Longitudes

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

Cover Story—May 2020: Panama, back through the lens

Latitudes' homepage http://www.lttds.org/

The May 2020 monthly Cover Story ‘Panama, back through the lens’ is now up on our homepage: www.lttds.org

April 2020 marked 15 years of Latitudes’ curatorial practice. We’ve long been planning an update and redesign of our website, and with life and work on hold for the last few weeks, we’ve finally had the time to make it happen. The whole site has now been rebuilt: https://www.lttds.org/

The new widescreen home page features Donna Conlon, Jonathan Harker, and Sandino Scheidegger, the latest episode of ‘Incidents (of Travel)’, accompanied by Donna’s and Jonathan’s thoughts on how life has changed in recent weeks in Panama City. 

‘‘Panama is a country of many contrasts, bruised by a variety of social, political, and cultural crises”, writes curator Sandino Scheidegger in the latest edition of ‘Incidents (of Travel)’, in which he spent a day in January with the artists Donna Conlon & Jonathan Harker. “These tensions grow even stronger in its capital, Panama City, where an impressive skyline rises over an often struggling population below it.” Here high on a hill above the urban bustle, Jonathan, Donna, and Sandino clamber along railings and among branches in the Parque Metropolitano near where the duo shot the video ‘Capapults (Tapitapultas)’ (2012) – a slyly humorous take on military history, national identity, consumerism, and waste.”

Continue reading
→ After May 2020, 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
  • Latitudes’ 15th anniversary and rebuilt and redesigned website 2 May 2020
  • Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City 9 April 2020
  • Cover Story—March-April 2020: The Bolós Cabinet 3 March 2020
  • Cover Story—February 2020: Carioca Incidents 3 February 2020
  • Cover Story—January 2020: Safeguarding Gestures 2 January 2020
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December 2019
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
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Episode #11 of ‘Incidents (of Travel)’ – Dispatch by Sandino Scheidegger and Donna Conlon & Jonathan Harker from Panama City

Browser view of episode 11 of Incidents (of Travel) from Panama.

http://incidents.kadist.org

A new episode of ‘Incidents (of Travel)’ from Panama City is now live. This is part of the online projects produced by KADIST and edited by Latitudes exploring the chartered itinerary as a format of artistic encounter, an extended offline conversation between curator/s and artist/s. 

Swiss curator Sandino Scheidegger (Random Institute) recently visited Panama City in preparation for a solo exhibition by Donna Conlon and Jonathan Harker at Casa Santa Ana in 2021. Conlon and Harker collaboration since 2006 (while also pursuing their own individual art practices) has resulted in seventeen video works to date, “often focus(ing) on the beautiful things that don’t seek out our attention: falling mangoes, upturned bricks, floating bottles, all calling out to us to discover their overlooked beauty”, as the his report continues, with “a sharp eye for pointing out the anomalies of an ever-consuming society, one driven by an economy that isn’t far from consuming itself”.

The places Sandino, Donna and Jonathan visited together pointed to the origin of some of their video works, the ideas behind them, or simply served as stages in their pieces, turning into “an exercise in sneaking through fences to reach former recycling plants, imagining how things looked before the skyscrapers took over, and navigating the complex social fabric of Panama City — all while getting a taste of local food between every stop.”

The Incidents (of Travel) site was recently redesigned to present one continuous immersive read interwoven with vertical videos and images in a new mobile-friendly format. Tap and swipe!



In 2016 Kadist and Latitudes partnered in a new ‘distributed’ phase of ‘Incidents (of Travel)’ extending the invitation to curators and artists working around the world, and publishing their dispatches as an Online Project.

Conversations have taken place in Rio de Janeiro (Brazil), Reykjavík (Iceland), Buenos Aires (Argentina), Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

Incidents (of Travel)’ was conceived by Latitudes in 2012 with 5 day-long artist-led tours around Mexico City presented as part of a short residency and exhibition on Latitudes’ practice at Casa del Lago. The project had sequels in 2013 in Hong Kong with online dispatches published live via social media, including soundscapes (archived on Soundcloud), and in 2015 in San Francisco with daily posts as part of Kadist's Instagram take over “Artist Not In The Studio Curator Not At The Office”.


The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.


The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.


The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as fishermen, housebuilders, boat builders, farmers, coconut pickers, food producers, and everything else that matters." 


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.


The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home-sharing their mutual love for quinces.


