Opening of the exhibition “Ria” by Jorge Satorre at the Museo CA2M, Móstoles
Mon, Jan 27 2025
Jorge Satorre, Detail of “Ricardo”, 2020. Courtesy of the artist and CarrerasMugica, Bilbao. Photo: Ander Sagastiberri.
The exhibition “Ria”, the first solo museum show in Spain dedicated to Mexican-born, Bilbao-based artist Jorge Satorre (1979), will be on view at the Museo Centro de Arte Dos de Mayo (CA2M) in Móstoles, Madrid, between February 1 and August 31, 2025. The exhibition features a new work alongside a survey of Satorre’s sculptures, drawings, and installations created since 2013.
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Satorre’s artistic practice delves into unmapped and “minor” histories, whether attending to the intangible heritage of traditions and the oral transmission of stories or engaging in more formal explorations of traditional craft production methods, their environments, stories and labourers. His recent projects frequently involve acts of transformation and subversion, stemming from elemental actions such as moulding, stamping, forging, casting or breaking – processes applied to materials that he regards as intrinsic components of a process towards progressively moving away from a place where ideas originate. Just as hands and tools intertwine in Satorre’s work, so do the intimate with the industrial, the functional with misuse, anecdotes with archetypes, and remembered events with the imaginary.
“Río”, the artist's first monograph will be published alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland), alongside a conversation between the artist and Latitudes, the exhibition curators. This bilingual Spanish-English edition will cover Satorre’s exhibitions and works from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
“Ria” occupies the museum’s second floor and runs concurrently with the graphic intervention by María Medem. Starting on March 1, 2025, it will also include exhibitions by Rodríguez-Méndez and David Bestué. Additionally, it will coincide with the events scheduled in the city surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
“Ria” is organized by the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid), and is curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979) lives in Bilbao. His work has been exhibited in solo shows: “Black Jacket, Gray Sweatshirt”, CRAC Alsace, Altkirch, France (2021) and CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería Labor, Mexico City (2017); “Curvar a Miguel es arruinar las baldosas”, Blueproject, Barcelona (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); “Modelling Standard” (con Erick Beltrán), FormContent, London (2010); “The indirect gaze”, Le Grand Café, St, Nazaire, France (2010).
As a curator, he has organised the group exhibition “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (CarrerasMugica, Bilbao, 2022-23) and the solo exhibition “Redonda, Redonda” by Alberto Peral (Tecla Sala, Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in “Modelling Standard” (various spaces, 2010-2011).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE CURATORS
In 2005, Max Andrews (1975 Bath) and Mariana Cánepa Luna (1977 Montevideo) founded Latitudes, a curatorial office based in Barcelona that works internationally across contemporary art practices.
Latitudes has curated exhibitions including “Panorama 21. Notes for an Eye Fire” (with Hiuwai Chu, 2021) and “José Antonio Hernández-Diez: I Will Fear no Evil” (2016) at MACBA Museu d'Art Contemporani de Barcelona; “Things Things Say” (2020) and “Joan Morey. COLAPSE” (2018) at Fabra i Coats: Centre d'Art Contemporani de Barcelona; “4,543 billion. The Matter of Matter” (2017) at CAPC Musée d'art contemporain de Bordeaux; “Compositions” for the first two Barcelona Gallery Weekend (2015 and 2016), among others. Latitudes was Lead Faculty of the curatorial residency “Geologic Time” at Banff Centre for Arts and Creativity, Canada (2017) and was part of the jury and mentoring team of three seasons of Barcelona Producció, Centre d'Art La Capella (2016-2020).
Between 2016 and 2022, Latitudes edited the online project “Incidents (of Travel)” produced by KADIST, narrating twenty encounters between an artist and a curator from around the world. Other editorial projects include the edition of the first monograph dedicated to the artist “Lara Almarcegui: Projects 1995-2010” (Archive Books, 2011), live-editing ten weekly tabloids throughout the exhibition “The Last Newspaper” (New Museum, New York, 2010), guest editing a 500-page ‘green’ issue “Ecology, Luxury and Degradation” (UOVO magazine, 2007); and the anthology "LAND, ART: A Cultural Ecology Handbook" (Royal Society of Arts/Arts Council England, 2006).
