Longitudes

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

Conversación en línea con Jorge Satorre, 22 de septiembre a las 19h UTC

Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista.


El 22 de septiembre 2021 a las 19h (UTC -5) se transmitirá a través de Facebook Live del Museo Amparo una conversación que mantuvimos con el artista Jorge Satorre (Ciudad de México, 1979). 

Programada dentro del ciclo ‘‘Diálogos con artistas de la Colección de Arte Contemporáneo”, la conversación se enmarca dentro de la programación de la exposición “El tiempo en las cosas” curada por Tatiana Cuevas en las Salas de Arte Contemporáneo del Museo Amparo en Puebla, México.

La conversación giró entorno al proceso de producción de “The Erratic. Measuring Compensation” (2010), actualmente incluída en la exposición “El tiempo en las cosas”, realizada por Satorre y comisionada por Latitudes como uno de los diez proyectos producidos a lo largo del 2009 en el espacio público del Puerto de Rotterdam, en los Países Bajos.

Durante el verano de 2009, Satorre buscó y localizó una de las gigantescas rocas que los glaciares llevaron a los Países Bajos desde Escandinavia durante la última Edad de Hielo. A raíz de la fascinación del artista por los proyectos de compensación medioambiental que se llevaron a cabo durante el proyecto de ampliación portuaria Maasvlakte 2 (2008–13), Satorre con la ayuda de un equipo de científicos identificó el lugar de origen de un bloque errático y lo devolvió a su lugar de origen, un acto de restitución sintética y compensación escultórica transnacional. 

El gesto geológico inverso de Satorre además de reflejar la construcción monumental de Maasvlakte 2 como una escultura de la forma de la tierra que, como la acción del deshielo pero en un tiempo mucho más corto, está alterando para siempre la morfología de los Países Bajos. La acción también se refleja en el hecho de que gran parte de la defensa marítima existente y futura en la zona portuaria se hará con roca traída de Escandinavia. Satorre ofrece un relato del proceso de devolución a través de dibujos que incorporan detalles reales e imaginarios. Uno de estos detalles representa una protesta imaginada al comienzo del viaje de vuelta a casa de la roca y fue presentado a modo de prólogo del proyecto en una valla publicitaria en el Puerto de Rotterdam, el puerto más grande de Europa.

Portscapes fue un encargo de la Autoridad Portuaria de Rotterdam con el asesoramiento y apoyo de la desaparecida organización SKOR (Fundación Arte y Espacio Público, Ámsterdam), y fue curado por Latitudes. En este contexto se encargaron proyectos a Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Christina Hemauer & Roman Keller, Paulien Oltheten, Hans Schabus y a Jorge Satorre, quien realizó “The Erratic. Measuring Compensation” (2010).

Jorge Satorre, “The Erratic. Measuring Compensation” (2009). Cortesía del artista. Foto: B. Wind.



CONTENIDO RELACIONADO

  • 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 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 publ '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 small exhibition at the visitor centre Futureland and surroundings, 2 October 2009

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Cover Story, September 2021: Erratic behaviour—Latitudes in conversation with Jorge Satorre

September 2021 cover story on www.lttds.org

The September 2021 monthly Cover Story “Erratic behaviour—Latitudes in conversation with Jorge Satorre” is now up on our homepage: www.lttds.org

“In 2008 the Port of Rotterdam in the Netherlands, the largest in Europe, began a dramatic project to extending its land by 20% into the sea. Known as Maasvlakte 2, the construction involved bringing more than 5 million tons of rock from Scandinavia for the construction of dikes and dams, alongside a programme of ecological offsetting. ”

 Continue reading

→ After September 2021 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–July-August 2021: Panorama: a wide view from a fixed point, 2 July 2021
  • Cover Story–June 2021: ‘Fitness food: Salim Bayri’s Amsterdam’, 1 June 2021
  • Cover Story–May 2021: RAF goes viral, 2 May 2021
  • Cover Story—April 2021: Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
  • Cover Story—March 2021: Eulàlia Rovira's ‘A Knot Which is Not’ (2020–21), 1 mar 2021 
  • Cover Story—February 2021: ‘Straits Time: narrative smuggling in Singapore’, 1 Feb 2021
  • Cover Story–January 2021: ‘Things Things Say’: VIP's Union’, 1 Jan 2021
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Cover Story – May 2019: ‘Buenos Aires in Parallel’