In the eighth 'Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

In the ninth dispatch, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík's surroundings considering Þorgerður's “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites collecting moments and considering the ways in which geologic time surfaces in the context of human time.”
http://incidents.kadist.org/rio

The tenth dispatch begins with an itinerary proposed by Barcelona-born, Rio de Janeiro-based artist Daniel Steegmann Mangrané and is followed by images and videos recording a day roaming Rio's natural and artistic landscapes with Bogotá-born, Mexico City-based curator Catalina Lozano, who narrates their day spent together. 


→ RELATED CONTENT:

Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro
29 January 2020
https://www.lttds.org/longitudes/index.php?id=144735152408473327/tenth-episode-of-incidents-of-travel

The ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir, 8 February 2019
https://www.lttds.org/longitudes/index.php?id=6371927610418460689

The eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi, 6 September 2019
https://www.lttds.org/longitudes/index.php?id=8721104601538735691

Seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania, 28 June 2018
https://www.lttds.org/longitudes/index.php?id=1055853895543348027

The sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia, 1 March 2018
http://www.lttds.org/blog/blog.php?id=5887133486742947361

The fifth episode of 'Incidents (of Travel)' – Dispatch by Simon Soon and chi too from Terengganu, Malaysia, 26 April 2017
http://www.lttds.org/blog/blog.php?id=4083951540089486920

The fourth episode of 'Incidents (of Travel)' – Dispatch by Pedro de Llano and Luisa Cunha from Lisbon, Portugal, 2 March 2017
http://www.lttds.org/blog/blog.php?id=4185860148466062617

The third episode of 'Incidents (of Travel)' – Dispatch by Yu JI and Xiao Kaiyu reporting from Suzhou, China, 6 September 2016
http://www.lttds.org/blog/blog.php?id=1437935620149738144

Second 'Incidents (of Travel)' dispatch by Moses Serubiri and Mohsen Taha reporting from Jinja, Uganda, 30 June 2016
https://www.lttds.org/longitudes/index.php?id=2504250800654900933

Kadist and Latitudes present 'Incidents (Of Travel)' online 31 May 2016
http://www.lttds.org/blog/blog.php?id=1076947282278624159
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Cover Story—March-April 2020: The Bolós Cabinet

Latitudes' homepage www.lttds.org

The March-April 2020 monthly Cover Story ‘The Bolós Cabinet’ is now live on our homepage: www.lttds.org 

‘‘To name, to own. Critique of taxonomic practice’: Agustín Ortiz Herrera’s current project focuses on the modern system of naming and classifying organisms which was first superimposed onto the natural world in 1735 with the advent of Carl Linnaeus’s "Systema Naturae". Tutored by Latitudes as part of Barcelona Producció 2019–2020, Agustín’s research has to date involved visits to study centres in Uppsala and London, alongside investigations around the notion of ‘queering nature’.”

→ After April 2020, 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 activities.


RELATED CONTENTS
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Cover Story—February 2020: Carioca Incidents

Latitudes' homepage www.lttds.org

The February 2020 monthly Cover Story ‘Carioca Incidents’ homepage: www.lttds.org 

“My idea is to take a stroll around the natural wonders of the city, its colonial past, imperial Brazil … and end on the beach.” Artist Daniel Steegmann Mangrané’s succinct recipe for the latest instalment of Incidents (of Travel), narrated by curator Catalina Lozano, led to a startlingly heady stew of a day in and around Rio de Janeiro.”

→ Continue reading
→ After
February 2020, 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 activities.

RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story—January 2020: Safeguarding Gestures 2 January 2020
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
  • Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
  • Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
  • Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
  • Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
  • Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
  • Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
  • Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
  • Cover Story—January 2019: “Seesaw” (7 January 2019)
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2019 in 10 monthly Cover Stories

Since our 10th anniversary in Spring 2015, Latitudes has published a monthly cover story on its website (www.lttds.org) featuring past, present or forthcoming projects, as well as research, texts, artworks, exhibitions, films, objects or travel related to our curatorial work.  

2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).

Happy holidays and a joyful 2020!

Cover Story—December 2019: Curating and the Web of Life.
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’.
Cover Story—October 2019: Mercedes Azpilicueta in Helsinki.
 Cover Story—September 2019: ‘Polperro to Detroit’
Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago.
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’.
Cover Story—May 2019: Buenos Aires in Parallel.
Cover StoryMarch-April 2019: Icelandic refraction.
Cover StoryFebruary 2019: Schizophrenic Machine.
Cover Story—January 2019: "Seesaw".


RELATED CONTENT:
  • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
  • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
  • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018 
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018 
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018 
  • Cover Story – January 2018: I'll be there for you, 2 January 2018 
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Max Andrews' Valencia Feature in frieze magazine, November-December 2019

Institut Valencià d’Art Modern (IVAM), 1989. Courtesy: Institut Valencià d’Art Modern. Photograph: Juan García Rosell.

