LONGITUDES

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

Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli

Photo: @michele_bazzoli

Premièred at Onomatopee on October 25th, 2023, during the Dutch Design Week, t
he publication “Sketches of Transition. An Atlas on Growth and Decay” brings together the practices of five different artists in relation to the key concept of transition. 

Edited by Italian-born, Amsterdam-based artist 
Michele Bazzoli the book includes a reprint of Latitudes’ text on Lara Almarcegui’s project “Graves” originally commissioned to accompany her solo exhibition at Centre d’Art la Panera, Lleida, curated by Cèlia del Diego and on view between February and June 2021.

Gazing through various apertures of “Sketches of Transition”’s featured researches, each chapter could be considered a sketch of transition in itself, as an annotation on an alternative perspective on the material and visual spheres of our existences. With the same freedom of sketching on a blank paper sheet, the contributions investigate and probe new modes of production of beauty and wonder. 

Sketches of Transition. An Atlas on Growth and Decay
Editor: Michele Bazzoli
Designer: Kai Udema
Texts: Maria Barnas, Michele Bazzoli, Dagmar Bosma, Yana Naidenov, Lara Almarcegui’s text by Latitudes (Max Andrews & Mariana Cánepa Luna)
Publisher: Onomatopee project
Date of publication: October 2023
ISBN: 978-94-93148-98-7


(Above and two below) Views of Michele Bazzoli’s exhibition “Sketches of Transition. An Atlas on Growth and Decay” and namesake publication at Onomatopee, Amsterdam. Courtesy Michele Bazzoli.



Latitudes’ text presents the two new projects Almarcegui produced for her solo exhibition at Centre d'Art la Panera. “Rocas y Materiales de la Cordillera de los Pirineos” (2021) was an austere ordered list presented as a large wall text detailing the quantities of rocks and materials that constitute the Pyrenees (two images below). 

(Above and below) Installation view of “Graves” exhibition at the Centre d'Art la Panera, Lleida. Photos Jordi V. Pou.


The second work, “Gravera” (2021), was a large video projection documenting the industrial complex operated by Sorigué near the town of Balaguer, which temporarily stopped operations for a day (images of the public programme organised during the exhibition below). 

(Above and below) “Gravera aturada” was an event organised by the Centre d'Art la Panera, Lleida, on 19 February 2021, as part of Lara Almarcegui’s solo exhibition. For the occasion, citizens were able to take a tour around Sorigué’s gravel mining and processing plant near Balaguer, which stopped its activity for a day. Photos Jordi V. Pou.








RELATED CONTENT:
    • Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
    • 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
    • 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
    • ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
    • Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
    • 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
    • Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 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, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
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    Latitudes’ (extended) Environmental Policy Statement

    “Postpetrolistic Internationale” choir performance by Christina Hemauer & Roman Keller on Maasvlakte, Rotterdam, 8 November 2009. Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR and curated by Latitudes. Courtesy: SKOR / Photo: Paloma Polo.


    Latitudes recently published an Environmental Policy Statement on the website, below is an extended version which we invite you to read:

    Since its beginning in 2005, Latitudes’ curatorial practice has critically engaged with environmental concerns through contemporary art. This has included curating ambitious group exhibitions including 4.543 billion. The Matter of Matter” at the CAPC musée d’art contemporain de Bordeaux in 2017, and Greenwashing” at the Fondazione Sandretto Re Rebaudengo in 2008, as well as solo shows such as “Christina Hemauer & Roman Keller: United Alternative Energies” at Kunsthall Århus in 2011, and convening the three-day symposium “Art, Ecology and the Politics of Change” for the Sharjah Biennial 8 in 2007. 

    Cover of “LAND, ART: A Cultural Ecology Handbook” edited by Max Andrews, and coordinated by Mariana Cánepa Luna. Published and commissioned by the Royal Society of Art in partnership with the Arts Council England, 2006. Photo: Robert Justamente.

    Spread of UOVO magazine #14, a 500-page issue + two CDs guest edited by Latitudes, 2007. Photo: Alexis Zavialoff.