Latitudes' homepage www.lttds.org

The May 2019 Monthly Cover Story ‘Buenos Aires in Parallel’ is now up on Latitudes' homepage: www.lttds.org

“Latitudes recently participated in the Parallel Rooms talks programme of Art Basel Cities: Buenos Aires. Developed in collaboration with the arteBA Fundación, and taking place during the arteBA art fair itself, these events transpired in four temporary domes that popped-up on the central showground of La Rural, a venue more used to hosting prize-winning cattle than forty-two curators, artists, and collectors.


—> 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:

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'Compositions' a programme of five artists' interventions for the second Barcelona Gallery Weekend, 29 September–2 October 2016


Compositions presents five artistic interventions in unique sites across the neighbourhoods of the city of Barcelona. Each of the commissioned artists is represented by a gallery participating in the second edition of the Barcelona Gallery Weekend.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people, as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums. 

In its second edition, Composiciones will present interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects will offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Interior of the Club Billar Barcelona. Photo: Courtesy Club Billar Barcelona.
 Zoom in a map here.

Intervention by Lúa Coderch Club Billar Barcelona
Gran Via de les Corts Catalanes, 595-599
08007 Barcelona

Public transport:
Metro: Passeig de Gràcia (L2, L3, L4)
Bus: 7, 50, 54, 67, 68, H12

Opening hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm 

Lúa Coderch’s project for the Compositions programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics.

Sunday 2 October, 12am: 
Free guided visit by the Lúa Coderch and Latitudes at the Club Billar Barcelona, Gran Via de les Corts Catalanes, 595-599.

Interior of the Biblioteca Pública Arús.
Zoom in a map here.

Intervention by Lola Lasurt  –  Biblioteca Pública Arús
Passeig de Sant Joan, 26
08010 Barcelona

Opening hours:
Thursday 29 September: 5–9pm;
Friday 30 September: 11am–7pm;
Saturday 1 October: 11am–2pm;
Sunday 2
October: CLOSED;
Monday 3
October: 11am–6pm;
Tuesday 4
October: 11am–6pm.
 
Public transport:
Metro: Arc de Triomf (L1)
Rodalies: R1, R3, R4 Arc de Triomf
Bus: 19, 51, 55, B20, B25, N4, N11


For her intervention for the Compositions programme, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with an outstanding collection related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings that form a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

Thursday 29 September, 6pm: 

Free guided visit by Lola Lasurt and Latitudes at the Biblioteca Pública Arús, Passeig de Sant Joan, 26.

 Interior of Can Trinxet factory in L'Hospitalet de Llobregat.
 Zoom in a map here.
Intervention by Regina Giménez will take place at the Antigua fábrica textil Can Trinxet
c/ Santa Eulàlia 182–212
08902 L’Hospitalet de Llobregat (Barcelona)

Opening hours:
Thursday 29 September: 5–8pm

Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Public transport:
Metro: Santa Eulàlia o Torrassa (L1)
Bus: L16, L52, L82, L85, LH1, N13

The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpin Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprise Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project "La Constancia" (2016) in tribute to the labour union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Friday 30 September, 12am:

Free guided visit by Regina Giménez and Latitudes at Can Trinxet, c/ Santa Eulàlia 182–212, L’Hospitalet de Llobregat.

Zoom in map here.

Robert Llimós' intervention will connect all the participating galleries of the Barcelona Gallery Weekend. 

Hours:
Thursday 29 September: 5–9pm
Friday 30 September, Saturday 1 and Sunday 2 October: 11am–7pm

Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, "Los Corredores" (The Runners) was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Encounters). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes 

Friday 30 September, 5pm:  
Free guided visit by Robert Llimós and Latitudes. Meeting point: BlueProject Foundation, c/Princesa 57.
Façade of the Unitat Muntada de la Guàrdia Urbana de Barcelona in Parc de la Ciutadella.
Location of the Unitat Muntada in the southeastern part of the Parc de la Ciutadella. Zoom in a map here.