Max Andrews, co-director of Latitudes and contributing editor to frieze magazine, has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ for the November–December 2019 (issue 207) of frieze
The article focuses on the rise, fall, and reinvention of the city’s trailblazing Institut Valencià d’Art Modern (IVAM) through the cultural and (often notorious) political agents that have forged its institutional history since it opened in 1989. It also touches on the roles of other important institutions in the contemporary art landscape in Valencia, such as the Centre del Carme, the galleries Luis Adelantado, espaivisor, and Rosa Santos, and the private art foundation Bombas Gens Centre d'Art, that opened in 2017 in a former 1930s hydraulic pump factory.

Fermín Jiménez Landa, ‘Salvar el foc’ (Save the Fire), 2018, public sculpture and performance documentation. Courtesy: the artist.

"On the night of 19 March 2017, artist Fermín Jiménez Landa lit a match from the embers of a smouldering monument in a square within the Spanish city of Valencia. From that flame, he lit a candle, then a lantern, then a gas heater, keeping the fire alive through various technologies for 365 days and nights, until it sparked the incineration of his own monument, a wooden representation of an apartment block. Jiménez Landa’s action was done as part of Valencia’s fabled fallas festivities, which culminate each Saint Joseph’s night with a vast spectacle of burning all over the city, as hundreds of elaborate sculptures, conventionally groups of clownish figures, go up in smoke. The fallas have long brought a satirical zest, and an irresistibly primal symbolism, to Spain’s third-largest city. They’re a searing reminder of the transience of art." 

→ Continue reading here.


View of the collection gallery ‘Matter, space and time. Julio González and the avant-gardes’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
(Above and below) Views of the collection show ‘TIMES OF UPHEAVAL. Stories and microstories in the IVAM collection’, Institut Valencià d’Art Modern (IVAM). Photo: Latitudes, May 2019.
View of the exhibition ‘The Gaze of Things. Japanese Photography in the context of Provoke’ at Bombas Gens Centre d’Art, Valencia. Photo: Latitudes, May 2019. 


RELATED CONTENT:
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      Report: Trip to Chicago and Detroit in pictures, 18–25 September 2019

      Good morning Chicago!

      As we shared in our recent newsletter, in mid-September we had the opportunity to visit Chicago and Detroit, thanks to an invitation from Stephanie Cristello, Artistic Director of EXPO Chicago, who we met last year during the 2018 Amsterdam Art Weekend. As participants of the inaugural collaboration between EXPO CHICAGO and Red Bull Arts Detroit Global Curatorial Initiativea smaller selection of participants had the opportunity to extend their trip to Detroit (21-23 September), in an effort to foster dialogue with the greater Midwest.


      18 September 2019: Visiting the Chicago Cultural Center (photo above), the main venue of ‘And Other Such Stories’ the 2019 Chicago Architecture Biennial curated by Yesomi Umolu, Sepake Angiama and Paulo Tavares. Personal highlights: works by Forensic Architecture, Clemens von Wedemeyer, Theaster Gates, Vincent Meessen, performances by Jimmy Robert, Alexandra Pirici, and the powerful collaboration between the Settler-Colonial City Project and the American Indian Centre. In the afternoon, we visited the Art Institute Chicago and attended a performance by Samson Young at the Chicago Symphony Center.


      (Above and below) Museum of Oil— The American Rooms by Territorial Agency on display in the Chicago Cultural Center's Exhibit Hall.
      (Above) Work by Oscar Tuazon.
      (Above) Work by Clemens von Wedemeyer. 

      (Above and below) Room with works by Theaster Gates and Vincent Meessen.
      (Above) Works by Wendelien van Oldenborgh (left) and Do Ho Suh (right).
      (Above) Movimento Sem Teto do Centro (MSTC) fights on behalf of families experiencing homelessness.
      One of the examples of the impactful collaboration between the Settler-Colonial City Project and the American Indian Centre.

      The American Indian Centre also contributed with a Land Acknowledgement.
       Performance ‘Descendance du nu (Chicago)’ by Jimmy Robert.