    Cover and back cover of the exhibition catalogue “Greenwashing” (Archive Books, 2008), Fondazione Sandretto Re Rebaudengo, Torino. The 192-page full-colour catalogue embraced environmentally-conscious design with a degree of irony, each of the book's thirteen sections was printed on a different 'eco-paper' such as Shiro Alga Carta (produced by harvesting algae from the Venetian lagoon), KeayKolour Recycled Honey or Shiro Tree Free Naturale, alongside their corresponding eco-credentials. Photo: Latitudes. 

    Pages of Lara Almarcegui's first monograph “Lara Almarcegui. Projects 1995–2010” (Archive Books, 2011) covering 15 years of her artistic practice, with commissioned texts by Cuauhtémoc Medina and Lars Bang Larsen, and an introduction by Latitudes. Photo: Latitudes.

    Latitudes edited the landmark publication “Land, Art: A Cultural Ecology Handbook” in 2006, the 500-page green issue of UOVO magazine in 2007, and Lara Almarcegui’s first monograph in 2011. We also have contributed essays including a catalogue essay for TBA21’s exhibition “Abundant Futures” entitled “Soil for Future Art Histories” (2023), and presenting the lecture “Curating in the Web of Life” for Garage Museum of Contemporary Art’s exhibition “The Coming World: Ecology as the New Politics 2030–2100” (2019). 

    View of “Ocells perduts” (Stray Birds) (2021) by Laia Estruch in the exhibition “Panorama 21. Apunts per a un incendi dels ulls” (“Panorama 21: Notes for an Eye Fire”), MACBA Museu d'Art Contemporani de Barcelona, 22 October 2021–27 February 2022. Curated by Hiuwai Chu and Latitudes. Produced by MACBA Museu d'Art Contemporani de Barcelona with the support of PUBLICS, Helsinki. Research supported by a Premis Ciutat de Barcelona 2020 grant from the Barcelona City Council. Photo: Roberto Ruiz. 

    Lecture “Curating in the Web of Life” for Garage Museum of Contemporary Art’s exhibition “The Coming World: Ecology as the New Politics 2030–2100” (2019). Photo: Anton Donikov. © Garage Museum of Contemporary Art.

    In terms of related public-realm commissions, for our first project we selected Danish artist Tue Greenfort to work on The Royal Society of Arts’ pioneering Arts & Ecology programme (2005–2008) and curated ten public art projects around Europe’s largest seaport, the Port of Rotterdam (“Portscapes” in 2009–2010). We have also organised curatorial residencies around geological agency (“Geologic Time”, Banff Centre, 2017) and a touring film programme on the legacy of Land Art (“A Stake in the Mud a Hole in the Reel”, 2008–2009) in contemporary art.

    Last but not least, since 2008 we have been custodians of the RAF/Reduce Art Flights website, a reference resource about the campaign initiated by the late Gustav Metzger (1926–2017).

    RAF/Reduce Art Flights website reduceartflights.lttds.org

    Latitudes' environmental impact is small, yet we recognize that air travel and the broader mobility patterns within our industry contribute the most to our ecological footprint. Art and culture have a role to play in bringing about ambitious change, applying best practices and setting a positive example to position the climate crisis at the centre of the political and social debate.

    In January 2023 we became individual members of the Gallery Climate Coalition (GCC) and began to work with colleagues to set up the Spanish volunteer team, GCC Spain, that meets regularly to track progress on environmental targets and actions


    Making of Jan Dibbets’ film “6 Hours Tide Object with Correction of Perspective” (1969–2009). Commissioned and produced by the Port of Rotterdam as part of “Portscapes”, with support and advice from SKOR, and curated by Latitudes. Documentation included in the publication box “Portscapes” designed by Ben Laloua / Didier Pascal, launched at the opening of the exhibition “Portscapes”, Museum Boijmans van Beuningen in Rotterdam, 2010. Photo: Latitudes.