The intervention by Wilfredo Prieto will take place at the Unitat Muntada de la Guàrdia Urbana de Barcelona (Barcelona City Police Stables)
c/ Wellington s/n 
08018 Barcelona

Public transport:
Metro: Vil·la Olímpica (L4)  
Tram: Ciutadella–Vil·la Olímpica (just opposite)
Bus: 36, 59, 92, N0, V21, V27

Opening hours:
Thursday 29 September: CLOSED
Friday 30
September, Saturday 1 and Sunday 2 October: 11–12am*
[*] Doors open daily at 10:30am. Kindly note that a photo ID (DNI or passport) is required to enter.]
  
Conceived by Wilfredo Prieto as his project for the Composiciones programme, "Pantalones rotos" (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work, Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in "Pantalones rotos", this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes  

Saturday 1 October, 12am:
Free guided visit by Latitudes at the Unitat Muntada de la Guàrdia Urbana. Meeting point: c/ Wellington s/n. (Opposite the tram stop Ciutadella–Vil·la Olímpica)

Follow + Share: 
@Barcelona_Gallery_Weekend
#BarcelonaGalleryWeekend
#Composiciones2016
#LosCorredores1972   
@LTTDS 
#LatitudesBarcelona  



The Barcelona Gallery Weekend is an initiative of the de Art Barcelona and is supported by the Ajuntament de Barcelona (ICUB), the Generalitat de Catalunya (ICEC), the Ajuntament de L’Hospitalet de Llobregat and Acción Cultural Española (AC/E), as well as by private sponsors and individual patrons. http://www.barcelonagalleryweekend.com/


Related content:

  • Composiciones 2015 commissions;
  • 2015 social media archive;
  • Instagram of the Barcelona Gallery Weekend;
  • PRESS RELEASE: Latitudes curates "Composiciones", a series of five artists' commissions for the first Barcelona Gallery Weekend, 1–4 October 2015; 
  • NOTA DE PRENSA: Comisariado de "Composiciones", cinco intervenciones artísticas para el primer Barcelona Gallery Weekend, 1–4 Octubre 2015;
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Documentation of Latitudes' talks at the Athens Biennale summit and Tabakalera, Donostia-San Sebastián, November 2015


Latitudes in the international Summit 'Synapse 1' at New Rex of the National Theatre of Greece. 'Session II: Rethinking Institutions', November 18, 2015. Photo: Athens Biennale.

Documentation of two recent presentations by Latitudes in Athens and Donostia–San Sebastián is now online. 

Entitled Omonoia (‘concord’ in Greek), the Athens Biennale 2015–17 is directed by Massimiliano Mollona and will grow over the next two years with the help of anthropologists, researchers, activists, academics, artists and civic organisations. In November 2016, Omonoia launched with the summit Synapse 1: Introducing a laboratory for production post-2011. Latitudes participated in the “Rethinking Institutions” session alongside Maria Hlavajova (founder and artistic director of BAK, Utrecht); political economist Leo Panitch; Emily Pethick, director of The Showroom, London; Documenta 14 Artistic Director Adam Szymczyk; public services expert Hilary Wainwright, and Amalia Zepou, Athens Vice Mayor for Civil Society and Municipality Decentralization. 

By way of introduced we discussed the “Near-Future Artworlds Curatorial Disruption Foresight Group”, the forum for megatrends and the future of institutions of contemporary art that has taken place in May 2015 at the Vessel / MADA (Monash Art Design and Architecture) 2015 International Curatorial Retreat in Bari, Italy; in August at Kadist Art Foundation, San Francisco, and in November at Eastside Projects, Birmingham, UK. We followed this with some geological speculation that in “digging deeper” both literally and figuratively, we perhaps find new institutional models. How do we think about artworks and institutions in terms of tens of thousands of years, for example.

See the video here (in English).


Public lecture organised by consonni as part of LaPublika. Tabakalera, Donostia–San Sebastián. Wednesday, November 11, 2015. Photo: Consonni.