       ‘Re-collection’, 2018–ongoing, a performance by Alexandra Pirici situated in the Grand Army of the Republic Rotunda of the Chicago Cultural Center, a memorial to Civil War veterans.
      (Above and three below) ‘In a Cloud, in a Wall, in a Chair: Six Modernist in Mexico at Midcentury’ at the Art Institute Chicago, exploring the impact Mexico had on the lives and artistic practices of Clara Porset, Lola Álvarez Bravo, Anni Albers, Ruth Asawa, Cynthia Sargent, and Sheila Hicks. 
      Also at the Art Institute Chicago we were surprised to see that this work by Andrés Jaque on Mies van der Rohe’s Barcelona pavilion that recently entered the collection. Can't help to think such work should have been acquired by a Spanish collection, not to mention a Barcelona collecting institution?
      A great exhibition with very few photographs by Sara Deraedt at Art Institute Chicago. Since 2008 the artist has been photographing vacuum cleaners as she encounters them in places where they are sold. 
      The Flax project started in 2012 by Dutch artist Christien Meindertsma.
      Before Samson Young's performance and Q&A at the Chicago Symphony Center.

      19 September 2019: Morning session at the Graham Foundation. But first, stop at their beautiful bookstore and their current show by Tatiana Bilbao. In the afternoon, we visited EXPO CHICAGO until we got fair exhaustion and later caught Abraham Cruzvillegas' impressive solo show at The Arts Club of Chicago.

      Marking the commencement of the 2019 Curatorial Exchange and Curatorial Forum was a keynote lecture by Artistic Director Zoe Butt from The Factory Contemporary Arts Centre in Ho Chi Minh City.
      Mid-morning tour around EXPO CHICAGO.

      One of the best stands was this presentation by Brazilian gallery Bergamin & Gomide, an art and architecture atlas of modernist and contemporary Brazil. Curated by Sol Camacho.
      “In/Situ” section curated by Jacob Fabricius (artistic director of the Kunsthal Aarhus in Denmark) around EXPO CHICAGO.

      We caught ourselves in this picture by Casa Bosques browsing at books in the Index Art Book Fair. 
      (Above and below) Solo show ‘The Ballad of Etc.’ by Abraham Cruzvillegas at The Arts Club of Chicago.

      20 September 2019: On our last day in Chicago, we joined closed-door presentations by the  2019 Curatorial Exchange participants, moderated by Art Institute Dittmer Curator of Modern and Contemporary Art Hendrik Folkerts (Above). Later we attended a lunch at EXPO CHICAGO, and in the afternoon took off with a couple of colleagues, to enjoy the impressive wealth of exhibition-centres the University of Chicago campus has to offer: the Logan Center, The Renaissance Society, the SMART Museum, the Oriental Institute, and the Neubauer Collegium for Culture and Society.

      Above: Assemble and Duval Timothy in collaboration with Demond Melancon and the Material Institute, New Orleans, an exhibition at the Logan Center, The University of Chicago.
       (Above and below) LaToya Ruby Frazer's "The Last Cruze" at The Renaissance Society also in The University of Chicago campus. 
       (Above and two below) Michael Rakowitz's work in one of the galleries of the Oriental Institute also in The University of Chicago campus.
      (Above and below) Frederick C. Robie House, aka The Robie House, a landmark building by Frank Lloyd Wright on 5757 S Woodlawn Ave, in the University of Chicago campus.
      (Above) Exhibition by Martha Rosler at the Neubauer Collegium for Culture and Society (also in The University of Chicago campus) centred primarily on her interest in flowers, gardens, and related “green” motifs. 
      (Above and two below) "Samson Young: Silver Moon or Golden Star, which will you buy of me?" at the Smart Museum of Art, University of Chicago campus.

      University of Chicago campus.
      In the evening, we attended the opening of the solo exhibition by Vienna-based artist Sarah Ortmeyer at the project space Chicago Manual Style, curated by Stephanie Cristello, artistic director of Expo Chicago. Latitudes collaborated with Ortmeyer in the 2011 exhibition ‘Exposition Internationale des Arts Décoratifs...’ at Meessen de Clercq, Brussels.

      One of the outdoors installations at the MBAD African Bead Museum, Detroit.

      21 September 2019: Upon arriving in Detroit in the afternoon, our local host Scott Campbell took us to visit the MBAD African Bead Museum, 18 outdoor installations using iron, rock, wood and mirrors by visual storyteller Olayami Dabls on the corner of Grand River and West Grand Blvd, Detroit. (above and three below)



      22 September 2019: (Above and 8 photos below) Morning tour by Laura Mott, Senior Curator of Contemporary Art and Design, and curator of the exhibition ‘Landlord Colors: On Art, Economy, and Materiality’ at the Cranbrook Art Museum. "Materiality, a large-scale exhibition and public engagement series that brings together artworks from five international art scenes that have experienced economic and societal upheaval: Italy (the 1960s-80s), Korea (1970s-80s), Cuba (1990s–present), Greece (2009-present), Detroit, USA (1967-present). The exhibition showcases the work of more than 60 artists from a wide variety of backgrounds to highlight shared themes of ingenuity, resourcefulness, and resistance highlighting seminal historic works and new work from contemporary artists such as Reynier Leyva Novo, Zoë Paul, Kostis Velonis, Matthew Angelo Harrison, and Scott Hocking."

