Longitudes

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 of Latitudes has written the feature-length article ‘The Rise, Fall and Reinvention of Spain’s First Modern Art Museum’ on Valencia for the November–December 2019 (issue 207) of frieze magazine

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. 


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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.


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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, 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, 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.



      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.



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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 

      Ninth episode of ‘Incidents (of Travel)’ – Dispatch by Becky Forsythe and Þorgerður Ólafsdóttir from Reykjavík, Iceland

      Episode #9 of ‘Incidents (of Travel)’ from Reyjkavík on http://incidents.kadist.org 
      © All photographs by Þorgerður Ólafsdóttir, 2018.


      In the ninth 'Incidents (of Travel)' 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."

      Each of the 27 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.

      Selection of pages from the latest Incidents (of Travel)' dispatch from Reyjkavík. 


      'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and a day conceived by an artist for a curator.

      Conceived by Latitudes in 2012 as day-long artist-led tours around Mexico City (with five dispatches were presented as part of an exhibition on Latitudes' practice at Casa del Lago), 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via Twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts as part of Kadist's Instagram take over initiative #ArtistNotInTheStudioCuratorNotAtTheOffice).

      In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects, publishing contributions from invited curators and artists working around the world.


      Earlier conversations have taken place in Buenos Aires (Argentina), Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 




      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 a 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.

      Episode 8 from Buenos Aires http://incidents.kadist.org/buenosaires


      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.


      RELATED CONTENT:


      Cover Story–December 2018: "Treasures! exhibitionism! showmanship!"

      Latitudes' home page www.lttds.org

      The December 2018 Monthly Cover Story "Treasures! exhibitionism! showmanship!" is now up on Latitudes' homepage: www.lttds.org


      "A clutch of shows in Vienna (where Latitudes was recently a guest of Art Week) and Amsterdam (which just held its Art Weekend) offer a distinctive take on curatorial liberty and creative exhibition display.

      —> Continue reading
      —> After December 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—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 

      Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018

      A snowy Belvederegarten. All photos (unless stated otherwise): Latitudes.

      As part of this year’s VIENNA ART WEEK, Latitudes was invited to get to know Vienna's art scene over the course of three days (19–21 November). On Tuesday 19 November, the visiting group of curators and artists participated in the panel ‘Some Current Positions of Curating’ at das weisse haus. The panel, chaired by Alexandra Gausman of das weisse haus, briefly introduced recent projects by Argentinian artists Guillermo Faivovich & Nicolás Goldberg; soon-to-be Paris-based curator Claire Hoffmann (Centre Culturel Suisse de Paris); artists and curators FICTILIS from San Francisco; Avi Lubin (Faculty at Jerusalem’s Beit Berl College); and Stephanie Weber (Curator of Contemporary Art at Lembachhaus in München).

      Above and below photos: eSeL.


      Grand staircase of the Kunsthistorisches Museum in Vienna.

      (Above and nine below) Views from the exhibition ‘Spitzmaus Mummy in a Coffin and other Treasures’ guest curated by filmmaker Wes Anderson and writer and illustrator Juman Malouf, in collaboration with Jasper Sharp (Kunsthistorisches Museum) and Mario Mainetti (Fondazione Prada). ‘Anderson and Malouf have assembled more than 400 objects drawn from all fourteen of the museum’s historical collections. Among them are Egyptian, Greek and Roman antiquities, Old Master paintings, selections from the Kunstkammer and the Imperial Treasury, items from the Imperial Armoury, Coin Collection, and Collection of Historic Musical Instruments, as well as pieces from the Theatermuseum, the Weltmuseum, the Imperial Carriage Museum, and Schloss Ambras Innsbruck. A handful of special guests from the Natural History Museum are also included. Particular attention was given to the museum’s storage: more than 350 of the objects have been brought from depots, with many of them on public display for the very first time. (...) The gathering and arrangement of these treasures – from the earliest, a necklace of ceramic beads strung together in Ancient Egypt, to the most recent, a wooden monkey carved in Indonesia almost 5,000 years later – suggest the spectacular breadth, depth, history and complexity of the Kunsthistorisches Museum’s collections.’ (from the venue website)



      (Above and below) Donna Huanca exhibition ˝Piedra quemada˝ at the Lower Belvedere.