    Editors of Rotterdam-based magazine Fucking Good Art were ‘embedded’ in the port's Yangtzehaven for a month in the summer of 2009 from where they produced ‘Portscapes_ON AIR Station Maasvlakte’, a series of audio walks, field recordings and conversations with guests from different disciplines for the “Portscapes” website. Photo courtesy: FGA.


    We will measure and publish our carbon footprint every year to comply with the GCC targets and commitments of reducing carbon emissions by 50% by 2030 (when compared to a 2019 baseline). Rather than purchasing carbon offsets, and following GCC guidelines on this matter, we are also setting aside a fund (€50 per tonne of emitted CO2 per year) to be spent on low-carbon purchasing options that would otherwise be unaffordable. Our intention is to eliminate unwarranted air travel, and we do not take flights when there is an alternative rail or sea route that takes less than 7 hours. The latter policy follows one adopted by the Ajuntament de Barcelona (the City Council) in 2020.

    Latitudes requests external collaborators opt for train or alternative low-carbon transit and freight options in line with GCC’s guidelines (as well as Gustav Metzger’s RAF/Reduce Art Flights campaign) and this is reflected in work contracts. We hope to lead by example in implementing a sustainability strategy in the planning of exhibitions from an early stage, and whenever curating projects we always try to build the minimum necessary temporary architecture and ensure that any exhibition-related production is entirely locally tuned. We ask that collaborators use no plastic or other single-use materials when transporting works or for events.

    Hike with “Geologic Time” participants to Stanley Glacier in Kootenay National Park, as part of the residency programme curated by Latitudes at the Banff Centre for Arts and Creativity, Banff, Canada, 11 September–6 October 2017. Photo: Latitudes.

    Latitudes’ website runs on sustainable energy. According to websitecarbon.com (see stats below), LTTDS.org produces 16.76kg of C02 equivalent per year, roughly the amount of carbon that one tree would absorb in the same time, and it consumes 44kWh of energy (equivalent to 280km in an electric car). 


    In our personal lives, we prioritise the 5 Rs: Refusing, Reducing, Reusing, Repurposing and Recycling. We do not own a car and use public transport networks. Other practical actions we undertake include periodically donating household or clothing items to charity organisations that offer support to vulnerable communities in our neighbourhood (including Fundació Roure and El Trampolí). Last but not least, since 2013, Latitudes has banked with an ethical bank that finances initiatives contributing to ecological, social, and cultural change.

    (Top and below) Entrance A and B to the exhibition “4.543 billion. The Matter of Matter” with the participation of over thirty artists and the presentation of over a hundred works, CAPC musée d’art contemporain de Bordeaux, June 2017–January 2018. Photos: Latitudes / RK.
     


    RELATED CONTENT:


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    Cover Story—October 2017: Geologic Time at Stanley Glacier

    October 2017 Monthly Cover Story on http://www.lttds.org


    The October 2017 Monthly Cover Story "Geologic Time at Stanley Glacier" is now up on www.lttds.org – after this month it will be archived here

    "We are looking for glimpses of life as it was over half a billion years ago. In sight of the snout of the Stanley Glacier in Kootenay National Park, lie deposits of Burgess Shale, a rock famous for its exceptional preservation of hitherto unknown, and frankly bizarre, soft-bodied marine creatures." 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:
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    Sediments of the Geologic Time 4-week residency at the Banff Centre for Arts & Creativity




    September 11, 2017:
    Banff is a town located within Banff National Park in the Canadian Rocky Mountains, Alberta. Elevation: 1,383 m. We'll be spending four weeks at The Banff Centre, at the foot of Sleeping Buffalo Mountain (Tunnel Mountain) overlooking the Bow Valley. 


    The programme conceived by Latitudes (Lead Faculty), and with the participation of Irish artist Sean Lynch as Guest Faculty, asked how a geologic lens might affect artistic and curatorial practice.

    Participants: Justy Phillips & Margaret Woodward (A Published Event) based in Hobart; Semâ Bekirovic, based in Amsterdam; Caitlin Chaisson based in Vancouver; Becky Forsythe, based in Reykjavik; Chloe Hodge, based in London; Shane Krepakevich, based in Toronto; Caroline Loewen, based in Calgary; Penelope Smart, based in St. John's, Newfoundland; and Camila Sposati, based in São Paulo.