      Matthew Angelo Harrison, ‘Dark Povera Part 1’, 2017.
      Two chairs by Olayami Dabls of the Dabls’ MBAD African Bead Museum.

      Afternoon visiting Red Bull Arts Detroit studio and gallery space. We are taken around their current show ‘Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying’ by the Red Bull Arts Detroit Curatorial Fellow Taraneh Fazeli.
      Anders Ruhwald’s installation occupies an entire apartment in Detroit’s Eastern Market neighbourhood. 
      In the afternoon we had time to squeeze in a visit to The Heidelberg Projectin the McDougall-Hunt neighbourhood on Detroit's east side. (Above and 10 below) Since 1986 artist Tyree Guyton (1955) has progressively transformed vacant houses and lots on Heidelberg street into one large outdoor installation. Guyton's "grotesque materialism" project is one of the most visited sites in Detroit, attracting 200,000 visitors annually.



      23 September 2019: Morning studio visit with artist Matthew Angelo Harrison (no photos), and pm appointment with Executive Director Elysia Borowy-Reeder and current
      Ford Curatorial Fellows Jova Lynne and Tiziana Baldenebro of The Museum of Contemporary Art Detroit, which was in between shows. MOCAD is the keeper of Mike Kelley's ‘Mobile Homestead’"located on the grounds of the museum, it is a full-scale replica of the home in which Kelley grew up: a single-story, ranch-style house in the Detroit suburb of Westland. Kelley, who died in Los Angeles in 2012, sought to ensure that the Mobile Homestead remain relevant to the cultural interests and concerns of its local communities. In that spirit, the home was designed with a detachable facade, allowing it to be driven to neighbourhoods throughout the city, offering public services during its travels."



      The official programme finished and we had time to visit the Michigan building on 220 Bagley Avenue (above and two below) which was designed for Detroit philanthropist and movie theatre tycoon John H. Kunsky. It opened in August 1926 with the film "You Never Know Women" with Florence Vidor and Lowell Sherman, and could seat over 4,000 people who enjoyed a programme of five shows daily. It hosted live performances by The Marx Brothers, Betty Grable and Bob Hope, and many others. The theatre was built on the site of the small garage where automobile industrialist Henry Ford built his first automobile, the quadricycle (the garage was later disassembled and moved to The Henry Ford Museum in the nearby suburb of Dearborn). It closed in 1976 after operating as a nightclub named The Michigan Palace. In 1977 the building's owners paid $525,000 to gut the theatre and build a three-level, 160-space parking deck inside it. The site of Ford Motor's birthplace replaced by a movie theatre, reclaimed by the automobile.


      Evening walk to see Canada on the other side of the river.

      24 September 2019: (Above and below) On our last day, we visited the Detroit Institute of Arts, home to Diego Rivera murals and an impressive 19th and 20th Century collection. The "Detroit Industry" murals (1932-1933) were conceived by Diego Rivera (1886-1957) as a tribute to the city's manufacturing base and labour force of the 1930s. Rivera completed it in 11 months and was paid a 20,000 U$ fee. Rivera's murals show the automobile manufacturing process, Coaltulicue (the Aztec goddess of creation and war), the production of the 1932 Ford V-8, personnel involved in the industry as well as managers and Henry Ford, giving all of them equal stature.


      Our last expedition was to John K. King Used & Rare Books on 901 W Lafayette Blvd, holding over a million books in stock. No computer search, just browsing.


      → RELATED CONTENT:
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      Report: Latitudes' participation in the festival TODAY IS OUR TOMORROW initiated by PUBLICS in Helsinki

      Poster announcing the festival in a street in central Helsinki. Photo: Latitudes.

      As partner organisation in the transdisciplinary festival ‘Today Is Our Tomorrow’ initiated by PUBLICS, Latitudes' participation consisted in inviting Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta, to perform at Club Kaiku on September 13, 2019.

      Façade of Kaiku, Helsinki.

      A day earlier, on September 12, 2019, Latitudes and Mercedes maintained an open conversation introducing her artistic practice and, in particular advancing details of both her ‘Yegua-Yeta-Yuta’ performance taking place a day after, as well as her forthcoming solo exhibition at CentroCentro, Madrid, opening October 3, 2019, and her solo presentation as part of Van Abbemuseum's Positions #5’, a series of exhibitions presenting the work of artists working in the Netherlands.