       (Above and two below) One of the rooms at the Naturhistorisches Museum (NHM). Below Faivovich and Goldberg intervention ˝In Search of Mesón de Fierro˝, part of their long-term research on meteorites at El Chaco region in northern Argentina. For the exhibition, they presented a 19-gram fragment in a meteorite in the collection of the NHM Vienna, which they were able to trace quite convincingly to Mesón de Fierro.


      (Above and three below) On our own time, we arranged a visit to the artist-run-space Guimarães. Hugo Canoilas, one of the artists that run it alongside Nicola Pecoraro and Christoph Meier, gave us a detailed tour of the show which explored the concept of excessive sentimentality. ‘SCHMALTZ’ showcased unique editions, amusing finds, objects that accompany artists in their studio, as well as artworks by over 50 artists. 
      A special edition of Luisa Gardini's photos. 

      (Above and four below) Views from ‘55 dates. Highlights of the MUMOK collection’, presenting 55 works with exhibition design by (Portscapes artist) Hans Schabus.
      (Above and below) Also at MUMOK, "a photographic journey through Austrian history from 1918 to the present" was the focus of ‘Photo/Politics/Austria’ this time with exhibition design by Markus Schinwald.

       (Above and two below) Views from Asier Mendizábal's solo exhibition at Galerie Martin Janda.


       At the nearby Kunsthalle Wien, Vanessa Joan Müller and Nicolas Schafhausen curated ‘Antarctica. An Exhibition on Alienation’, showing works by Viltė Bražiūnaitė / Tomas Sinkevičius, Burak Delier, Buck Ellison, Isabella Fürnkäs, Eva Giolo, Thibaut Henz, Jan Hoeft, Hanne Lippard, Joanna Piotrowska, Jeroen de Rijke / Willem de Rooij, Jana Schulz, Andrzej Steinbach, Ingel Vaikla, Peter Wächtler, Ian Wallace and Tobias Zielony. ˝The exhibition explores how the term “alienation” functions in our world today. In doing so, it also addresses the following question: What other forms of relationship to the self and to the world do we need? Before we can even begin to create something like a space supportive of self-determination and self-realization?" (from the venue website)
       One of the nine studio visits at Prater Ateliers. Here with Christian Kosmas Mayer. 
      Studio visit with Judith Fegerl at Prater Ateliers.


       Tour by curator Moritz Stipsicz of Tomás Saraceno's intervention in the baroque Karlskirche in Karlsplatz. 
       Views of Karlsplatz and Vienna skyline from the cupola.


       (Above and three below) Ed Ruscha's ‘Double Americanisms’ at Secession
      (Above) Detail from Philipp Timischl's ‘Artworks For All Age Groups’ in the downstairs galleries of Secession.
      (Above) View of Kris Lemsalu's ‘Keys Open Doors’ in the upper Secession gallery.

      On November 22, we took off to Amsterdam taking advantage of the Amsterdam Art Week events which included the Rijksakademie open, the opening of two exhibitions at Stedelijk Museum (a solo show by Raquel van Haver and the biannual group exhibition presenting Amsterdam’s Municipal Art Acquisitions, ‘Freedom of Movement’). We also visited De Appel, kunstverein, Rongwrong, a few galleries that opened jointly.


      (Above and below) De Appel exhibited Ben Russel's film ‘Good luck’ (2017) premiered during documenta 13. ‘Accompanying the installation, the artist created a sculptural analogue to process and portraiture, Good Luck (Echo) that turns a sheet of copper into a resonant, speaking subject.’ (from the venue website)
       Mr Peanut exhibition at kunstverein Amsterdam, gathering material from Vincent Trasov who became Mr. Peanut in 1971. In 1974 he ran for mayor of Vancouver. ‘The exhibition traces the history of Trasov’s revolutionary alias and includes historical documents, publications, correspondence, video footage as well as more recent drawings of Mr. Peanut and paintings by Vincent Trasov. A major retrospective on Image Bank will follow in the summer of 2019 at Kunst-Werke in Berlin.’


       (Above and below) Works by Cees Mogami de Haas.

       (Above and below) Works by Riet Wijnen.


       (Above and below) Works by Marieke Zwart.


       (Above and below) Works by Morgan Courtois.
        (Above and below) Works by Marina Xenofontos.

       (Above and below) Works by Mire Lee.


        (Above and below) Works by Omar A. Chowdhury.

