Longitudes

PUBLICS' Library in Helsinki incorporates Latitudes-edited publications


We are glad to announce that PUBLICS in Helsinki now has all Latitudes publications available for consultation in their library (with the exception of the monograph "Lara Almarcegui, Projects 1995–2010" which is out of print). Our first publication, "LAND, ART: A Cultural Ecology Handbook" (RSA/Arts Council England, 2006, also out of print), was already in their library

PUBLICS library is the third location where the whole set of Latitudes' publications reside, together with the Library of the MACBA Study Centre, Barcelona, and the Paul D. Fleck Library & Archives, The Banff Centre, Canada.

We also donated a few books we have contributed to with essays or interviews, such as "Antoni Hervàs. ‘The Mystery of Cabiria" (Ajuntament de Barcelona, 2016), "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S SO LISTEN UP" (NoguerasBlanchard, 2017), Rasmus Nilausen, ‘Soups & Symptoms, Paintings 2011–2016’ (Ajuntament de Barcelona, 2016) and "Lara Almarcegui. Béton" (SilvanaEditoriale, 2019).



PUBLICS library is located at Sturenkatu 37-41 4b 00550 Helsinki.

Latitudes' publications available at PUBLICS Library (bibliography online):

Joan Morey: COLLAPSE
Various locations, Barcelona
September 2018–January 2019
Exhibition guide/programme guide, opuscule, poster


4.543 billion. The matter of matter
CAPC musée d'art contemporain, Bordeaux
June 2017–January 2018
Exhibition guide & symposium guide

Amikejo
Catalogue of the exhibition series, Museo de Arte Contemporáneo de Castilla y León (MUSAC), León
April 2012

United Alternative Energies
Christina Hemauer & Roman Keller
Catalogue of the exhibition, Aarhus Art Building, Centre for Contemporary Art, Århus
January 2012

Campus
Catalogue of the project, Espai Cultural Caja Madrid, Barcelona
July 2011

Also available online.

Portscapes
Catalogue of the commission series and exhibition 'Portscapes', Port of Rotterdam / Museum Boijmans Van Beuningen, Rotterdam
February 2010

Martí Anson, Mataró Chauffeur Service
Catalogue of the project, 'No Soul For Sale', Tate Modern, London
January 2011

The Last Newspaper
Catalogue of the exhibition 'The Last Newspaper', New Museum, New York
October–December 2010

Lawrence Weiner: THE CREST OF A WAVE
Booklet of the exhibition, Fundació Suñol, Barcelona
October 2008

Simon Fujiwara: The Incest Museum–A Guide
Artist book, 'Provenances', Umberto di Marino Arte Contemporaneo, Naples
May 2009

Ignasi Aballí: 没有,有 Nothing, or Something
Catalogue of the exhibition, Suitcase Art Projects, Beijing
July 2009

Ecology, Luxury & Degradation
UOVO #14
Summer 2007

Greenwashing. Ambiente: Pericoli, Promesse e Perplessità 

(Greenwashing. Environment: Perils, Promises and Perplexities)
Catalogue of the exhibition, Fondazione Sandretto Re Rebaudengo, Turin
February 2008



→ RELATED CONTENT

Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz

Latitudes' home page www.lttds.org


The April 2018 monthly Cover Story "Dates, 700 BC to the present: Michael Rakowitz" is now up on Latitudes' homepage: www.lttds.org

"As Michael Rakowitz’s fourth plinth commission is unveiled in London’s Trafalgar Square, this month’s cover story image revisits Return (2004-ongoing) a related project by the artist that also speaks about the turbulent history of Iraq. And dates. In London, Michael has deployed thousands of date syrup cans to make a 1:1 scale recreation of Lamassu, the fantastic winged bull that graced the gates of the city of Nineveh from 700 BC until it was destroyed by Isis in 2015."

—> Continue reading
—> After April it will be archived here.