      September 12, 2019, 5:30–6:30h: (Above and below) Mercedes, Mariana and Max (Latitudes) in conversation at Club Kaiku. Photo: Jonni Korhonen/PUBLICS.
      Photo: Jonni Korhonen/PUBLICS.
      Photo: Aman Askarizad/PUBLICS.

      Azpilicueta performed ‘Yegua-yeta-yuta’ (2015-ongoing), an evolving solo performance that is part scripted, part improvised. Composed from a litany of hundreds of pejorative, abusive, and vulgar insults directed at women in Argentina, it transforms the everyday language of misogyny and harassment into a kind of tragicomic exorcism. Many of the words derive from the street slang of Buenos Aires, especially Lunfardo, a colloquial and cryptic dialect that first arose among working-class Italian-immigrant and tango communities in Argentina and Uruguay during the late 1800s. For example, yegua literally means a mare – a female horse, a slur for a “difficult” woman. A yeta is a person who brings bad luck, while a yuta is someone corrupt or unscrupulous, and slang for the police. Accompanied by a percussive beat, Azpilicueta reclaims the power to offend, distorting and distending the epithets into something powerful and playful rather than weak and degrading. Azpilicueta performed to the beat of a new soundtrack produced for the occasion in collaboration with Chilean choreographer Rodrigo Sobarzo de Larraechea

      See documentation on our photo gallery.

      Photo: Aman Askarizad/PUBLICS.

      Mercedes Azpilicueta during her performance ‘Yegua-Yeta-Yuta’ (2015-ongoing) for TODAY IS OUR TOMORROW festival, organised by PUBLICS, Helsinki. Photo: Latitudes.
      Photo: Jonni Korhonen/PUBLICS.

      Photo: Aman Askarizad/PUBLICS.


      Photo: Kush Badhwar/PUBLICS.


      Photo: Kush Badhwar/PUBLICS.
      Photo: Kush Badhwar/PUBLICS.

      Photo: Kush Badhwar/PUBLICS.

      Photo: Latitudes.


      Mercedes Azpilicueta is an Argentinian visual and performance artist based in Amsterdam. Her practice has spanned theatrical mises-en-scènes and video installations, textile sculptures and drawing, sound works and 3D animation. With a particular interest in notions of the vulnerable or collective body, and the primal or dissident voice, her works have drawn inspiration from sources as diverse as Baroque painting, text messaging, medieval tapestries, street slang, and literary fiction, as well as singular figures including the Italian art critic and feminist activist Carla Lonzi (1931–1982), the Argentine-French performance artist Lea Lublin (1929–1999), the French futurist Valentine de Saint-Point (1875–1953), and the Costa Rican-born Mexican ranchera singer Chavela Vargas (1919–2012). A major survey of Azpilicueta’s work to date, ‘Cuerpos Pájaros’ (Body-birds) was recently staged by the Buenos Aires Museum of Modern Art (November 2018–April 2019 — see Latitudes' Buenos Aires report). On October 3, 2019, she presents ‘Bestiario de Lengüitas’ (Bestiaire of Tonguelets), curated by Virginie Bobin, at CentroCentro, Madrid, an exhibition which will then tour to Museion, Bozen, and CAC Brétigny in 2020. Later in 2019, she will have a solo presentation as part of ‘Positions #5’ at Van Abbemuseum, Eindhoven.


      (Above) Mercedes during her performance ‘Oh, Eduarda!’ on April 14, 2019, presented at the Museo de Arte Moderno in Buenos Aires. Photo: Latitudes.

      → RELATED CONTENTS
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      Report from Buenos Aires during Art Basel Cities: Buenos Aires, Semana del Arte and arteBA fair


      Invited by Art Basel Cities: Buenos Aires to participate in their Parallel Talks programme during ArteBA, Latitudes spent a week in Buenos Aires (9–15 April) visiting a range of studio spaces, non-profit initiatives, commercial galleries, residency programmes, collectors, artists, and the arteBA art fair itself. 

      (Above) Mariana Tellería ("Dios es inmigrante", 2019) and Carlos Huffmann (below) "Hito de frontera", 2019).

      Tuesday 9 April 2019: We arrived in the evening in time to join the opening of the Buenos Aires Art Week (Semana del Arte) at Plaza Seeber. On the square, several sculptures were commissioned for the occasion, including works by Mariana Tellería (representing Argentina in the 2019 Venice Biennale), as well as works by Margarita Paksa, Marie Orensanz, Luna Paiva and Carlos Huffmann (photographed below).


      Façade of MALBA — Museo Arte Latinoamericano de Buenos Aires.