Max Andrews is Contributing Editor of Frieze magazine where he has written since 2004 and has collaborated with Artforum since 2024. Mariana Cánepa Luna was secretary of the board of Hangar Centre of Production and Artistic Research, Barcelona (2015–2019) and Advisor of the Acquisitions Committee for the National Collection of Contemporary Art, Government of Catalonia (2024). They are members of the Asociació Catalana de Crítica d'Art (ACCA/AICA) and Active Members of the Gallery Climate Coalition.
Latitudes is preparing the survey exhibition “Laia Estruch: HELLO EVERYONE” at the Museo Nacional Centro de Arte Reina Sofía (26 February–1 September 2025).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
SAVE THE DATE: 1 February 2025 opening of Jorge Satorre’s exhibition “Ria” at the Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
Wed, Jan 8 2025
Jorge Satorre, ”Arruinar las baldosas II" (2016), in the exhibition “Zigzag Incisions” (2017) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
SAVE THE DATE
Opening: 1 February 2025, 12pm
Jorge Satorre
“Ria”
Museo Centro de Arte Dos de Mayo, Móstoles (Madrid)
1 February–25 May 2025
Latitudes is pleased to announce “Ria,” the first institutional solo exhibition in Spain by Mexican-born, Bilbao-based artist Jorge Satorre. The exhibition will open on Saturday, 1 February 2025, at noon at the Museo Centro de Arte Dos de Mayo in Móstoles, Madrid. It will feature a newly commissioned work and a survey of sculptures, drawings, and installations produced since 2013, and will be on view until 25 May 2025.
“Río” [River], the artist’s first monograph, will be released alongside the exhibition, featuring new essays by Daniel Garza Usabiaga (Director, Museo del Palacio de Bellas Artes, Mexico City) and Sean Lynch (artist, Askeaton, Ireland) alongside a conversation between the artist and Latitudes, the exhibition’s curators. This bilingual Spanish-English edition covers Satorre’s works and exhibitions from the last fifteen years, arranged in reverse chronological order. The book is designed by the artist and publisher Gabriel Pericàs in collaboration with Satorre and copublished by Museo CA2M y Caniche Editorial.
The exhibition will be held on the museum's second floor, and run concurrently with exhibitions dedicated to María Medem and from March 1, 2025, to Rodríguez-Méndez (curated by Ángel Calvo Ulloa), and David Bestué. It will also coincide with several events programmed in Madrid surrounding the 44th edition of the ARCOmadrid art fair (5–9 March 2025).
The exhibition is organised and produced by the Museo Centro de Arte Dos de Mayo and curated by Latitudes.
Jorge Satorre, Detail of “Decorar el agujero (Altkirch)” in the exhibition “Black Jacket, gray sweatshirt” (2021) at CRAC Alsace, Altkirch. Courtesy of the artist and LABOR, Mexico City. Photo: Aurélien Mole.
ABOUT THE ARTIST
Jorge Satorre (Mexico City, 1979). Lives in Bilbao. His work has been exhibited in solo shows: “Veste noire, sweat-shirt gris”, CRAC Alsace, Altkirch, France (2021); “Chamarra negra, sudadera gris”, galería CarrerasMugica, Bilbao (2020); “Pancha, the Colorful Bird and the Shining Snake”, REDCAT, Los Angeles (2018); “The Dead Animals”, Museo Tamayo, Mexico City (2017); “Modern Moral Subject, Decorating the Pit”, galería LABOR, Mexico City (2017); “Emic Etic?”, Artspace, Auckland / Enjoy Public Art Gallery, Wellington, New Zelanda (2013); and “The indirect gaze”, Le Grand Café, Saint-Nazaire, France (2010), amongst other.
As a curator, he has organised the group show “Café con leche, piña, huevo con jitomate, cebolla y cilantro” presenting works by David Bestué, Susana Solano and Júlia Spinola (galería CarrerasMugica, Bilbao, 2022), the solo show of Alberto Peral “Redonda, Redonda” (Tecla Sala, l’Hospitalet de Llobregat, Barcelona, 2021); and collaborated with Erick Beltrán in the multipart project “Modelling Standard” (Galería Joan Prats, Barcelona, 2011; Casa Vecina, Ciudad de México, 2011; FormContent, London, 2010).