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 – March 2018: "Armenia's ghost galleries" 6 March 2018
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018
  • Cover Story – January 2018: I'll be there for you, 2 January 2018
  • Cover Story – December 2017: "Tabet's Tapline trajectory", 4 December 2017
  • Cover Story – November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth", 1 November 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017


    Cover Story—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


      Latitudes in Kult Magazine (#10, October 2009)

      Milan-based Kult Magazine has published an article on art and ecology in their October issue written by art critic and curator Daniele Perra. In the section, Perra interviews curator Francesco Manacorda (curator of the exhibition 'Radical Nature: Art and Architecture for a Changing Planet 1969-2009' on view at the Barbican Art Gallery, London, until 18 October), as well as English artist Simon Starling and selects a few ongoing exhibitions and events that analyse the relationship between art and nature.

      In page 88 (see detail above) Perra mentioned Latitudes' ecology-related projects such as the 'Greenwashing. Environment: Perils, Promises and Perplexities...' exhibition at the Fondazione Sandretto in Turin in 2008, the guest-edition of UOVO #14 in 2007 and the publication 'Land, Art: A Cultural Ecology Handbook' in 2006, to introduce our participation in the forthcoming The Wånas Foundation seminar on Art and Ecology taking place on the 21 October in Knislinge, Sweden and in the symposium organised by Hinterland Projects on 26th November titled 'The evolving relationships between artists, the changing climate and new responsibilities'.

      [Above: Detail of page 88 of the magazine. With thanks to Daniele Perra]

      Materials presented at 'NO SOUL FOR SALE'


      During 'NO SOUL FOR SALE' we are presenting several publications and paraphernalia related to our projects, including:

      – Compendium of essays, artists' projects, etc. 'Land, Art: A Cultural Ecology Handbook' (Royal Society of Arts/Arts Council England, 2006)
      – Magazine UOVO #14 'Ecology, Luxury and Degradation' (The Bookmakers Ed., Summer 2007)
      – Exhibition catalogue 'Greenwashing. Environment: Perils, Promises and Perplexities' (The Bookmakers Ed., February 2008)
      – Artist book by Simon Fujiwara 'The Museum of Incest: A Guide' (Archive Books, May 2009)

      We also have DVDs of Jan Dibbets' recent film '6 Hours of Tide Object with Correction of Perspective' (as part of Portscapes) and a public sculpture produced in October 2008 by Lawrence Weiner on occasion of his exhibition 'THE CREST OF A WAVE' at Fundació Suñol, Barcelona (we also have the exhibition booklet available).

      The Bruce High Quality Foundation also have a computer available from where visitors can burn DVDs for $5 as well as some of their publications.

      Haegue Yang at Sala Rekalde & 2009 Korean Pavilion Venice Biennale


      Haegue Yang's new exhibition at sala rekalde 'Symmetric
      Inequality' (18.12.08-19.04.09) "belongs to a group of installations the artist has been developing over the course of this year, focusing her interest on investigating new possibilities for parallel crossings between abstraction and narration. Together with
      Kunstverein (Hamburg), Cubitt (London), the Carnegie Museum of Art (Pittsburgh), Portikus (Frankfurt) and REDCAT (Los Angeles), sala rekalde now contributes to the closure of a serial project that has taken the medium of portraiture as the point of departure for its own articulation." (from e-flux 18.12.08).

      Below an excerpt from
      the catalogue essay by Latitudes' Max Andrews "Towards Haegue Yang's 'Blind Rooms'", which will be included in the forthcoming publication (out Spring 2009) followed by a video of the installation:

      "Yang has developed a finely-tuned articulation of space through deft assemblage that has encompassed mirrors, multifarious electric lamps, scent atomizers, infrared motion detectors, heat sources and Venetian blinds. Variously sensory and sensible (i.e. readily percieved), such devices are not necessarily socially meaningful in themselves, yet they allow an interactive atmospherics that suggest zones of indeterminate necessities – part domestic interiors, part private theatres – and “localized effects” akin to political action."