      Wednesday 10 April: Morning visit to MALBA — Museo Arte Latinoamericano de Buenos Aires, who just announced the appointment of Gabriela Rangel as its new director. MALBA we saw "Inner world Modern Argentine Photography 1927-1962" with really compelling photographic work by Horacio Coppola, among others, as well as the survey "Latin American Art 1900–1970from the MALBA collection.


       (Above) Pistal Central de La Rural.

      In the afternoon we went to the Pista Central of La Rural to attend the opening of ArteBA. Later in the week, twelve concurrent talks — the Parallel Talks programme organised by Art Basel Cities: Buenos Aires — would take place inside transparent geodesic domes installed on this arena.

      "Cultivar el suelo es servir a la patria" (Cultivate the soil is to serve the homeland).

       Inside the art fair ArteBA.


      ‘Lleno de sonrisas serias’, a 1963 work by conceptual artist and fashion designer Dalila Puzzovio (work above, the artist is photographed below on the left) was presented at Rolf Art gallery. Her discarded cast piece was included in the 1964 exhibition ‘New Art of Argentina’, organized by the Walker Art Center in Minneapolis and the Instituto Torcuato Di Tella in Buenos Aires (installation view in the background where her piece was presented on the floor). As Walker curator Siri Engberg wrote, the show ‘brought to Minneapolis Argentine artistic trends in geometric, abstract, and collage painting, constructivism, and other developments’. Rolf Art also presented works by José Alejandro Restrepo ‘Parquedades’ (1987) and María José Arjona's performance ‘Línea de Vida’.


       (Above and four images below) Nicolás Robbio at Museo Sívori

      In the evening we had welcome drinks at the Museo Sívori, which hosted the fantastic solo show "3 de espaldas" by Nicolás Robbio, curated by Sebastián Vidal Mackinson.



      Thursday 11 April 2019: Morning visit to several studios in the Once neighbourhood, including that of Eduardo Basualdo (above and two images below).

      Later visited a group exhibition at galería Revolver which included "Aspiradora" (2017) by Alberto Borea.

      Vicente Grondona's work also at Revolver.

      cheLA studio spaces in parque Patricio neighbourhood.

      In the afternoon we divided into smaller groups. We went to cheLA, a large 1930s industrial building in Parque Patricios hosting a programme of international residencies directed by Pablo Caligaris. In its 5,000m, cheLA hosts a range of organisations ("Constellations") including Móvil, a non-profit directed since 2014 by Alejandra Aguado and Solana Molina Viamonte, occupying the sala Tatraba.


      Entrance to Móvil in cheLA
      (Above and below) Exhibition "Sí, no y otras opciones" by Tucumán-born artist Mariana Ferreira at Móvil.


      Evening opening at Centro Cultural Kirschner (CCK) (pictured above) hosted a large survey by 47 Argentinian artists titled "La marca original: arte argentino" presented over their vast exhibition spaces on the second and fourth floors. The building was a former post office and reminded us of Madrid's CentroCentro which has undergone a similar readaptation of its use, both struggling to adapt their spaces to the presentation of contemporary art.

       House-gallery of Maria Casado.

      Friday, April 12, 2019: Morning visit to El Tigre, north of Buenos Aires, visiting the home-and-gallery of Maria Casado and the residency programme Proyecto URRA.

      (Left to right) Stuart Fallon (Talbot Rice Gallery, Edinburg), Marie Christine Schuh (Art Basel Cities: Buenos Aires), Latitudes, Richard Parry (Glasgow International), gallerist Maria Casado and Sandino Scheidegger (Random Institute).


      Onwards to the nearby Proyecto URRA artists residencies, also in El Tigre. Introductions by the resident artists Antonio Castillo Coo, Claire de Santa Coloma, Enrique Radigales, Lucas Despósito and Marisol San Jorge, and URRA director Melina Berkenwald.

      Photo: Stuart Fallon.
       (Above and below) Installation by Madrid-based artist Enrique Radigales.
      Enrique discusses his piece with visitors and other residents. Photo: Stuart Fallon.

      Afternoon at the Parque de la Memoria—a fourteen-acre remembrance park situated in front of the Río de la Plata, commemorating the victims of state-sponsored terrorism from the 1976–83 military regime. Here we met Florencia Battiti (Curator at Parque de la Memoria) who explained the mission, programme and public commissions. 



      Saturday 13 April 2019: On Saturday morning we joined the arteBA tour to a few galleries in La Boca neighbourhood: Fundación El Mirador (showing Alfredo Prior), Quadro Galería (showing Karin Idelson) and (photographed) Galería Barro exhibiting Marcelo PomboFundación PROA presented contemporary Argentinian design, and we had ‘choripán’ lunch at the nearby Fundación PROA 21.