Also in November, Latitudes led the workshop “Beyond The Roundabout, or How Public Is Public Art?” for consonni/LaPublika at Tabakalera. As part of this Latitudes gave a public lecture. The workshop addressed the work of artists who conceptualize or actualize their works against a backdrop of vast stretches of time or topological change. In the public lecture we made various transects through our curatorial projects determined by the public sphere, raw materials and their transformation. “From the zinc which led to an Esperanto micro-nation, to the air of a Beijing shopping centre, or the dead trees of printed news, Latitudes will join some traits and ideas around ‘human resources’, extractive modernity, obsolescence and the carbon cycle.” 

Hear the audio here (in Spanish). 

Related content: 
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      LaPublika – Public sphere laboratory for artistic research, consonni, Donostia, 10–11 November 2015


      Latitudes has been invited by consonni to give a two-day seminar and a public lecture in the context of LaPublika, a programme of activities concerning the way artistic practices construct the public sphere. The programme will take place over the next two years in the recently opened International Centre for Contemporary Culture Tabakalera in Donostia, on the 10 and 11 November, and is a joint initiative together with Donostia-San Sebastian European Cultural Capital 2016.

      "Public sphere here is understood as spaces considered to be public (the street, the square, the city), as well as the internet or the communications media, and the mechanisms with which we participate in managing what is common (language, rites, norms, the aesthetic of collective processes). At a time when new social and civic paradigms are arising, LaPublika seeks to provide a framework of work and reflection upon those processes." (....) "In addition to the presence-based programme, all the activities have their version in podcast format on LaPublika’s radio-web, the central hub of the project, which is also backed up by programming involving interviews, radio spots and sound pieces."


      Visitors at Robert Smithson's "Broken Circle" (1971), an event organised by Land Art Contemporary. Picture: Kunstbeeld.
      Breaking Ground: Broken Circle/Spiral Hill, by Robert Smithson & Nancy Holt - See more at: http://ajuntament.barcelona.cat/lavirreina/en/activities/breaking-ground-broken-circlespiral-hill-robert-smithson-nancy-holt#sthash.8wxhhHQB.dpuf

      Breaking Ground: Broken Circle/Spiral Hill, by Robert Smithson & Nancy Holt - See more at: http://ajuntament.barcelona.cat/lavirreina/en/activities/breaking-ground-broken-circlespiral-hill-robert-smithson-nancy-holt#sthash.8wxhhHQB.dpuf

      Breaking Ground: Broken Circle/Spiral Hill, by Robert Smithson & Nancy Holt - See more at: http://ajuntament.barcelona.cat/lavirreina/en/activities/breaking-ground-broken-circlespiral-hill-robert-smithson-nancy-holt#sthash.8wxhhHQB.dpuf
      Breaking Ground: Broken Circle/Spiral Hill, by Robert Smithson & Nancy Holt - See more at: http://ajuntament.barcelona.cat/lavirreina/en/activities/breaking-ground-broken-circlespiral-hill-robert-smithson-nancy-holt#sthash.8wxhhHQB.dpuf
      Latitudes' workshop titled “Beyond the roundabout, or what’s public about public art?” will take the legacy of Land Art as a starting point – or more specifically, Robert Smithson’s notion of “continual movement” – to address the multiple temporalities which can constitute the form of an artwork in public space. Approaching projects (rather than beholding objects) the workshop will discuss artists who conceptualize or actualize their works against a backdrop of vast stretches of time or topological change. In the context of a networked culture which seems to offer an accelerating and horizontal concept of the public sphere, the workshop will furthermore address what is at stake when “digging deep” and slowing down.

       Production of Jan Dibbets' "6 Hours Tide Object with Correction of Perspective" (1969–2009) on 9 February 2009 the Port of Rotterdam, a beach that has now disappeared to become Maasvlakte 2. Photo: Latitudes.

      For the public lecture on November 11, Latitudes will forgo a chronological account of its projects of the last decade, and instead attempt various transects through its curatorial projects determined by the public sphere, raw materials and their transformation. From the zinc which led to an Esperanto micro-nation, to the air of a Beijing shopping centre, or the dead trees of printed news, Latitudes will join some traits and ideas around “human resources”, extractive modernity, obsolescence and the carbon cycle.