    Views of the Banff Centre campus from the Vistas dining centre, the trees slowly starting to turn yellow.


     

    Group photo of 'Geologic Time' 10 participants and Lead Faculty – participant Penelope Smart and Guest Faculty artist Sean Lynch are camera shy.


     

    The door to Latitudes' Studio 317 in Glyde Hall.



    Stunning views towards the Banff Springs Hotel and Sulphur Mountain from the GH 317 studio.



    'Geologic Time' dedicated section in the library.



    Campus tour with local legend Jim Olver, Customer Service at Banff Centre for Arts & Creativity, "passionate about river canoeing, geology, ski-touring & curling!"



    September 16, 2017: Hike up to Tunnel Mountain, with panoramic views of the town, the Bow and Spray River valleys, and the Banff Springs Hotel site. The Stoney people (indigenous people of Western Canada) had long called the mountain "Sleeping Buffalo", as it resembles a sleeping buffalo when viewed from the north and east. The name Tunnel Mountain was given in 1882 when a proposed route for the Canadian Pacific Railway was to be blasted through. An alternate route costing much less money was put around the mountain, but the name Tunnel Mountain remained.



    September 17, 2017: (Above and below) Hoodoos Trail descends to the river and follows it east and north under the cliff face of Tunnel Mountain. We were interrupted by a herd of elk (wapiti) so decided to turn around.





    September 19, 2017: Lecture by the legendary Rocky Mountains expert Ben Gadd, 71 (pictured above), one of Canada’s better-known naturalists, geologists, and mountain writers.



    Some of the rock specimens brought by Ben Gadd to his lecture – including some very fetching custom cushions sewn by his wife.



    Ben Gadd during his Q&A with Geologic Time participants.



    Gadd holding a 170-95 million-year-old coast mountains granite.



    September 20, 2017: Morning visit to the archive of the Whyte Museum in Banff, a museum that collects, preserves, and exhibits all kinds of materials related to the cultural heritage of the Canadian Rocky Mountains.



    September 20, 2017: Afternoon visit to Bankhead and Lake Minnewanka ("Water of the Spirits" in Nakoda).

    Bankhead is an abandoned coal mining town in Banff National Park. The mine began in 1903 and ceased operations in 1922 when it was generally understood that mining had not been profitable. In 1926, many of the town's buildings were moved to Banff and Canmore. Bankhead was located at the foot of Cascade Mountain, which contains high-grade anthracite coal deposits. The Bankhead coal mine was operated by the Pacific Coal Company, a subsidiary of the Canadian Pacific Railway, which needed the coal to fuel its steam engines.





    Air powered (fireless) locomotive on display at Bankhead, Alberta.



    (Above) Rhubarb grows out of jet-black anthracite: high-grade coal formed 100 million years ago. At its peak in 1911, the Bankhead mine that once stood on this site at the base of Cascade Mountain employed 480 men. Its tunnels produced half a million tonnes of coal that year, destined for the furnaces of the Canadian Pacific Railway. Miners came mostly from Poland, Italy, Britain, and Russia, while a group of 90 Chinese men were brought to Canada to sort rock from coal for minimal wages. Unwelcome in the town, they set up on the far side of the slag heaps, where they made a shanty town from scrap wood. They also created a kitchen garden, where they cultivated, among other plants, the hardy rhubarb that still thrives today.

    Apart from it being forbidden to remove plants from what has been a part of Banff National Park since its designation in 1930, the whole site is contaminated with dioxins from waste oil. So no crumble today.



    'Wave Sound' (2017) piece by Anishinaabe artist Rebecca Belmore commissioned by @landmarksreperes2017



    Rocky Mountains beauty by Lake Minnewanka.



    A Jeff Wall-esque shot of the group by Lake Minnewanka.