      Back at the fair, transparent geodesic domes had been set up by Art Basel Cities: Buenos Aires at the Pista central in La Rural. Each space hosted the three consecutive conversations, starting 5:30. Max Andrews and Mariana Cánepa Luna's individual conversations ran consecutively (at 6:30 and 7:30) each for an hour. 

      As narrated by co-guest Sandino Scheidegger of the Random Institute, other talks included topics such as ‘An Exhibition By Any Other Name’, ‘How Can Art Institutions Foster Experimentation?’ or ‘Curating in Context: How to Be Site-Specific’ (programme pdf here).

      On the subject of the 3-year relationship between arteBA and Art Basel Cities: Buenos Aires, Kerry Doran wrote his impressions in Artforum diary



      Sunday 14 April 2019: A very welcome free day Sunday. We visited MUNTREF—Centro de Arte Contemporéneo's recently opened Premio Braque 2019 exhibition featuring works by fifteen Argentinian artists: Alfredo Dufour, Belén Romero Gunset, Celina Eceiza, Erica Bohm, Gustavo Nieto, Julián Sorter, Malena Pizani, Mariana Ferrari, Mónica Heller, Nacha Canvas, Nicolás Mastracchio, Juan Sorrentino, Mariana López, Dani Zelko and Cecilia Szalkowicz, awarded this year Premio Braque with her piece ‘Cosmos’. The award consists of a six-month residency at the Cité Internationale des Arts in Paris. 

       (Above and below) ‘Cena recalentada’ by Celina Eceiza.
       (Above, left) Belén Romero Gunset ‘Pensar sola es criminal’ and (right) Erica Bohm ‘El cristal perfecto’. 
      (Above) Julián Sorter ‘Doble de cuerpo’.
      View of the show with works by Alfredo Dufour ‘Cest la vie I’, Malena Pizani ‘Cinco monos’ and Nicolás Mastracchio ‘Inducción VI’. 
      (Above, foreground) works by Nacha Canvas ‘Símil’ and (background) Mariana Ferrari ‘Vivir aquí’.

      Entrance to Carla Zaccagnini's "Mañana iba a ser ayer" curated by Lucrecia Palacios y Agustín Pérez Rubio also on view at MUNTREF—Centro de Arte Contemporéneo.

      A classic fugazzeta at El Cuartito was followed by 1h walk to the Museo de Arte Moderno de Bellas Artes in San Telmo, with a short diversion to El Ateneo bookstore (below).




      At the Museo de Arte Moderno de Buenos Aires: "Una Historia de la imaginación en la Argentina", subtitled "Visiones de la Pampa, el litoral y el altiplano desde el siglo XIX a la actualidad", one of the most interesting shows in town. We wished we had seen it earlier in what has been a busy week. It included 250 works from different geographical points of the country, selected around their representation of nature, the feminine body and violence. It was curated by Javier Villa, Chief Curator at the Museo de Arte Moderno de Buenos Aires.


      (Above) Works by Calixto Mamani and exhibition views below.
      Installation "Mi Silencio miseria" (2015-19) by Carlos Herrera.


      Also at MAMBA, we caught the last day of Mercedes Azpilicueta's solo show ‘Cuerpos pájaros’, and more specifically, her performance "Oh Eduarda!".


      (Above) Azpilicueta performing during her "Oh Eduarda!", a script realised in collaboration with Agustina Muñoz, who performs alongside the artist. 


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      Cover Story – March-April 2019: Icelandic refraction


      Latitudes' home page www.lttds.org

      The March-April 2019 Monthly Cover Story “Icelandic refraction” is now up on Latitudes' homepage: www.lttds.org

      “It has been speculated that Icelandic spar was at one time used for navigational purposes,” reflects curator Becky Forsythe. Her account of a short Reykjavík day spent with artist Þorgerður Ólafsdóttir is the latest episode of Incidents (of Travel), the series edited by Latitudes and produced by Kadist.”


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


      Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.


      RELATED CONTENT:

      • Archive of Monthly Cover Stories
      • Cover Story–February 2019: Schizophrenic Machine (1 February 2019)
      • Cover Story—January 2019: “Seesaw” (7 January 2019)
      • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
      • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
      • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
      • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
      • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
      • Cover Story–July 2018: No Burgers for Sale 2 July 2018
      • Save the date: 13 September, 6–9pm. Latitudes-curated exhibition ‘Cream cheese and pretty ribbons!’, Galerie Martin Janda, Vienna, 21 June 2018
      • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
      • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
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