: a magazine formed by 120 covers and a newspaper which reproduced 12 different front pages. With these two publications I was able to build the ‘skin’ of the newsstand. I added speech bubbles to the covers, and recreated some important characters of the city mixed in with references to different neighborhoods, institutions, shops and bars. My idea was to create an analogy of the city and my experiences, initial reactions and perhaps prejudices about Philly after having been there for just a short residency period. I added a narrative layer around three main subjects: the city as the place where graffiti culture started, the city through which the AIDS crisis was imagined in the 1993 film Philadelphia, and finally the city’s Mural Arts Program, a (successful to some) anti-graffiti initiative. Through the different layers of newsstand I attempted to approximate the complexities of the city, as well as race, gender and class issues. I'm now creating a new newsstand for the Contemporary Image Collective in Cairo and it will take the form of a typical Egyptian street newsstand, only it will be made with newspapers covers that I've modified with a dialogue between the stones that are used as paperweights.

    Cairo Newsstand (2010), installation at the Contemporary Image Collective, Cairo.
    Courtesy the artist and Galeria Estrany-de la Mota, Barcelona.

    L: What difficulties and luxuries has this very particular format of the serial cartoon strip present to you as an artist?

    FR: I made a comic strip series with artist Pauline Fondevila in which we explored the bars of a city nearby Barcelona. Basically it was an autobiographical comic strip in wich we drew ourselves getting drunk and having adventures. We published forty different comic strips and they were published daily, the problem was that after a while the energy and the inspiration weren't there any more – and we had very bad hangovers! On the one hand it was very nice and a special format to play with in order to recreate worlds, but on the other you end up feeling a little like a slave to the daily production process.
    This ten week trial for ‘The Last Newspaper’ is a great period to develop another small universe – that's essentially what I'm trying to do. The weekly frequency is fine compared to a daily routine. I recently showed a daily comic strip for Creative Time Comics, but all of these projects need a lot of commitment.  

    L: Is there a particular newspaper cartoon you admire or took inspiration from?

    FR: I don’t think Tales of the Beanworld by Larry Marder was ever published in a newspaper. I'm a big fan of George Herriman’s Krazy & Ignatz originally published daily in the New York Evening Journal, and that has always has been a source of inspiration to me. The genre ambiguity, the bricks, the accent of the characters and those amazing landscapes, I love it all! Of course there are now a lot of people working on digital comic books and digital comic strips. It's interesting to see how scrolling works very well when reading linear narratives, actually better than the page-by-page structure. Scott McCloud is for me first author who successfully started to explore the potential of the comic book medium. But my favourite author is Kang Full, the Korean Manhwa webcomic artist. The funny thing is that he later prints his comics in paper format which entails a very interesting re-adaptation. And this seems a very apposite process for this period in between two regimes, the page-based former one and the web-based new one.

    – Interview by Latitudes, October 2010


    Sharjah Biennial 8 (2007) part 2 publication with transcripts of the 3-day conference organised by Latitudes and the RSA, London



    Above images of the recently published catalogue of the Sharjah Biennial 8, United Arab Emirates [25º 22’N, 55º 24’E] titled 'Still Life: Art, Ecology and the Politics of Change (Part II)' which includes installation shots of the exhibition as well as transcripts of the 3-day conference Latitudes organised in collaboration with the Royal Society of Art's Arts & Ecology programme (today the RSA Arts and Ecology Centre) back in April 2007 (+ info).

    The symposium
    (images here) considered today’s uses and abuses of the ‘eco-’, notions of artistic agency and critical practice, as well as the role of the public realm in today’s artistic and institutional practices. How has it become fashionable (or profitable) to be seen to be eco? How has what we mean by ecology been transformed and evolved through the uses of terms such as ‘environmental’, ‘green’, ‘ethical living’, and so on?; How do some artists desire palliative results, while others offer strategies of friction or resistance? How far are the sources of materials a consideration for artists, designers and architects? And how does this relate to wider questions of resources—water, energy, oil in the Emirate and beyond?