    September 21, 2017: (Above and below) Geology tour around campus with Jim Olver (Director of Customer Service, Banff Centre) "reading" the campus, its formations and fossils. Olver has worked at the Banff Centre for 35 years.





    (A
    bove) A well rounded composite rock and (below) finding rocks around campus.


    September 23, 2017: (below and following six) Stunning Bow Lake hike with independent curator and BICI resident, Heidi Rabben.













    September 24, 2017: (Below) Visual Arts + Digital department excursion to Lake Louise, named 'Lake of the Little Fishes' by the Stoney Nakota First Nations people.

    Lake Louise's impressive emerald colour of the water is due to the silt-like rock flour continually being carried into the lake by melt-water from the surrounding glaciers. The tiny and uniform particles become suspended in the water, refracting blue and green wavelengths of light.









    September 25, 2017: (Below) Monday weekly meeting and afternoon group seminar led by Caroline Loewen, Shane Krepakevich and Semâ Bekirovic around Don McKay's essay “Ediacaran & Anthropocene: poetry as a reader of deep time” inducing imaginative speculation through geopoetry. Guest Faculty
    Sean Lynch arrives from Ireland.





    September 26, 2017: (Below) Afternoon lecture by "Geologic Time" Guest Faculty Sean Lynch on the value of conversations, Bardic traditions, stone-carvers James and John O'Shea, and fried chicken.





    September 27, 2017: (Below) 1:1 sessions with Sean Lynch and a bit of time to dig into the library and read the beautifully written book "The Writing of Stones" by Roger Caillois (1970) with an introduction by Marguerite Yourcenar: "Those fusions, pressures, ruptures, imprints of matter in matter have left traces inside and out which sometimes almost exactly resemble writing and which actually do transcribe events from millions of years ago."





    September 28, 2017: Evening seminar in the Banff Upper Hot Springs, elevated at 1,585 meters it's the highest hot water bathing in Canada.



    September 29, 2017: (Below) "Geologic Time" hike to the Stanley Glacier in the Kootenay National Park in British Columbia, led by guides Rona Schneberger and Jane Whitney. At the base of Mount Stanley, we turned over some rocks and found 505-million-year-old Burgess Shale trilobites, soft-body fossils from the Eldon formation.





















    September 30, 2017: Second screening night led by Sean Lynch.

     
    October 2, 2017: (Below) Final week of the programme. Last Monday's weekly meeting, this time under the snow. Third and final afternoon workshop led by 'Geologic timers' Becky Forsythe, Caitlin Chaisson and Chloe Hodge around Hito Steyerl's text "In Free Fall: A Thought Experiment on vertical perspective" (e-flux journal #24, April 2011).






    October 3 and 4, 2017: Final 1:1 conversations with participants, and open studios by the Independent artists.
     
    October 5, 2017, 5—7pm: (photos below) The Open event of
    Geologic Time in the library, followed by a visit to Illuminations, "a participative artwork experience by Sarah Fuller, Moment Factory and Banff Centre for Arts and Creativity".

    The closing event of Geologic Time was conceived as a two-hour infiltration into the pages, shelves, and display possibilities of The Banff Centre library. Featuring storytelling, documentation, annotation, sculpture, video, conversation and other live situations, the event presented some sediments of the ten participants’ ongoing research and lithic collaborations. PDF of the event programme here.




    Caitlin Chaisson has been researching a former experimental farm station in Agassiz, British Columbia, and a forgotten centennial time capsule buried under a granite marker there. Caitlin also presented a cut-and-paste station on the table next to the photocopier, and a display for the tall vitrine just behind it. If you plan on attending the Agassiz Fall Fair and Corn Festival around September 14, 2018, Caitlin will be there, lending an extra hand in the rocky relay that is the shape of time. Pickles may be involved. 

    Meanwhile read her reflections on her "Geologic Time" experience.


    Also on the main floor, Chloe Hodge made an arrangement of book spreads and purloined texts on a large desk on the side of the library that faces Sulphur Mountain. From 1956 to 1981 the latter peak was the site of a high-altitude geophysical laboratory, a Cosmic Ray Station. Chloe’s presentation filters the macro-perspective enabled by this buoyant micro-history into a speculative research workshop around freefall, the loss of perspective, and groundlessness. 






    Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.


    Chloe is also one of eight 'Geologic Time' narrators whose readings can be heard through speakers on the main floor. What we are hearing are excerpts from Lost Rocks (2017–21), a growing library of short fiction books commissioned by Justy Phillips & Margaret Woodward (A Published Event). Described by the Hobart-based duo as “an accumulative event of mineralogical, metaphysical and metallurgical telling”, the books that have come into the world to date have been incorporated into the library’s holdings alongside a glossary and can be found in the geology section upstairs.


    Caroline Loewen has put together documentation at the top of the stairs, along the narrow “bar”. Caroline delves deep into the story of sandstone in Alberta, a rock that gained widespread favour for building and decorative use following Calgary’s Great Fire of 1886. The black-and-brown Rundle Rock that was once quarried at the base of Banff-Centre-neighbour Mount Rundle and was used extensively in creating the Banff Springs Hotel also joins a conversation that anticipates an exhibition scheduled for next summer at Lougheed House in Calgary. (The same Lougheed dynasty lends its name to the Jeanne and Peter Lougheed Building (JPL), the Banff Centre’s media headquarters.) 



    For these two hours in the library, Semâ Bekirovic employed a number of external hard drives to act as pedestals for small stones. How many terabytes can a hunk of rock hold? What fragments of data detritus, chunks and grains of documents, broken-off images, or weathered files, might be read and written, stored or retrieved? We might ponder this as we stand by the “bar” looking towards Sulphur Mountain. 


    An audio narration drafted by Penelope Smart was also heard on the upper floor via a Bluetooth speaker in the stacks, near “memoirs and narrative”. Here, an image of the exquisite marble bust by Giovanni Strazza animated Penny’s writing during the last weeks. It came to St.John’s, Newfoundland, in 1856. Ring the bell to the right of the main door of the Presentation Convent adjoining the Basilica in St.John’s and maybe one of the sisters will let you see it.




    Shane Krepakevich has been prototyping an exhibition display system, or running a 1:1 scale artist-run research institute, in his studio overlooking Mike MacDonald’s butterfly garden. Shane has been thinking about design impulses, transparency, support structures, and the refraction of light through glass, sometimes during the hours he has spent sanding and polishing a series of bronze paperweights, or prospecting the library for textual gems. For the library presentation, Shane made 8.5"×11" arrangements of found sentences, printed them, and then squirrelled them away inside selected library books, alongside images he had photocopied for his display system project.




    A number of commemorative posters by 
    Latitudes are presented in the meeting room upstairs. These mark some of the excursions and talks that have formed a part of the last weeks through the motif of the human hand as a geologic scale device. 



    Finally, if we ever need reminding about the mystery and power of geological formations, 'Picnic at Hanging Rock', the 1975 Australian film directed by Peter Weir, was screened on a monitor on the upper floor.

    Special thanks to Mark Black, Brandy Dahrouge, Peta Rake, and Angela Schenstead. 

    October 6, 2017: Exit interviews, pack up, and departures.

    'Geologic Time' participants: Justy Phillips & Margaret Woodward (A Published Event), based in Hobart; Semâ Bekirovic, based in Amsterdam; Caitlin Chaisson based in Vancouver; Becky Forsythe, based in Reykjavik; Chloe Hodge, based in London; Shane Krepakevich, based in Toronto; Caroline Loewen, based in Calgary; Penelope Smart, based in St. John’s, Newfoundland; and Camila Sposati, based in Sao Paulo.

    'Geologic Time' was a residency programme of the Banff International Curatorial Institute (BICI), organised by the Banff Centre for Art and Creativity in Alberta, Canada. The 2017 residency took place between September 11–October 6 within the framework of the group exhibition 4.543 billion. The matter of matter curated by Latitudes at CAPC musée d’art contemporain de Bordeaux, France, on view until January 7, 2018.