Satorre’s work is in the collections of leading art institutions and collections, including the Frac des Pays de la Loire, France; Centre national des arts plastiques (Cnap), France; Wånas, Sweden; Museo Jumex, Mexico; Museo Universitario de Arte Contemporáneo (MUAC), Mexico; Museo Tamayo, Mexico; Museo Amparo, Puebla, Mexico; Estrellita Brodsky, Nueva York; Museo Nacional Centro de Arte Reina Sofía, Madrid; De Bruijn-Heijn collection, Amsterdam; Museo Centro de Arte Dos de Mayo, Móstoles (Madrid); Mona – Museum of Old and New Art, Tasmania, Australia; and the Davis Museum, Wellesley, United States, amongst others.
He has published “Pelusa” (Biel Books, 2021); “Black Jacket, grey sweatshirt” (CRAC Alsace and ABCDEFGHIJKLMNOPQRSTUVWXYZ, 2021) and “The Dead Animals Book” (Museo Tamayo, 2017).
Satorre is represented by LABOR (Mexico City) and CarrerasMugica (Bilbao).
ABOUT THE MUSEO CENTRO DE ARTE DOS DE MAYO
Established in May 2008, the Museo Centro de Arte Dos de Mayo (Museo CA2M) is a contemporary art museum under the auspices of the Autonomous Community of Madrid. CA2M stands as the singular institution in the region solely dedicated to contemporary art, and houses the art collection of the Autonomous Community of Madrid and, since 2014, has also been entrusted with the ARCO Foundation Collection. Since 2024, Museo CA2M has been directed by Tania Pardo.
→ CONTENIDO RELACIONADO:
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC, 14 September 2021
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Portscapes project page
- Portscapes photo documentation
- Web of the artist about ‘The Erratic. Measuring Compensation’
- Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze, 29 April 2015
- Publication "Robert Smithson: Art in Continual Movement" (Alauda Publications, 2012) includes an essay by Max Andrews, 28 Mar 2012
- Lecture by Max Andrews "From Spiral to Spime: Robert Smithson, the ecological and the curatorial", 13 March, 2pm, Lecture Theatre 1, Royal College of Art, London, 12 March 2012
- Interview with Erick Beltrán & Jorge Satorre published in 'Atlántica' magazine #52, 13 Feb 2012
- Proyecto producido por Jorge Satorre para 'Portscapes' (2009) expuesto en la exposición colectiva 'Fat Chance to Dream', Maisterravalbuena, Madrid, 29 Mar 2011
- 2009 Video of the making of Jorge Satorre's project
- Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten’s small exhibition at the visitor centre Futureland and surroundings, 2 October 2009
Cover Story, February 2023: Soil for Future Art Histories
Thu, Feb 2 2023
February 2023 cover story on www.lttds.org
The February 2023 monthly Cover Story “Soil for Future Art Histories” is now up on our homepage: www.lttds.org
“Latitudes’ essay ‘Un suelo para las historias del arte del futuro’ (Soil for Future Art Histories) is included in the newly-released catalogue of Futuros Abundantes (Abundant Futures), an exhibition of works from the TBA21 Collection curated by Daniela Zyman that took place at the C3A Centro de Creación Contemporánea de Andalucía in Córdoba last year.” → Continue reading (after February 2023 this story will be archived here).
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, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
- Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
- Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
- Cover Story, October 2022: Stray Ornithologies—Laia Estruch, 3 Oct 2022
- Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre, 31 August 2021
- Cover Story, July–August 2022: Incidents (of Travel) from Seoul, 1 July 2022
- Cover Story, June 2022: Cyber-Eco-Feminist Incidents in Attica, 1 June 2022
- Cover Story, May 2022: Things Things Say in print, 2 May 2022
- Cover Story, March 2022: The passion of Gabriel Ventura, 1 March 2022
- Cover Story, February 2022: Rosa Tharrats’ Textile Alchemy, 1 Feb 2022
Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”
Sun, Jan 22 2023
"Futuros abundantes" / "Abundant Futures" is co-published by TBA21 and Turner, 2023. Photos by Enrico Fiorese.