      As the Arts Council Korea announced on the 23 December Eungie Joo, Director & Curator of Public Programs at the New Museum of Contemporary Art, New York, recently appointed commissioner of the Korea Pavilion at the forthcoming Venice Biennale has invited Yang to represent Korea at the 53rd International Venice Biennale. Joo is the first non-Korean national commissioner for the Korean Pavilion.



      Haegue Yang was featured in an interview by Doryun Chong in the Summer 2007 issue, which Latitudes guest edited, of UOVO/14 titled 'Ecology, Luxury and Degradation' (see inside the issue here).

      HAEGUE YANG

      'Symmetric Inequality'
      18 December 2008 - 19 April 2009
      sala rekalde
      Alameda de Recalde 30
      48009 Bilbao, Spain
      www.salarekalde.bizkaia.net





      'Greenwashing' en El Cultural (13 Marzo 2008)

      Ibon Aranberri 'Light over Lemoniz (without shockwave)', 2000–4. 
      Cortesía del artista e Isabella Bortolozzi, Berlin.

      A continuación una selección del artículo 'Verde es el color del dinero' de Mariano Navarro que se publicó en el suplemento 'El Cultural' de 'El Mundo' el 13 Marzo 2008:

      "Greenwashing se ocupa de un tema pujante, la situación del medioambiente en el mundo, y cómo su título indica lo hace desde una óptica tan amplia como determinada. Greenwashing es un neologismo que define la injustificable apropiación de las virtudes medioambientales por parte de la industria, los estamentos políticos o las organizaciones, con la finalidad de crear una imagen positiva de sus actividades o productos y una imagen mistificadora que distraiga la atención respecto a sus propias responsabilidades e impactos medioambientales negativos. Green significa verde, washing, lavar, y podría traducirse por “lavar con verde” o, más irónicamente, por “el verde lava más blanco.”

      El comisariado ha sido un trabajo colectivo entre Ilaria Bonacossa, jefa de exposiciones de la Fondazione, y el estudio Latitudes, formado por Max Andrews y Mariana Cánepa Luna, colaboradores del programa Arts & Ecology, autores del libro Land, Art: A Cultural Ecology Handbook, organizadores en la Bienal de Sharjah de un simposio sobre el tema y editores de un número de la revista UOVO, de Turín, con el tema Ecología, Lujo & Degradación. Cito esta parte de su curriculum porque sin el conocimiento previo del temario tratado, difícilmente podrían haber llevado a cabo una lectura que, sin ilustrar tesis preconcebida alguna, resulte tan rica, tan alertadora e instructiva, en el mejor sentido del término. Tampoco para la Fondazione, que ha dedicado esfuerzos en esos aspectos desde 2001." 



      Interview with Lara Favaretto published in UOVO/16 (2008)

      Lara Favaretto, Plotone, 2005. 20 air compressed tanks, 20 pressure regulators, 20 distributings, 20 timers, 20 electrovalves, 20 whistles, plastic cables, 165 x 10 each tank. Courtesy of the artist and Galleria Franco Noero, Torino.

      In the first 2008 issue of UOVO, issue 16, Mariana Cánepa Luna from Latitudes interviewed Turin-based artist Lara Favaretto. The issue focuses on the relationship between art and architecture, man and environment and includes interviews with: Raimundas Malasauskas with Adam Carr, Tobias Putrih with Silvia Sgualdini, Michael Sailstorfer with Francesca Pagliuca, Dahn Vo with Adam Carr, Vincent Lamouroux with Céline Kopp, Daniel Arsham with Merce Cunningham, Tatiana Trouvé by Lillian Davies; texts by Michael Rakowitz, Liam Gillick, Marjetica Potrc and Hans Op De Beeck and many more...

      Here is a peek at that interview (you can download the full text from Latitudes' website, here or buy the issue!):


      MCL: In your recent Frieze Commission you sent out a letter inviting the Queen of England to visit the Frieze Art Fair (Project for Some Hallucinations, 2007). The letter in which she declines the invitation was pinned to a tree inside the fair. What kind of arrangements would you have made if the Queen had accepted?