      RELATED CONTENT:

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      Latitudes contribution to Kadist Art Foundation's 'One Sentence Exhibition'


      To visit the exhibition,
      please check ose.kadist.org

      Recognizing that not everyone can visit Kadist Art Foundation venues in Paris or San Francisco, Kadist recently inaugurated a series of online projects with artists and curators around the world.

      First of these initiatives is the One Sentence Exhibition (OSE), for which the foundation invites curators to write or choose a single sentence, making each word in the sentence a hyperlink to an image, video, text or website. As a result, the One Sentence Exhibition becomes a compact architecture, accompanying the reader as they explore far-reaching corners of the internet. 

      Following on from the contributions by Rudolf Frieling (Media Arts Curator at SFMOMA) and Nato Thompson (Chief Curator at Creative Time) to OSE series, Latitudes has chosen the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" by Lawrence Weiner in English, Spanish and Catalan, commissioned for his 2008 solo exhibition THE CREST OF A WAVE at the Fundació Suñol in Barcelona.

      Sugar packets where freely distributed during the duration of the exhibition around Barcelona. Photo: Pierre-Jean Moulis.

      Originally distributed as a free ephemeral sculpture on 300,000 sugar sachets and presented on the wall of the exhibition space, Weiner’s striking typographic rendition of the statement triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language.
       
      Lawrence Weiner tote bag. Available from http://www.lttds.org/totes/weiner/

      The statement is also silkscreened on the commemorative limited edition tote bag that celebrated Latitudes' 10th anniversary in Spring 2015.

      As elaborated by Latitudes in the exhibition guide, "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE indicates an object record of early human technologies (woven textiles, reusable protection for the hooves of working animals) and a marine setting. Weiner’s phrase facilitates a richly ambiguous material and symbolic universe. Why is the horseshoe wrapped? What story, personal or historical, might account for the event that is described? The artist’s statement leaves such questions open for us to consider. It is known that muslin and calico was brought to Spain by the Arab traders in the 1st Century. After the Conquest of Hispania during the 7th Century, facilitated by the Muslim cavalry’s more agile horses, cotton was cultivated by the Moors in Spain. Barcelona’s industrialization in the late 1700s and early 1800s was driven by the printing of calico and later the spinning and weaving of cotton. [1]


      Poster of the exhibition at Fundació Suñol's Nivell Zero space, Barcelona.

      In the manner of a biography of substances, such as Mark Kurlansky’s books Cod and Salt, A CLOTH OF COTTON... thus triggers a chronicle of mercantile, maritime and equestrian power, of trade and occupation, of spheres of influence and change, a memory of matter and of language. [2]" (...) 

      (...) The statement is distributed on a sugar packet throughout a selection of Barcelona bars and cafés during the city's Mercè Festival and for the duration of the exhibition – a sweet gift to accompany one’s café con leche,
      cortado, carajillo, or conversation. Printed on hundreds of thousands of standard 7 gram white sugar sachets – sugar production technology too was spread into Spain by Moorish occupation – Weiner’s striking typographic rendition of the phrase in red and yellow (the colours of both the Catalan and the Spanish flag) is accompanied by an emblem which evokes the trajectory of a certain horseshoe over a wave in diagrammatic form.


      View of Lawrence Weiner's piece at the patio space of Fundació Suñol, Barcelona.

      (...) On the five metre-high wall of the exterior space [of  Fundació Suñol’s Nivell Zero] we read A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE painted in Catalan, Spanish and English. The use of the same stencil font as the sugar packet layout suggests a method of functional and clear application which reinforces the fact that Weiner is dealing with the language in terms of modification and use. [3] The word for a company which produces typefaces – a foundry – neatly preserves a link to a time when type was cast from metal, in much the same way as horseshoes are made from iron."

      Ceremony of the 2008 ACCA (Art Critics Association) awards which granted Fundació Suñol the best art programme of the year – a season that included two projects curated by Latitudes.

      [1] See J.K.J. Thomson, A Distinctive Industrialization: Cotton in Barcelona 1728-1832, Cambridge University
      Press, 2003.

      [2] Salt: A World History, Walker and Co., 2001; Cod: A Biography of the Fish That Changed the World, Walker
      and Co., 1997.

      [3] The font is FF Offline Regular, designed by Roelof Mulder in 1988.