The exhibition catalogue “Futuros Abundantes / Abundant Futures” is now available. The book will be launched in ARCOmadrid’s section of ArtsLibris, on February 23rd, 2023, at 5pm.
With contributions from Rosemary-Claire Collard, Jessica Dempsey and Juanita Sundberg; Beatrice Forchini; Macarena Gómez-Barris; Berta Gutiérrez Casaos; Soledad Gutiérrez Rodríguez; Latitudes; Regina de Miguel; Plata; Matthew Ritchie; Jess Saxby; and Daniela Zyman. Poems by Ibn Zaydun and an artistic intervention by Abraham Cruzvillegas.
Hardcover, 16,5 x 24 cm
Spanish / English, 336 pages
Edited by Daniela Zyman and Eva Ebersberger
Book design by Matteo Guarnaccia
Publisher Editorial Turner
ISBN 978-84-18895-65-4
EUR 25
Miguel Covarrubias, “The Tree of Modern Art planted 60 Years Ago” [El árbol del arte moderno plantado hace 60 años], plantado hace 60 años], in Vanity Fair, vol. XL, n.º 3, New York, May 1933, pp. 36-37.
Edited by Daniela Zyman and Eva Ebersberger, and co-published with Editorial Turner in the context of the exhibition “Abundant Futures. Works from the TBA21 Collection” curated by Zyman, the show was co-organised by TBA21 and C3A Centro de Creación Contemporánea de Andalucía in Córdoba.
The 336-page book includes Latitudes’ newly commissioned essay titled “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories], which delves into how we might turn the page on the pseudo-organic root-and-branch diagrams that have underpinned the cultural narratives of the archetypical institutions of twentieth-century art, and instead consider an entity that has been largely neglected in its capacity to connect human and natural relations: soil.
The essay is published in Spanish. Below is an excerpt in English:
“Thinking and building a new logic outside of the dualism of humanity on the one hand and nature on the other necessitates new narratives, new grammar, new relational strategies, and such new explanatory figurations. History in this alternative perspective is a history where human activity has always been meshed and mulched in the web of life. Following a sense of both humanity-in-nature and nature-in-humanity, we could imagine an art history and way of making exhibitions that is both outside in and inside out.
We could better imagine a shared vocabulary—terms that easily move back and forth between aesthetic and non-aesthetic uses. And we could give more attention to categories that, like soil, already seem to refuse a distinction between cultural forms and other forms of lived experience. The present and the future likewise require reconstructing and refreshing the theoretical model of the whole genre of the exhibition, its possibilities, and conditions. Allowing a wider and deeper sense of image- and object-making lineages could create new conditions for abundance, tackling the damaging split still left between the humanities and the natural world, and the imprint that this rift has left on the institutions of knowledge which allowed art history and artistic practices to be considered an alternative order to the forces and objects of the web of life. What we then might find is not a universal and singular structure, not a unitary tree of modernity, but countless very specific perspectives, practices, systems, temporalities, and imaginations in varying states of composition as well as decomposition, active as well as lying fallow.”
Essay keywords: Ecology, Daniel D. Richter, environmental art histories, Art History, abundance, temporalities of soil, “human forcing”, Environmental collapse, exhibition-making, Dipesh Chakrabarty, diagrams, Earth system, Miguel Covarrubias, Alfred H. Barr Jr., MoMA, tree genealogy, Porphyrian trees, environmental history, rewilding art history, María Puig de la Bellacasa, Jason W. Moore, Web of Life, soil, landscape, farming, agricultural intensification, Aldo Leopold, “to think like a mountain”, Julie Cruikshank, soil-attentive ethos, humanity-in-nature, nature-in-humanity, Caroline Levine, overlapping rhythms of art institutions.
→ RELATED CONTENT:
- Latitudes’ writing – exhibition reviews, artist profiles, interviews, catalogue essays, features and opinions.
- Laia Estruch performs “Ocells Perduts V67” (2022) on the river banks of the Guadalquivir river in the city of Córdoba, as part of “Pasaje del agua | The Journeying Stream”, a programme jointly convened by TBA21 and TBA21–Academy.