      LF: Very Few! After an official inspection by the Royal Staff, everything would have followed the Royal Protocol. My work stopped before that, with the very possibility to project an apparition, a ‘platonic’ intervention, a Goliardic visualisation, or a confrontation with the appearance of a movie star from early cinema. It was an objectless hallucination, a kind of sentimental investigation that was projected to appear yet be autonomous in denying itself. The failure was long-awaited and foreseeable and was highlighted at the fair by the sound of applause, that put an end to the great daily spectacle as everyone was heading for the exit.




      Lara Favaretto, Project for Some Hallucinations, 2007, Frieze Art Fair Project, October 2007. Courtesy of the artist and Galleria Franco Noero, Torino. Photo: Latitudes.



      MCL: In the context of that commission you said that ‘when one listens to the narration of an idea that is so powerful it ultimately does not matter if it's ever realised’. Can you tell me another such idea or story?

      LF:
      Don't you think it's like that? I think that if very few words can describe a work, just enough to capture the work's physiognomy, it could end up being even stronger than the work itself. The border is really subtle. Telling a story also means suspecting deception and trying to improve it, waiting for it to suddenly unravel, and having fun as much as I have. A story I haven't understood is: ‘I've been studying disguises for a long time now. I am hired to shadow one of the most important people on the American political scene. I am currently based high in the Tora Bora caves.’

      Lara Favaretto lives and works in Turin, Italy. In 2008 she will be artist-in-residence at the Isabella Stewart Gardner Museum, Boston; the Hayward Gallery, London, and at the Proa Foundation, Buenos Aires, where she will subsequently have solo shows. She will also present work at The British School at Rome and participate in the 16th Sydney Biennial.
      She is represented by Franco Noero in Turin and Klosterfelde in Berlin.

      Latitudes in 'Dazed & Confused' (December 2007 issue)

      Photo of the magazine spread by Alexis Zavialoff.


      The December 07 issue of 'Dazed and Confused' have profiled UOVO magazine as a 'heavy-duty zine'. Their short review is subtitled 'Latitudes, the Spanish curators, take over the doorstep-sized art quarterly with the help from Dash Snow and Ryan McGinley' and the caption under the photograph reads 'Latitudes take over the reins at UOVO'.

      They are indeed dazed and confused. We have NOT taken over the magazine nor have we met Dash Snow or Ryan McGinley, at least not yet. Snow and McGinley were interviewed in previous UOVO issues as were, in fact, all the other artists mentioned in the review.

      However, Latitudes did guest edit the summer issue #14 (Green) 'Ecology, Luxury and Degradation' which included interviews and projects by artists such as Tue Greenfort, Sergio Vega, Michael Rakowitz, Lara Almarcegui, Federico Martelli, Noguchi Rika, Arturas Raila, etc. 


      We are also collaborating with The Bookmakers Ed., the design office led by Chiara Figone which has just begun to publish monographs, as members of their Advisory Board together with Andrew Bonacina, Adam Carr, Lillian Davies, Silvia Sgualdini and Francesco Stocchi.

      Lara Almarcegui's Wastelands

      Last weekend we visited 2 of Lara Almárcegui's wastelands. One in the Rotterdam harbour (www.braakliggendterrein.nl) and the other one in Genk, Belgium. The Rotterdam wasteland (first 4 pictures) has remained untouched since 2003 and will be kept until 2018. The Genk wasteland's dates are 2004-2014 (following 12 images).



      "Lara Almárcegui's work often explores neglected or overlooked sites, carefully cataloguing and highlighting each location's tendency towards entropy. Her projects have ranged from a guide to the wastelands of Amsterdam to the display, in their raw form, of the materials used to construct the galleries in which she shows. Her works are simple actions that belie the vast research process which she undertakes to achieve them." (Frieze Projects, 2006)

      Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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      Latitudes
      2005—2019