Longitudes

Cover Story – March 2017: Time travel with Jordan Wolfson


The March 2017 Monthly Cover Story "Time travel with Jordan Wolfson" is now up on www.lttds.org after March it will be archived here.  

"The film that lends its image to this month’s cover story – Jordan Wolfson’s Landscape for Fire, 2007 – was featured in the Latitudes-curated film programme A Stake in the Mud, A Hole in the Reel. Land Art’s Expanded Field 1968–2008, which premiered in April 2008 at the Museo Tamayo, Mexico City, before touring several venues in Spain, Switzerland, the Netherlands and the U.K. 

Landscape for Fire responded to a 1972 film of the same name by Anthony McCall in which the British artist, best known for his “solid light” works, attempted to integrate performance, installation, sculpture and images in movement. Thirty-five years on, Jordan had re-staged this work of the past as though it were a ritual, the repetition of which invoked the almost mystical aura that often surrounds the art of the late 1960s and early 1970s." Continue reading by clicking the grey bar underneath the image

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, and are archived here.


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September/October Mexico City photo report

Following Latitudes recent trip to Mexico City for our project at Casa del Lago (see a slideshow of the five tours we realised around the city with artists Minerva Cuevas, Tania Pérez Córdova, Jerónimo Hagerman, Diego Berruecos, and Terence Gower), here's a run through of some of the other museum and gallery exhibitions which we had time to see in the city.

LABOR and kurimanzutto both opened on the 20th September. LABOR's solo exhibition of Terence Gower (one of the five artists invited by Latitudes as part of the 'Incidents of Travel' project documented at Casa del Lago). His 'Ottagono' exhibition presented new and old works "that extended the artist investigation into the realm of abstract art" (quote from the press release), including the 2010 video "New Utopias", "Noguchi Galaxy" (2012), the sculpture group "Display Modern (Hepworth)" (2007) as well as paintings on photographs "Latin American Architecture" (2012), amongst others.




The Museo Experimental El Eco also had a book launch that evening, and upstairs the project "FRANCE FICTION: Vinimos a soñar" by Paris-based curator Jennifer Teets could be seen.



kurimanzutto began the 2012-13 season with Untitled 2012, (All those years at No. 17E London Terrace), a collaboration between visual artist Rirkrit Tiravanija and musician Arto Lindsay, for which the artist recreated Lindsay's New York flat and copied around 2000 CDs and books he has had in storage in New York. Lindsay played the following day at Cine Tonalá and hung out in his new plywood mexican home the following week recording music and talking with visitors. Also, in the project space, was Paloma Polo's 'Posición Aparente' (recently exhibited as part of Reina Sofia's Fisuras programme). On view until 3 November. ( gob. Rafael Rebollar 94, Col. San Miguel Chapultepec, 11850 México D.F.) http://www.kurimanzutto.com
 

During installation we escaped for a lunch break and a visit to the recently extended Museo Tamayo Arte Contemporáneo in the Bosque de Chapultepec. The Tamayo hosted an impressive roster of exhibitions: two group shows and three solo presentations, besides a selection of Tamayo's work: 'Primer Acto' (a group show on the idea of inauguration and the opening act), 'El mañana ya estuvo aquí' (a group show with works around the idea of retrospective visions of the future of modernity), Ryan Gander's 'Boing, boing, squirt'; Pierre Huyghe's 'El día del ojo' (a three part piece consisting of a permanent sculpture of a fish tank with blind fish and volcanic rocks; a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca; and a publication) and the project 'Nueva Matemática' by Michael Stevenson. 

 Wilfredo Prieto's red carpet welcomes visitors.

 SUPERFLEX's visitor counter outside the museum.

Central courtyard with Pierre Huyghe's fish tank with blind fish and volcanic rocks (background and below); a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca.


The day after our Casa del Lago opening we visited the Museo Universitario Arte Contemporáneo (MUAC) which had shows of Edgardo Aragón ("Por amor a la resistencia"), an impressive Teresa Margolles piece, "La Promesa", following the focus of her long-term investigation on Ciudad Juárez as a political and social context, and "Ejercicios de Resistencia" by Nicolás Paris. Downstairs there was an archival display of Felipe Ehrenberg's collection fund.

 Façade of the museum in the University (UNAM) campus.

Entrance foyer and lower level.

 "Ejercicios de Resistencia" by Nicolás Paris

 Stairs to the restaurant, auditorium and library.

 Downstairs archival material of Felipe Ehrenberg's collection fund.