      This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
      All photos:
      Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
      Work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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      Guest Faculty of the Thematic Residency ‘Blueprint for Happiness’ at The Banff Centre, Canada, 27 July–8 August 2015

      (First) Views from the Vistas restaurant in the Sally Broden Building; (below) View from the Lloyd Hall building.

      As Guest Faculty of the Visual + Digital Art thematic residencyBlueprint for Happiness’ – a five week programme starting July 13 led by British artists Heather and Ivan Morison – Latitudes will join the group in the middle two weeks of the programme (27 July–7 August). 

       Participants of the Blueprint for Happiness Thematic Residency.

       Some art-as-research tips for reference on one of the Glyde Hall fridges.

      In Banff, Latitudes will lead a series of focused workshops bringing forward a series of case studies of (realised and unrealised) projects they have worked on as well as focusing on a number of artists whose practice has dealt with issues around public space in different geographical contexts. 

      Latitudes will also undertake studio visits with each of the 11 resident artists, participate in field trips and organise a closed-door evening film programme with films by Spanish artist Emilio Moreno, Irish artist Sean Lynch and Australian artist Nicholas Mangan. The three films share a focus on public sculptures, monuments or buildings that have been displaced from their original context.


      Ignasi Aballí, AM-4826 Digital Anemometer from Taking Measures (2009). Installation of 9 measuring devices. Courtesy of the artist and Galería Estrany–De la Mota, Barcelona.

      Tuesday 28 July 2015, 16–17:30h: Public Lecture, Presentation of Latitudes’ curatorial practice as part of the Visual Art Lecture Series. Jeanne and Peter Lougheed Building, 204. Free event.
       
      For the Public Lecture Latitudes will forgo a chronological account of its projects of the last decade, and instead attempt various transects through its curatorial projects determined by raw materials and their transformation. From the zinc which led to an Esperanto micro-nation, to the air of a Beijing shopping centre, or the dead trees of printed news, Latitudes will try and join some traits and ideas around extractive modernity, obsolescence and the carbon cycle.


       Music huts around campus.
       The creek around The Banff Centre.

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      This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
      All photos:
      Latitudes | www.lttds.org (unless otherwise noted in the photo caption)
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      Archive Cover Story (May): Here’s to horseshoes: Lawrence Weiner and Sergi Aguilar


      May 2015 Cover Story dedicated to Lawrence Weiner and Sergi Aguilar.


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      This is the blog of the independent curatorial office Latitudes. Follow us on Facebook and Twitter.
      All photos:
      Latitudes | www.lttds.org (except when noted otherwise in the photo caption).
      Work is licensed under a
      Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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      Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012

      All photos: Latitudes | www.lttds.org 

      The commission series "Sense and Sustainability", curated by Alberto Sánchez Balmisa within the framework of Urdaibai Arte 2012, and organized by the Fundación 2012 Fundazioa, was launched on 19 July (info here – in Spanish) and will remain open to the public until 23 September. It comprises ten installations developed by artists: Lara Almarcegui (Zaragoza, Spain, 1972), Liam Gillick (Aylesbury, UK, 1964), Carlos Irijalba (Pamplona, 1979), Gunilla Klingberg (Stockholm, Sweden, 1966), Maider López (Donostia, Spain, 1975), Rafael Lozano-Hemmer (México DF, México, 1967), Renata Lucas (Ribeirão Preto, Brasil, 1971), Oscar Tuazon (Tacoma, USA, 1975), Pieter Vermeersch (Kortrijk, Belgium, 1973) and Haegue Yang (Seoul, South Korea, 1971).

      Launch of the project in the Playa de Laga. Left to right: Gunilla Klingberg, Haegue Yang, Maider Lopez, Alberto Sánchez Balmisa, Blanca Urgell (Consejera de Cultura), Renata Lucas, Carlos Irijalba and Lara Almarcegui.

      The works are produced for and presented in different locations around the Urdaibai Biosphere Reserve (in the Basque Country), including urban, industrial and natural spaces.