    The symposium included focused presentations by keynote speakers such as Bruce Sterling (read his paper here), critical panels with participating artists Sergio Vega or Peter Fend as well as Van Abbemuseum director Charles Esche, or Smart Museum's
    Curator of Contemporary Art Stephanie Smith as well as breakout seminars with participating artists Tomás Saraceno and Michael Rakowitz.

    You can download the symposium programme, exhibition guide and view press-related materials in this archive.


    'Sharjah Biennial 8. Still Life: Art, Ecology and the Politics of Change (Part II)'
    568 pages, 233 x 165 mm, softcover 350g. Art Matt Card

    Paper: 80g. offset wood free and 135 g. Art Matt

    Publisher: Sharjah Biennial,
    www.sharjahbiennial.org
    ISBN 978-9948-04-328-6 Part II

    'X, Y, etc.!', Video Lounge, Artissima 15, Turin, 7–9 November 2008


    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.”



    Films selected for the 2008 Video Lounge (in screening order, starting 11.30am):

    * 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

    _BREAK_

    * 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

    _BREAK_

    * 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.

    Latitudes in Turin


    Tonight we are taking the 'Salvador Dalí' night train from Barcelona to Turin—in part as response to RAF / Reduce Art Flights—to install and work on the catalogue for our show 'Greenwashing. Environment: Perils, Promises and Perplexities', which will open at the Fondazione Sandretto Re Rebaudengo on 28th February (19-21h). 


    The show will include works by Jennifer Allora & Guillermo Calzadilla, Lara Almárcegui, Maria Thereza Alves, Ibon Aranberri, Amy Balkin, The Bruce High Quality Foundation, Chu Yun, A Constructed World, Minerva Cuevas, Ettore Favini, Cyprien Gaillard, Tue Greenfort, Norma Jeane, Cornelia Parker, Jorge Peris, Wilfredo Prieto, RAF / Reduce Art Flights, Tomás Saraceno, Santiago Sierra, Simon Starling, Fiona Tan, Nikola Uzunovski, Sergio Vega, Wang Jianwei and James Yamada.



    'Greenwashing...' website

    Sergio Vega, 'Paradise on Fire', 2007. Series of five inkjet archival prints, 106 x 134 cm each. Courtesy the artist and Umberto di Marino Arte Contemporanea, Naples.

    We have launched the project website for 'Greenwashing. Environment: Perils, Promises and Perplexities': www.greenwashing.lttds.org. The site will be updated over time as an extension to the printed catalogue, with expanded contents such as installation shots, interviews, artists CVs, etc.

    So far we have confirmed the participation of Jennifer Allora & Guillermo Calzadilla, Lara Almarcegui, Maria Thereza Alves, Amy Balkin, The Bruce High Quality Foundation, Chu Yun, A Constructed World, Ettore Favini, Cyprien Gaillard, Tue Greenfort, Norma Jeane, Cornelia Parker, Jorge Peris, Wilfredo Prieto, RAF / Reduce Art Flights, Tomás Saraceno, Simon Starling, Nikola Uzunovski, Sergio Vega, Wang Jianwei and James Yamada.

    The show will open on 28 February 2008 at the Fondazione Sandretto Re Rebaudengo, Turin and remain on view until 11 May. The exhibition is curated by Fondazione's curator Ilaria Bonacossa and Latitudes (Max Andrews & Mariana Cánepa Luna).

    For any press enquiries please email: [email protected]

    Sharjah Biennial 8 - part 1



    Some images from today and yesterday of the preparations for the Sharjah Biennial 8 which opens on Wednesday 4th April. The RSA Arts & Ecology/Latitudes for the Biennial in collaboration with the American University of Sharjah takes place on the 5th, 6th and 7th. Here is the programme:

    ‘Still Life: Art, Ecology and the Politics of Change’
    Sharjah Biennial 8, 4 April – 4 June 2007
    Symposium: 5–7 April 2007
    Venue: Expo Centre, Sharjah
    Symposium Organisers: Max Andrews and Mariana Cánepa Luna (Latitudes, Barcelona)
    Michaela Crimmin (Royal Society for the encouragement of Arts, Manufactures & Commerce, RSA, London)
    Roderick Grant (American University of Sharjah, AUS)
    Amir Berbic (American University of Sharjah, AUS)
    Tarek Talat Al-Ghoussein (American University of Sharjah, AUS)
    Jeremy Bendik-Keymer (American University of Sharjah, AUS)

    Symposium Coordinator in Sharjah: Sharon Ahimaz (Sharjah Biennial team)

    Offset of 70 tonnes of Carbon.
    The conference language is English.

    The Symposium, which forms part of the Sharjah Biennial, aims to explore specific aspects of the relationship between culture and ecology - not least the challenges and the contradictions. The event will profile the extraordinary work taking place in architecture, the visual arts, across new technologies, in design and on screen. Discussions will involve artists, academics and students, architects and designers, people living locally and a number of key contributors from other continents. It draws from and will build on previous discourse - capturing the perspectives of people who are addressing ecological issues on a daily basis. The Symposium bravely takes place in a country which is prepared to look to the future and the changes we are all going to have to make.

    THURSDAY 5 April

    9.30 – 10am: Refreshments and Orientation
    10 – 10.15am: Welcome by Jack Persekian (Artistic Director SB8) and Michaela Crimmin(Director RSA Arts and Ecology).

    10.15 – 10.45am: Keynote speaker: ‘Ecology and the Politics of Change’, Bruce Sterling, Author, journalist, editor and critic, Texas and Serbia.

    10.45 – 12.00: Panel Discussion: The lure of the 'eco'
    Eco-art, eco-fashion, eco-tourism, eco-politics, eco-activism, eco-village ... In almost every aspect of how and where we live, work and play, the eco has embedded itself. How has what we mean by ecology transformed and evolved through the practice of everyday life?

    Panelists:
    Sarah Rich (Managing Editor, Worldchanging and inhabitat.com, a weblog covering sustainable design and green building, Seattle)
    Sergio Vega (Artist, Gainesville; participating in Sharjah Biennial 8)
    Siobhan Leyden (producer and presenter of the daily talk show ‘Siobhan Live’ on Dubai Eye radio, 103.8 FM)
    Stephanie Mahmoud (Marketing and Management student, AUS)
    Chair: Jeremy Bendik-Keymer (Philosophy teacher in the Department of International Studies, AUS)

    12 - 12.45pm: Film Programme Excerpt: Riverglass: A River Ballet in Four Seasons. Andrej Zdravic, 1997 (41 mins)
    "Riverglass presents the 'materiality' of the river Soca. A symbol of importance in Slovenian culture, the film presents the force and clarity of the water from the point of view of the river itself, a Gaian perspective possibly. In its content and development of specialist filming equipment it recalls other film-makers landscape interventions (for instance Michael Snow's La Region Centrale (1970) or Robert Beaver's The Stoas, (1991-97)." – Mark Nash

    12.45 – 2 pm: Lunch Break

    1.45 – 3.00pm: Parallel Seminars:

    I. Emergencies and Risk
    What is the role of architects, designers and artists concerning housing and communities? With increasing pressure on resources and space, and an increasingly volatile political climate how can we move from coping with aftermaths to try to mitigate risk before crises? Can design and architecture be a political act?

    Susi Platt (Architecture for Humanity's leading post-Tsunami reconstruction designer, Sri Lanka)
    Michael Rakowitz (Artist, New York; participating in Sharjah Biennial 8)
    Moderator: Mehdi Sabet (Associate Professor, Architecture & Interior Design, School of Architecture and Design, AUS)

    II. Resources: Truth and Materials
    How far are recycled or sustainable materials a consideration for artists, designers and architects? How do such considerations affect our experience/percepetion of materiality in art and the built environment? And how does this relate to wider questions of resources—water, energy, etc.?