At MUCA-Roma we visited the group show "Colección: El crimen fundacional, crítica del museo' curated by first graduating students in the Curatorial Programme of UNAM's Art History degree, which included Mariana Castillo Deball's piece 'It rises or falls depending on whether you're coming or going. If you are leaving, it's uphill; but as you arrive it's downhill' (2006), presented in 2007 in the Latitudes'-curated exhibition 'Extraordinary Rendition'. The piece revisits a popular legend around the looting and transportation of the colossal stone statue of Tláloc to the National Museum of Anthropology in Mexico City in a series of lithographs.


Our final stop was Proyectos Monclova, which has relocated to a new and much larger space in Colima 55 (Col. Roma) with a solo show of architect Eduardo Terrazas (best known for his graphic design for Mexico's 1968 olympics realised in collaboration with Lance Wyman and Manuel Villazón.) Terrazas was concurrently exhibiting some works at the Casa Luis Barragán. The final gallery space was screening a fantastic slideshow with the 1968 work "Imagen México" accompanied with a soundtrack of 1969 songs. The exhibition finished on 29 September. See video of the opening here (via Vernissage TV) and a recent newspaper article.

  Façade of the gallery.


Central gallery space.

Some of Terraza's works on view in the central space.

1970-1972 works on view in the back gallery space.

Showroom nearby the gallery offices.

On Saturday 29th there was a tour (Ruta de Galerias, see video by Vernissage TV) around San Miguel Chapultepec and Tacubaya art spaces (participants included: Archivo Diseño y Arquitectura, Casa Luis Barragán, Central Art Projects, Galería de Arte Mexicano, Gallé Antigüedades, Jan Mot, kurimanzutto, Labor, Estacionamientos San Miguel Chapultepec, and Fundación Alumnos47). We started the day at the Museo de Arte Moderno, with a launch of the publication "History of the World" and in conversation between L.A.-born Guadalajara-based artist Eduardo Sarabia and Patrick Charpenel, collector and director of the Colección Jumex.



The tour was followed by a quick burger lunch at Café Zena in the corner of Gob. Potasio Pérez de Tagle and Antonio de León. 

 

...and then back to kurimanzutto, where Arto Lindsay was having a conversation with Carlos Icaza, discussing a selection of his books and CDs, talking about the changes in music technology and supports (from vinyl to CDs), mexican, brazilian and japanese musicians.



From there we visited Jan Mot's space (Gob. José Ceballos 10, Col. San Miguel Chapultepec, 11850 México D.F. www.janmot.com), which presented Manon de Boer's "One, two, many", recently also presented for dOCUMENTA (13) (see Latitudes' comprehensive blog post here). On view at until 17 November.



On our final evening in Mexico City we went to Sala Arte Público Siqueiros, where cuban artist Wilfredo Prieto celebrated the beginning his 45-day project "Dejándole algo a la suerte" (Leaving something to chance, until 12 November). For the duration of the exhibition Prieto occupies the upper gallery of the SAPS which has been turned into a studio from where he develops and conceptualises works to be presented on a daily basis on the lower gallery space (see here for those who have already taken place). On October 4th, the (non) opening day, the project began with 'Dos Tiempos': the encounter of a hare (named Raúl) and a terapin (Anastasia).


All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)

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Catalogue essays: Henrik Håkansson, Museo Rufino Tamayo; Haegue Yang, Artsonje Center / samuso

Recent publications – catalogue essays by Latitudes' Max Andrews:

•‘Untitled (You Are Good For Me Because You Destroy Me)’, Henrik Håkansson: Novelas de la selva / The Jungle Novels, Museo Rufino Tamayo, Mexico City, 2009 (Spanish and English)

•‘Towards Haegue Yang’s ‘Blind Rooms’’, Haegue Yang, Artsonje Center / samuso, Seoul, 2009 (Korean) & forthcoming in Symmetric Inequality: Haegue Yang, Sala Rekalde, Bilbao, 2009 (Spanish, Basque and English)




Proyección final ciclo entorno al Land Art, Centro Dos de Mayo, Móstoles, 25.10.08, 12–14.30h


El próximo sábado 25 Octubre tendrá lugar en el Centro de Arte Dos de Mayo (Móstoles) la proyección final del programa de video "Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008" que hemos presentado anteriormente en México DF, Vigo, Sevilla, Basilea, Barcelona, Wilheminapolder (Holanda) y Bristol.
El ciclo se divide en dos partes: la primera parte (52m duración) muestra obras clásicas del Land Art realizadas en 1968 (algunas son post-producciones del 2004 y 2005) y la segunda parte (1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años.