    RELATED CONTENT:
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    “Thinking with” geology at the Banff Centre for Arts and Creativity


    Greetings from the Banff Centre in the Canadian Rockies!

    For the next four weeks, Latitudes will be Lead Faculty of the residency programme "Geologic Time" organised by the Banff International Curatorial Institute (BICI) at the Banff Centre for Arts and Creativity

    Curators, artists and writers Justy Phillips & Margaret Woodward (A Published Event) based in Hobart; Sema Bekirovic, based in Amsterdam; Caitlin Chaisson based in Vancouver; Becky Forsythe, based in Reykjavik; Chloe Hodge, based in London; Shane Krepakevich, based in Toronto; Caroline Loewen, based in Calgary; Penelope Smart, based in St. John's, Newfoundland; and Camila Sposati, based in Sao Paulo, are here for a month to discuss geological formations and timescales, while speculating about a more expansive and longer-term view of art, exhibitions, and their institutions. 

    Through fieldwork, seminars, and independent study, 'Geologic Time' we will be thinking with geology as a potential way to consider non-conventional, deep-time perspectives on curating, exhibition making, programming, and fieldwork within contemporary art.


    Programme on Banff's website.

    On September 12, 4 pm, Latitudes will give a lecture presenting their practice at the Jeanne & Peter Lougheed Building 204. Everyone is welcome!

    "Geologic Time" is a thematic residency programme of the Banff International Curatorial Institute (BICI), Visual + Digital Arts organised by the Banff Centre for Art and Creativity in Alberta, Canada. Within the framework of the residency, Latitudes curated the group exhibition "4.543 billion. The matter of matter" at the CAPC musée d’art contemporain de Bordeaux, France, on view until January 7, 2018.  


    Entrance to one of the two wings of the exhibition "4.543 billion. The matter of matter" at the CAPC musée d’art contemporain de Bordeaux, France, on view until January 7, 2018. Photo: Latitudes / RK.

    RELATED CONTENT:
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    Portscapes News: Launch of Ilana Halperin's 45 min-long audio field guide ‘A Brief History of Mobile Landmass’

    The two first images are courtesy of Ben Wind, rest of images courtesy of the artist.


    As her contribution to ‘Portscapes’, New York-born Glasgow-based artist Ilana Halperin has created a spoken-word narrative in Dutch and English for visitors to the port. Available at the visitor centre Futureland (map here) and online (www.portscapes.nl) from September 18 until 2013, ‘A Brief History of Mobile Landmass’ is an audio field guide inspired by a perception of Maasvlakte 2 in terms of formidable geophysical phenomena and a geological sense of time.



    The artist has assembled a compelling narrative of fragments which draws on fact, fiction and personal fieldwork – as well as site surveys by volcanologists, geologists and the experts involved in the construction of Maasvlakte 2. It offers echoes, speculations and interpretations surrounding both the artificial and natural processes whereby new land is created. Recalling Jules Verne’s ‘Voyages Extraordinaires’, this 'book on tape' couples a wealth of scientific information with wonder and vivid descriptions.

    Halperin is your guide through a landscape with tales of newborn islands, otherworldly Hawaiian magma and the fire deity Pele, a Rotterdam ‘lava flow’ or the ‘industrial volcanoes’ of its port. To paraphrase Mark Twain’s astonished account of the eruption of Kilauea in 1866: “Here is room for the imagination to work!”.



    'Portscapes' is an accumulative series of newly commissioned projects taking place throughout 2009 alongside the construction of Rotterdam's [51° 55' N 4° 29' E] Maasvlakte 2 (MV2) – an extension to Europe's largest seaport and industrial area which will be realised between 2008 and 2013 by reclaiming a 2,000-hectare area of reclaimed land (see images here) that will extend the Port of Rotterdam, Europe's largest seaport and industrial area by 20%.

    Portscapes is commissioned by the Port of Rotterdam Authority with advice and support from SKOR (Foundation for Art and Public Space, Amsterdam) and is curated by the Barcelona-based curatorial office Latitudes.
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