      Below images of the works as we visited them, starting with Gunilla Klingberg's "A Sign in Space" at Playa de Laga, Ibarrangelua, a tide-depending 'drawing' performance that takes place on the beach on the following days: 19, 20, 30, 31st of July; 1, 2, 14, 15, 16, 30 and 31st of August and 14, 15th of September.
      Gunilla Klingberg's "A Sign in Space" at Playa de Laga, Ibarrangelua.

       
      Haegue Yang, "Tectonic Texture", Cantera de Andrabide, Gautegiz-Arteaga.

       Following an excerpt from the text "Stack of evidence: Haegue Yang" included in the publication "Sentido y Sostenibilidad – Reading" written by Max Andrews' of Latitudes (you can download the full text from Latitudes' writing archive).

      "Yang’s project, for Urdaibai – entitled 'Tectonic Texture' – has its beginnings and the bulk of its physical and metaphorical investment in what is perhaps the most traditional of raw materials for artistic decoration and representation: stone. In particular she became interested in the characteristic stones of the Urdaibai region – including grey limestone and Rojo Ereño, which has been quarried in the region since at least Roman times. The latter, also known as Rojo Bilbao, is technically a recrystallised limestone which is a deep meaty red colour with whorls of grey and white which are the fossilised remains of rudists, bivalves which were the major reef builders of the tropical seas of the Cretaceous. Yang proposed a stack in which 80 cm square slabs of Rojo Ereño are alternated with slabs of grey limestone. Additionally, a mason from Urdaibai was commissioned to carve the top surface – a square sandstone plate, also from the region – with a combination of his own raised geometric designs and a series of engraved handprints like impressions left in wet concrete. The five handprints are intended to encourage people to touch the form and initiate a direct contact with the materiality of the stone. 'Tectonic Texture' is installed one of the few Ereño marble quarries in the region which has not been completely abandoned and is surrounded by the stagger-cut cliff faces where millennia of excavations have cut down below the forested surface. The sculptural material of which it is comprised originated from the same quarry. The depth of the quarry witnesses the vast displacement of rock that has taken place, and the steady transposition of a section of landscape which itself originated as ocean life approximately 100 million years ago into symbolic and cultural forms – buildings facades, altars and monuments distributed throughout the Basque country and beyond.

      Yang’s work is a kind of non-sculpture – perhaps closer to a memorial or a secular shrine – which connects to a highly-specific local labour tradition, through the apparent paradox of a representation of stone that is itself stone. Its form might also suggest that it is a kind of column or pedestal for an invisible form on top of it – an expectant platform articulated through the reorganisation of the excess symbolic value found in the anthropogenic landscape where it stands. The location of the quarry is somewhat hidden within the landscape of the Urdaibai biosphere reserve, and approaching the work in its context evokes a quasi-mystical feeling despite that fact the area bears the scars of modern industry. With
      'Tectonic Texture', Yang was particularly interested in this strange collision of industrial exploitation and managed nature inherent in the site, as well as the Urdaibai region’s pride in its ecological fecundity as a new kind of resource with political dimensions."  
       
      Haegue Yang, "Tectonic Texture", Cantera de Andrabide, Gautegiz-Arteaga. Views of the marble quarry where Yang's piece is installed.

      Oscar Tuazon, "Birds" is on the way up to San Pedro Atxarre from the district of Garteiz and Akorda, Ibarrangelua. It consists of a bench of Marquina stone with a radio system broadcasting live (Radio3) within a remote and highly environmentally-protected area.


      Liam Gillick, "Faceted Revision Structure (Es una clase muy pobre de memoria que sólo funciona hacia atrás)", Fábrica de Astra, Gernika-Lumo. The remodelling project of this future production centre is still undergoing, and will be presented with a finissage at the end of the project.


      Pieter Vermeersch, "Untitled" in the Polígono Industrial, Gernika-Lumo. As the artist has written, these two paitings "represent a mental landscape as a subjective mirror of my experience in this region."

      Renata Lucas, "El Visitante", Calle de Santa Clara, Gernika-Lumo. The project involved the planting of a Sibipiruna (Caesalpinia Peltophoroides), a tree native from the artist's birthplace, Brazil, in close proximity to Gernika's oak tree.
       
       Renata Lucas presenting her work placed in front of Gernika's oak tree.