Para más información sobre la programación, consultar programa completo en w3art.es, en EXITMAIL o descargar programa de mano en el archivo. En la galería podreis ver imágenes de proyecciones anteriores.

La proyección se presenta en contexto de la exposición 'Gustos, colecciones y cintas de vídeo', comisariada por Virginia Torrente.


 
Sábado 25 Octubre
De 12 a 14.30h


CENTRO DE ARTE DOS DE MAYO
Avda. de la Constitución, 23-25
28931 Móstoles
Tfno: 91 276 02 13 / 19[email protected]
Acceso gratuito al centro y a sus actividades

MAPA ubicación
Metro: Móstoles Central L 12
Renfe: Móstoles (línea C5 desde Atocha)
 


Imagen: Programa impreso por el Centro de Arte Dos de Mayo; y WALTER DE MARIA, 'Two Lines Three Circles on the Desert', 1969, 4’45”, en: GERRY SCHUM 'LAND ART', 1969. 16mm transferido a DVD. Cortesía Groninger Museum, Groningen.


Henrik Håkansson, 'The Jungle Novels', Museo Rufino Tamayo, Mexico City

 

Opening today, Håkansson's exhibition at the Museo Tamayo (until 20 September) is the outcome of recordings carried out at the Montes Azules, El Triunfo, and Monarch Butterfly Biosphere Reserves, and photographs and videos obtained over four weeks by twelve remote cameras placed by the artist in different spots throughout the southern Lacandon Rainforest, Mexico.

Curated by Tatiana Cuevas for the Tamayo, the catalogue features an extended essay by Latitudes' Max Andrews. See photos of the catalogue here.

Read about the show on ARTFORUM critics' picks.

Thomas Hirschhorn's 'Poor tunning' in kurimanzutto, Mexico City



'Poor Tuning' at kurimanzutto, Mexico City continues until April 27: "Thomas Hirschhorn’s current exhibition, “Poor Tuning,” presents ten pimped-out race cars..." (Artforum) more...

While 'Stand-alone' at Museo Tamayo, Mexico City, which continues until May 18, presents a three-room rendering of a kind of demonic fireplace inspired by a student occupation of a university campus.

Premiere del ciclo de video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' en el Museo Tamayo, México DF


'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'
Auditorium Museo Tamayo, Mexico City

Programme 1. Tuesday 1 April 2008, 19:30 h
Programme 2. Wednesday 2 April 2008, 19:30 h
(Repetition: 5 & 6 April 2008, 13:00 h)

Free entrance.

With films by Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Nancy Holt & Robert Smithson, Gordon Matta-Clark, Damián Ortega, Nikolaj Recke, Thiago Rocha Pitta, Hans Schabus, Gerry Schum (with films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Robert Smithson, Jordan Wolfson.

Download the full screening programme here.

  
Paseo Reforma y Gandhi
Bosque de Chapultepec
Ciudad de México
CP 11580 Mexico
tel. (+5255) 5286 6519/29
fax. (+5255) 5286 6539
[email protected]
www.museotamayo.org

Film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008'

Gerry Schum, 'Land Art TV' (1969). Courtesy Groninger Museum, Groningen.

Latitudes was invited to curate the Spring 2008 Panorámica cycle for the Museo Tamayo Arte Contemporáneo, Mexico City. The cycle is titled 'A Stake in the Mud, a Hole in the Reel. Land Art's Expanded Field 1968–2008' and will be screened in two parts on 1st and 2nd April at 19.30h (and repeated on 5–6 April at 13h.)

Borrowing its title from the writings of Robert Smithson, the programme revisits a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. Indeed a concern with remoteness, together with the powerful allure of specific sites, weaves throughout the films’ itinerary, which includes the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).
Dowload the screening programme here (Spanish, pdf, 624 KB)

Part 1:Gerry Schum's LAND ART (1969) which includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Nancy Holt & Robert Smithson, Robert Smithson and Gordon Matta-Clark.
Part 2:
Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Damián Ortega, Hans Schabus, Nikolaj Recke, Thiago Rocha Pitta and Jordan Wolfson.

The programme will also be presented in Museo de Arte Contemporánea de Vigo, Vigo (8-9 and 15-16 May); Stadtkino/Kunsthalle Basel (27 May); Centro Andaluz Arte Contemporáneo, Sevilla (24-25 June) and Fundació Suñol, Barcelona (7–8 July).

The programme is available for screenings in auditoriums. If you are interested in hosting it, please write to info[at]lttds[dot]org to receive information on the available dates and terms and conditions.

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

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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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