    Mona El Mousfi (Sharjah Biennial architect and Assistant Professor, School of Architecture and Design, AUS)
    Tomás Saraceno (Artist and architect, Frankfurt; participating in Sharjah Biennial 8)

    3.00 –3.30pm: Coffee Break

    3.30 – 4.15pm: Feedback and Group Discussion

    4.15 – 5.15pm: In Conversation. ‘Kumar Shahani: Politics and the ecology of change’
    Mark Nash (curator of Sharjah Biennial 8 film programme; Director of the MA Curating Contemporary Art at the Royal College of Art, London) and Geeta Kapur (Critic and Curator, New Delhi, and member of the Jury for the 2007 Sharjah Biennial 8 Art Prize) in conversation about the work of Indian filmmaker Kumar Shahani.

    7.00 – 7.45pm: Presentation by OMA/ Rem Koolhaas, Reinier De Graaf at Qanat Al Qasba

    8.00pm: Film Programme Excerpt held at Qanat Al Qasba: The Form of the palace of Matsumae-kun’s Brothers 1, 1988 - Oki Hiroyuki – (17 min)

    8.30pm: Film Programme Excerpt held at Qanat Al Qasba: The Char Adhyay, 1997 - Kumar Shahani – (110min)

    FRIDAY 6 April

    Welcome by Michaela Crimmin, RSA Arts and Ecology Director, London

    4 – 5.30pm: Panel discussion: Offsetting / Upsetting. 'Art vs. issues'
    Much work in the field of art and ecology has emerged in the field of remedial actions in industrial sites. Today carbon trading and offsetting are, more abstractly, being proposed as a way of restoring the balance of the atmosphere. How might these two motions be linked? How or should the work of some artists might generally be regarded as a form of offsetting or redressing? How do some artists desire tangible palliative results, while others offer strategies of friction or resistance? What is more important, the issues or the art?

    Panelists:
    Koyo Kouoh (Cultural producer, Arts Manager and Programming Consultant, Dakar)
    Peter Fend (Artist, Berlin; participating in Sharjah Biennial 8)
    Charles Esche (Director, Van Abbemuseum, Eindhoven and member of the Jury for the 2007 Sharjah Biennial 8 Art Prize)
    Chair: Stephanie Smith (Director of Collections and Exhibitions, Curator of Contemporary Art, Smart Museum of Art, University of Chicago)

    5.30 – 6pm: Break
    6 – 7pm: Jonathan Watkins (Co-curator, Sharjah Biennial 8 and Director Ikon Gallery, Birmingham) and Cornelia Parker (Artist, London; participating in Sharjah Biennial 8) to introduce Parker's project for Sharjah Biennial 8: Video interview with Noam Chomsky
    Followed by Q+A from the audience.

    7.30pm: Film Programme Excerpt held at Qanat Al Qasba: Darwin's Nightmare, Hubert Sauper, 2004 (107 min),

    SATURDAY 7 April

    4.30pm: Welcome back by Michaela Crimmin, RSA Arts and Ecology Director, London

    4.30 – 5.30pm: Artists' presentation: e-Xplo with Ayreen Anastas (Artists US/Austria; participating in Sharjah Biennial 8)

    5.30 – 7pm: Panel discussion: Urban Planning and the future city.
    What is the future of the city as a habitat for humanity? Increasingly dense housing, commercial, cultural, infrastructural and civic spaces seem to contradict our desire for space, openness and freedom. What lies ahead for the city as a living, symbiotic form of inanimate structure and animate inhabitants?

    Panelists:
    Samir Srouji (Artist, Palestine; participating in Sharjah Biennial 8)
    Rula Sadik (General Manager, Design and Planning, The Design Group, Nakheel, Dubai)
    Samer Kamal (Founder, Bee’ah, Sharjah Environmental Company, Sharjah)
    Chair: George Katodrytis (Architect; Professor of Architecture, School of Architecture and Design, Professor of Architecture, AUS)

    7.30pm: Film Programme Excerpt held at Qanat Al Qasba: The Journals of Knud Rasmussen, Norman Cohn, Zacharias Kunuk, 2006 (112 min)

    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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