- Group exhibition “4.543 billion. The matter of matter”, CAPC musée d’art contemporain Bordeaux, Bordeaux, France, 29 June 2017–7 January 2018;
- Lecture “Curating in the web of life” in Garage Museum of Contemporary Art, Moscow, 28 October 2019;
- Video of Latitudes' lecture “Curating in the Web of Life” at Garage Museum of Contemporary Art, Moscow, 4 December 2019;
- Lead Faculty, Geologic Time, Banff International Curatorial Institute, Visual + Digital Arts Department, Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017
- Editors, “Lara Almarcegui. Projects 1995–2010”, Archive Books, 2011
- Film programme, “A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008”, Museo Tamayo, Mexico City, and tour, April–October 2008
11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM)
Tue, Jun 25 2019
‘Volcán de Agras. Derechos mineros’. Foto: Lara Almarcegui.
El próximo 11 de julio a las 19h, la artista Lara Almarcegui y Mariana Cánepa Luna (comisaria, Latitudes) mantendrán una conversación abierta al público con motivo de la inauguración de exposición individual de Almarcegui ‘Volcán de Agras. Derechos mineros’ en el Institut Valencià d'Art Modern (IVAM), un proyecto coordinado por Sandra Moros, conservadora del museo valenciano. El evento es gratuito y tendrá lugar en el auditorio del museo.
A continuación de la charla, se podrá visitar la exposición en la que Almarcegui ha investigado sobre los derechos mineros del volcán de Agras en Cofrentes, lugar que fue explotado como cantera por la industria cementera desde mediados de los años setenta hasta los años ochenta. La exposición se podrá visitar hasta el 27 de octubre.
Tapa del catálogo ‘Lara Almarcegui. Béton’ publicado por Silvana Editoriale (2019) con motivo de la exposición de Almarcegui en CAIRN Centre d'art en Digne-les-Bains, Francia.
(Arriba y abajo) Conversación con Almarcegui y el crítico y comisario Cuauhtémoc Medina en TENT, Rotterdam, mayo 2011. Photos by Aad Hoogendoorn.
Monografía ‘Lara Almarcegui. Projects 2005–2010’ editada por Latitudes (Archive Books, 2011).
(Arriba y abajo) Febrero-mayo 2008: Obras de Almarcegui presentadas en la exposición colectiva ‘Greenwashing. Perils, promises and perplexities’, Fondazione Sandretto Re Rebaudengo, Torino. Fotos: Fondazione Sandretto Re Rebaudengo.
(Arriba y abajo) 8 Noviembre 2009: 80 personas se sumaron a la visita guiada a cuatro de los diecisiete terrenos baldíos documentados por Almarcegui para el proyecto Portscapes en el Puerto de Rotterdam. Fotos: Paloma Polo/SKOR. Más fotos aquí.
(Arriba, pared) Junio 2017–Enero 2018: Materiales de construcción realizadas por la artista entre el 2005 y el 2008 incluidas en la exposición colectiva ‘4.543 billion. The matter of matter’, comisariada por Latitudes en el CAPC Musée d'art contemporain de Bordeaux, Francia. Foto: Latitudes/RK.
→ CONTENIDO RELACIONADO:
- ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’(8 April 2019)
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012
- Launch of the monograph 'Lara Almarcegui. Projects 1995–2010', edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
- Monograph ‘Lara Almarcegui. Projects 1995–2010’, Archive Books, 2011
- Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
- Editing the forthcoming publication 'Lara Almarcegui. Projects 1995–2010' 18 March 2011
- Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
- Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
- Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008 28 Mayo 2008
- Lara Almarcegui in Frieze Art Fair 19 Octubre 2006
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’
Sat, Jun 1 2019
Latitudes' homepage www.lttds.org
The May 2019 Monthly Cover Story ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’’ is now up on Latitudes' homepage: www.lttds.org
“Lara Almarcegui’s current exhibition at the CAIRN art centre in Digne-les-Bains, southern France, focuses on the nearby Bléone river, its geology, and its exploitation. Latitudes has written an essay entitled ‘Thinking like a drainage basin’ for the accompanying catalogue. Lara’s project Béton (Concrete) has two parts. The first, seen here, involves the floor of the art centre being covered with crushed cement, gravel and sand. This raw material is the remains of several concrete structures — weirs — that were placed in the river in a failed attempt to stabilise a riverbed that had been extensively dug out over the preceding decades to produce gravel for the construction industry. The watercourse and its ecology is now being restored, and the weirs were recently removed.”
