Longitudes

Mariana Cánepa Luna reviews Frieze week 2018 for art-agenda.com

Advertising in Pimlico. Above and below photos by Latitudes.

London Roundup
Various locations, London
October 12, 2018


Just as Frieze Art Fair opened last Wednesday, Prime Minister Theresa May gave her keynote speech—and dared to dance again—at the Conservative Party Conference in Birmingham. She announced that freedom of movement would be terminated “once and for all” by limiting access to “highly skilled workers” (in short, migrants earning over 30,000 British pounds per year). Countless art professionals earn much less (including entry-level curatorial staff at Tate, and yours truly), as well as doubtless many of the myriad gallery and museum folks involved in the city-wide jamboree of Frieze week. How do we imagine London’s contemporary art ecology post-Brexit, a scene that has grown exponentially since Tate Modern’s opening in 2000 and the first Frieze Art Fair in 2003? The question of how the 2019 edition of the fair is going to be affected was the elephant in the tent. Most people I asked shrugged: negotiations are still ongoing, consequences are yet to be seen. “It’ll be fiiiiine,” a London museum director told me. “Maybe we’ll visit a smaller fair, like the first editions—remember those days?” opined a British gallerist friend working in New York. Although one could put this upbeat denial down to the cliché of dark British humor and the spirit of “muddling through,” I nevertheless left worried that something more troubling lay behind it.

If Frieze might have triggered the relocation of many contemporary art galleries from the East to the West of the city, two recent institutional openings are enforcing a southern axis. The new Goldsmiths Centre for Contemporary Art in New Cross, housed in a listed Victorian bathhouse refurbished by 2015 Turner Prize winners Assemble, kicked off with a sparkling survey show of Mika Rottenberg’s absurdist film installations offering grotesque parodies of current labor conditions. The second home of the South London Gallery at Peckham Road Fire Station, elegantly renovated by 6a architects, opened with “Knock Knock,” a group show about the uses of humor—from political satire to visual puns—in contemporary art. The addition of these spaces will surely benefit Gasworks, a short bus ride away in nearby Vauxhall, whose truly international program of residencies and exhibitions over the last two decades has been a vital antidote to the dangers of isolationism in the British art scene.


—> Continue reading here.

Text originally published in Art-agenda on October 12, 2018.



Lucy Dodd at Sprüth Magers, London.

Façade of the new Goldsmiths Centre for Contemporary Art in New Cross.
Detail of Mika Rottenberg's show at Goldsmiths Centre for Contemporary Art in New Cross.
Part of Tania Bruguera’s 2018 Hyundai Commission at Tate Modern. 
Visitor's comments on the Turner Prize 2018 board.
Installation from Atelier E.B's show at the Serpentine Sackler Galleries, London.
Detail from Cayetano Ferrer's solo exhibition “Demaster” at Southard Reid, London.
Martine Syms at Sadie Coles HQ, London. 
Judith Kopf's "Flock of Sheep" (2017) at the South London Gallery.
Cornelia Parker Transitional "Object" (PsychoBarn) at the Royal Academy.
 Johanna Unzueta at Proyectos Ultravioleta, Focus section, Frieze Art Fair.
 (Above + below) Sam Lewitt, "Core (the "Work")", BMW Open Work commission, Frieze Art Fair.
 Ian Law at RODEO, Frieze Art Fair.
(Above and below) Oscar Humphries' "Sèvres and Japonism" at Frieze Masters, London. 

(Above and below) Chris Burden at Gagosian, London.  

Lawrence Abu Hamdan at Chisenhale, London.
Daniel Silver at Frith Street Gallery, London.
Kemang Wa Lahulere at Marian Goodman Gallery, London.
 Alicja Kwade's work in the "Space Shifters" exhibition, Hayward Gallery, London.
 (Above and below) Elmgreen and Dragset, "This is how we bite our tongue", Whitechapel, London.
Amy Sillman at Camden Art Center, London.

RELATED CONTENT: 

PAC Murcia 2010: 'Dominó Caníbal', a year-long 'cannibalistic' exhibition project

The year-long exhibition project DOMINÓ CANÍBAL will use a single venue, the 18th century convent church Sala Verónicas, over a period of twelve months. Starting with the sculptor, essayist and poet Jimmie Durham, each successive artist [Cristina Lucas (March 26th), The Bruce High Quality Foundation (May 21st – see images of their 'temporary office' for Latitudes' participation in 'No Soul for Sale'), Kendell Geers (July 9th), Tania Bruguera (September 24th), Rivane Neuenschwander (November 12th) and Francis Alÿs (December 17th)] will create his/her work based on what was created by the preceding artist, either destroying it, appropriating or reinterpreting it.

Jimmie Durham's exhibition will open on Monday 25th January, and will be preceded by a conversation between him and Cuauhtémoc Medina, curator of 'Dominó Caníbal', on Friday 22 January, 6pm at CENDEAC.
Below images of the artist during his recent site visits to Murcia and surroundings. 


 As PAC 2010 curator Cuauhtémoc Medina has stated “my starting point is the operation of the game of dominoes, which is a very widespread transcultural point of production. (...) From the ideological use of the so-called “domino effect” brings to mind the terrors of the Cold War and beyond”. Here "the creative process depends on observation and interaction with the previous moves, instead of viewing itself as the production of some unique and conclusive image." (1)


The ongoing creative process taking place in Sala Verónicas will be filmed in real time and on view at the PAC MURCIA website (www.pacmurcia.es).

As with the previous PAC in 2008 (see Latitudes' posts here and here) a series of activities are running parallel to PAC 2010: a seminar organised in collaboration with CENDEAC (Centro de Documentación y Estudios Avanzados de Arte Contemporáneo), a programme of exhibitions in art galleries in the region and series residences for artists from Murcia in Europe and America.

Coinciding with this edition of PAC, the
European Biennial for Contemporary Art Manifesta 8 will also take place in Murcia and open on October 1st . The event is curated by three collectives Alexandria Contemporary Art Forum (Egypt), Chamber of Public Secrets (Denmark, Italy, Lebanon) and Tranzit (Austria, Czech Republic, Hungary and Slovakia) (see Latitudes post here and here) with the "aim to engage with Europe’s present-day boundaries with Northern Africa and its interrelations with the Maghreb region." (2)

'Dominó Caníbal'
, January–December 2010, Sala Verónicas, Murcia
Artists: Jimmie Durham (January 22nd) Cristina Lucas (March 26th), Bruce High Quality

Foundation (May 21st), Kendell Geers (July 9th) Tania Bruguera (September 24th),
Rivane Neuenschwander (November 12th) and Francis Alÿs (December 17th).
Curator: Cuauhtémoc Medina
Project Management: Carlos Urroz
Production: PAC Murcia is an initiative of the Department of Education and Culture of the Región de Murcia through its Directorate General of Fine Art and Cultural Goods.
Organiser: Department of Culture & Tourism, Region of Murcia
Press & Communication: Urroz Proyectos, T + 34 915 648 856, [email protected], www.urrozproyectos.com
Project website: www.pacmurcia.es

UPDATE - images of Jimmie Durham's installation. Photos: La Lobera
(1) Curatorial text, available on http://www.pacmurcia.es
(2) Manifesta website
Images: Graphic identity of 'Dominó Caníbal', portraits of Jimmie Durham during his site visits to Murcia and surroundings and interior of Sala Verónicas (Photos: La Lobera). Courtesy PAC Murcia 2010.

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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