      Lara Almarcegui, "Materiales de la montaña Peña Forua", at the Antiguos Hornos de Cal, Barrio de Atxondoa de Forua. The piece consists in the calculation of the weight of the Peña Forua mountain, an active quarry, and the display of its materials in the wall of an old lime kiln.

      Following an excerpt from the text included in the publication "Sentido y Sostenibilidad – Reading" written by Mariana Cánepa Luna of Latitudes (you can download the full text from Latitudes' writing archive).

      "(...) (Almarcegui's) contribution to the series consisted in nothing less than the calculation of the weight of a mountain, and the display in list form of its geological composition. The Atxondo mountain is covered by Cantabrian holm oak and was known to be mostly composed of limestone, with small percentages of clay and sandstone. Once a more detailed geological analysis was concluded, a complex series of calculations took place in collaboration with geographers and speleologists which followed a 3D modelling of the mountain using the Digital Elevation Model (DEM) technique. This calculated physical volume using algorithms and mathematical formula.The final numbers were then broken down into a simple list of each of the materials which comprised the mountain followed by their weights. This list of geological composition is finally displayed within the site itself, on the wall of an old lime kiln in a nearby abandoned quarry, so that the visitor can firstly observe the staggering mountain, navigate its perimeter, before later reading its geological composition expressed in numbers. During the difficult pre-process to the final form of the work, Almarcegui and her collaborators faced two particular challenges. Firstly, the decision as to where Atxondo actually begins and ends. Secondly, the difficulty of calculating volume in a geographical site that has many internal and external chasms and caves.  

      Almarcegui deliberately chose to focus her contribution in a site of continuous change. The mountain is being eaten away through the actions of an active quarry, Forua, which is dynamited in order to extract limestone, a sedimentary rock mainly used as a building material or as aggregate for the base of roads. Some of the limestone is processed directly on site where it is turned into gravel and then taken to a facility 5 km away near Gernika which processes it into concrete. It is in this process that we can appreciate a destruction and construction cycle as it loops: the mountain becomes limestone which becomes construction material. During her investigations, Almarcegui discovered that the quarry is now exploited less frequently due to the “brick crisis”. The building sector is one of the hardest hit industries in the current Spanish recession, and the raw materials are simply no longer in high demand. The effects of the economy are therefore clearly translatable into the terms of landscape and ecology: the mountain's transformation and the pace of its destruction, goes hand in hand with the growing or bursting bubble of the construction industry."

       Almarcegui presenting her project to visitors that joined the public presentation.
      View of Lara Almarcegui's site in the old lime kiln of Atxondoa, Forua - also via photosynth.

      Carlos Irijalba, "High Tides", Refuge in Paresi, Busturia. Irijalba's installation in this former Republican school is an investigation of a physical terrain: the result of a geotechnical drilling that Irijalba undertook on the parking lot of the former weapon factory of Astra in Gernika. 
      View of Mundaka from the Refugio in Paresi, where Carlos Irijalba's work is displayed.

      Maider López, "In Situ", Nine different locations around Urdaibai. Below the coordinates in front of Mundaka's Town Hall, designating where to find the yellow tiles the artist has placed which indicate daily movements, crossings, activities that happen in the area.
      López (standing on right) placed a yellow tile in the market in Gernika, where Rosario (standing on left) goes daily to sell products from her farmhouse. The rest of the stalls are only joining once a week on Monday mornings.
      Another of Maider López points of encounter: this is the only fountain in Gernika with drinkable water and therefore becomes a busy hub for neighbours as they fill their bottles.
       The tile marks the journey made by a boat that connects Mundaka with Laida, saving people from having to make the 24km drive.

      We are missing images (our camera collapsed! but managed to rescue a photo we took with a phone) of Rafael Lozano-Hemmer's "Regar corazonadas", placed in the Centro de Biodiversidad de Euskadi-Torre Madariaga (Busturia). The piece consisted in an interactive hose located in the garden of Torre Madariaga. The hose has a sensor attached to the sprinkler which detects the pulse and makes the water flow following the heartbeat of the person handling it. The Biodiversity Center is also the info point from where to take a map and guide (includes GPS locations) to find the projects, and also screens a 'making of' video of the project.



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