—> Continue reading
—> After May it will be archived here.
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 activities.
RELATED CONTENT:
- Archive of Monthly Cover Stories
- Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
- Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair 22 April 2019
- Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019
- Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
- Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
- Cover Story—January 2019: “Seesaw” (7 January 2019)
- Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 201
Essay: ‘Thinking like a drainage basin’ in the catalogue of the exhibition ‘Lara Almarcegui. Béton’
Mon, Apr 8 2019
(Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.
Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.
In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?”[1] She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’
‘Lara Almarcegui. Béton’
April 2019, 48 pages, 24 x 17 cm
Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann.
French/English
Published by Silvana Editoriale
March 2019
Edited by CAIRN centre d'art
ISBN 9788836640904
Purchase here for 10 Euros.
RELATED CONTENT:
- Writing archive on Latitudes' website;
- Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
- Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
- Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
- art-agenda review of Frieze week 2018 15 October 2018.
- Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018
"The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe
Mon, Feb 19 2018
Exhibition poster of "Altid Mange Problemer" at Kunsthal Charlottenborg, Copenhagen, Summer 2017. Photo: Latitudes.
The 280-page bilingual Danish/English monograph will be launched on March 2, 2018, at 4:30pm, in Kunsthal Charlottenborg's Apollo Kantine, though it will become available for online orders from February 26.
In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:
(...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."
In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.
Max has previously written on John's work for the catalogue of his 2006 exhibition "Problems" at Victoria Miro Gallery in London.
(Above and following): Photos: Finn Wergel Dahlgren. Courtesy Roulotte Russe.
In his essay, Max tries to define what "The Kørner problem” (the title of the essay) might be:
(...) "The apparently ‘wicked’ problems and appalling catastrophes that interpenetrate Kørner’s works are manifold. The upsurge in jihadist terrorist activity in Europe since 2015 and its fallout are unavoidable (whether vestiges of the Charlie Hebdo shootings and the Bataclan attacks in Paris, suicide bombings in Brussels and Manchester; or truck attacks in Nice, Berlin, Barcelona; rampaging attacks in London, and so on). The civil war and the rise of ISIL (ISIS, Daesh) in Syria and the exacerbating effects of climate change and mega-drought that affected the region are inescapable. The European debt and migrant crisis are here. Yet elsewhere Kørner also brings to mind what at first seem like unrelated problems: the 2011 Tōhoku tsunami and the calamity of the Fukushima nuclear power plant meltdown, human trafficking, et cetera, states of exception that seem to confirm that the problem is evermore radical, atrocious, ungrounded—more diffuse while remaining intractably real. American pop star Ariana Grande knows this as well as Kørner. Released in spring 2014, three years before the suicide bombing of her concert at Manchester Arena, her most successful single to date is titled “Problem”. We are witnessing new kinds of wicked problems and Kørner paints accordingly."
In preparation for the catalogue essay, in July 2017 Latitudes visited Kørner's impressive "Altid Mange Problemer" mid-career exhibition at Kunsthal Charlottenborg, the largest exhibition of his works to date, gathering paintings and sculptural pieces from 2004 to the present.
(Above and following): Photos by Latitudes.
Latitudes' first visit to Copenhagen also involved Kørner's work, as we visited his solo show 'ARoS Bank' at the ARoS Århus Kunstmuseum, Denmark (13 June–10 September 2006), which became the subject of our first blog post over a decade ago, in September 2006 (!).
RELATED CONTENT:
RELATED CONTENT:
- Latitudes' writing archive
- Latitudes' "out of office" 2016–2017 season 1 August 2017
- Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017 21 July 2017
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016
- '2006 Problems' exhibition and publication by John Kørner, Victoria Miro Gallery, London 29 November 2006
- Copenhagen trip. 'Woman with 24 problems' by John Kørner 30 September 2006
In conversation for the exhibition catalogue "Limits to Growth" by Nicholas Mangan (Sternberg Press, 2016)
Mon, Oct 31 2016
Photos: Latitudes.
After much anticipation, we are elated to see (and touch!) Latitudes' five-part interview with Nicholas Mangan as part of his exhibition catalogue "Nicholas Mangan. Limits to Growth" (Sternberg Press, 2016). The publication is designed by Žiga Testen and includes newly commissioned texts by Ana Teixeira Pinto and Helen Hughes, alongside illustrations of Mangan's work and historical source material.
The five-part interview weaves together a discussion around five of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in Action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016) commissioned for this exhibition survey. Latitudes’ dialogue with Mangan, began around a research trip to Melbourne in 2014 and continued in the form of the public conversation event that took place at the Chisenhale Gallery, London, in 2015, as well as over Skype, email, snail mail and walks.
The publication release coincides with Mangan's eponymous exhibition survey which began in July in Melbourne's Monash University Museum of Art and just opened this past weekend in Brisbane's IMA. The show will further tour to Berlin's KW Institute for Contemporary Art in the Summer of 2017.
"Nicholas Mangan. Limits to Growth"
Publisher: Sternberg Press with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne.
Editor: Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh.
Texts: Latitudes, Helen Hughes, Ana Teixeira Pinto
Design: Žiga Testen;
October 2016, English;
17 x 24 cm, 246 pages + 2 inserts, edition of 1500;
40 b/w and 102 colour ill., with colour poster and postcard Softcover;
ISBN 978-3-95679-252-6;
30 Euros.
RELATED CONTENT:
- Interview with Nicholas Mangan for his forthcoming catalogue ‘Limits to Growth’, 20 Abril 2016;
- Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’
- Locating Ancient Lights signs around London with Nicholas Mangan;
- In conversation with the artist Nicholas Mangan at Chisenhale Gallery, London, 7 July 2015, 19h. 22 June 2015;
- Interview 'What Lies Beneath' between Nicholas Mangan and Mariana Cánepa Luna of Latitudes, Mousse Magazine #47, February–March 2015
- Max Andrews' of Latitudes feature article 'Landscape Artist', Frieze #172, June–August 2015.
Interview with Nicholas Mangan for his forthcoming catalogue ‘Limits to Growth’
Wed, Apr 20 2016
Nicholas Mangan, ‘Ancient Lights’ (2015). Installation views, Chisenhale Gallery, 2015. Co-commissioned by Chisenhale Gallery, London and Artspace, Sydney. Courtesy the artist; Labor Mexico; Sutton Gallery, Melbourne; and Hopkinson Mossman, Auckland. Photo: Andy Keate.
The five-part interview weaves together a discussion of his recent works ‘Nauru, Notes from a Cretaceous World’ (2009), ‘A World Undone’ (2012), ‘Progress in Action’ (2013), ‘Ancient Lights’ (2015) and his newest piece ‘Limits to Growth’ (2016), to be premiered at Monash University Museum of Art (MUMA). Part of an ongoing dialogue with Mangan, it developed from a public conversation event at Chisenhale Gallery, London on 7 July 2015.
‘Limits to Growth’ references a 1972 report commissioned by the Club of Rome that analysed a computer simulation of the Earth and human systems: the consequences of exponential economic and population growth given finite resource supplies. The overlapping themes and flows of energies in the five of Mangan’s projects discussed in the interview might be read as an echo of the modelling and systems dynamics used by the simulation to try and better understand the limits of the world’s ecosystems.
Mangan is presenting ‘Ancient Lights’ (2015) at his Mexico City gallery LABOR on April 22, a work co-commissioned by Chisenhale Gallery in London and Artspace in Sydney.
In conversation between Latitudes and Nicholas Mangan, Chisenhale Gallery, 7 July 2015. Photos: Manuela Barczewski.
RELATED CONTENT:
- Latitudes conversation with Nicholas Mangan on 7 July 2015 at Chisenhale Gallery, London;
- Cover Story, July 2015: Nicholas Mangan’s ‘Ancient Lights’;
- Locating Ancient Lights signs around London with Nicholas Mangan;
- Max Andrews, Feature on Nicholas Mangan, 'Landscape Artist', Frieze, Issue 172, Summer 2015;
- Mariana Cánepa Luna, 'What Lies Underneath', interview with Nicholas Mangan, Mousse Magazine #47, February–March 2015.