       (Above and below) Works by Maurice van Es.


        (Above and below) Works by Isabelle Andriessen.

        (Above and below) Works by Omar Vega Macotela.

         (Above and below) A film by Tyna Adebowale.

       (Above and below) Works by Josse Pyl. 

        (Above and below) Works by Gaëlle Choisne.

        (Above and below) Works by Dan Zhu.

        (Above and below) Works by Danielle Dean.


       (Above and below) Works by Polina Kani.


        (Above and below) Works by Femke Herregraven.


        (Above and below) Works by Kévin Bray.


        (Above and below) Library display initiated by Anna Dasovic. 


      (Above) Exhibition by Paul Kooiker at the tegenboschvanvreden gallery.

       Gabriel Lester exhibition at Fons Welters, Amsterdam. 

       Lara Almarcegui's video at Ellen de Bruijne. 
       Rory Pilgrim exhibition at andriesse eyck.

       Conversation with Janet Cardiff at Oude Kerk. Below her work, with Georges Bures Miller, an intervened mellotron ‘The Instrument of Troubled Dreams˝ (2018), with 72 keys each of them programmed with a sound effect, a vocal track or a musical fragment.


      (Above and four below) Stedelijk Collection in the basement of the museum. 

       (Above and two below) Metahaven exhibition at the Stedelijk Museum.


      Merlin Carpenter exhibition at Rongwrong.



      RELATED CONTENT:

      Report: Liverpool Biennial 2018 "Beautiful world, where are you?" in photos



      The Liverpool Biennial 2018: Beautiful world, where are you? (14 July – 28 October 2018) presented the work of over 40 artists in locations across Liverpool including public spaces, civic buildings and the city’s leading art venues: Blackburne House, Bluecoat, FACT, Open Eye Gallery, Liverpool John Moores University’s Exhibition Research Lab, Liverpool Metropolitan Cathedral, the Oratory, the Playhouse theatre, RIBA North – National Architecture Centre, St George’s Hall, Tate Liverpool, Victoria Gallery & Museum (University of Liverpool), public spaces and online.

      The 2018 edition was curated by Kitty Scott (Carol and Morton Rapp Curator, Modern and Contemporary Art at the Art Gallery of Ontario) and Sally Tallant (Director, Liverpool Biennial) with the Liverpool Biennial team.

      The following texts are from the Liverpool Biennial website. All photos by Latitudes.

      Above and below. Banu Cennetoğlu's "The List" on a 280-metre hoarding on Liverpool's Great George Street.

      Compiled and updated each year by UNITED for Intercultural Action, an anti-discrimination network of 550 organisations in 48 countries, "The List" traces information relating to the deaths of more than 34,000 refugees and migrants who have lost their lives within, or on the borders of Europe since 1993. Since 2007, in collaboration with art workers and institutions, Banu Cennetoğlu has facilitated up-to-date and translated versions of "The List"  using public spaces such as billboards, transport networks, and newspapers. An updated edition of The List is presented on Great George Street in Liverpool and can be accessed online at guardian.co.uk. Copies of "The List", which were distributed by The Guardian newspaper on World Refugee Day on 20 June, are also available at exhibition venues.

      Installed on a 280-metre hoarding on Liverpool's Great George Street, "The List" has been vandalised twice since the biennial opened in July. Cennetoğlu decided not to install it for a third time, leaving the ripped remains as a “reminder of the systematic violence exercised against people”. 


      Mathias Poledna at The Oratory.

      Screened within a specially designed structure, Mathias Poledna’s new film "Indifference" (2018) further advances his exploration of modernity’s visual imaginary. The work is set against the backdrop of early 20th-century European history, a period of traumatic modernisation and conflict.


      Suki Seokyeong Kang at Bluecoat

      Conceived as a visual translation of the Korean musical notation ‘Jeongganbo’, Land Sand Strand is a new multi-part installation by Suki Seokyeong Kang. The work transforms the exhibition space into a grid. Building on the concept of the hwamunseok – a traditional Korean woven mat, interpreted as the minimum space provided for each individual in society – it is activated by performers and the audience. The choreography, inspired by the Spring Oriole Dance and traditionally performed on the hwamunseok, is shared with visitors. The movements on the mat serve as the blueprint for the wider installation consisting of painting, sculpture and video.

      Brian Jungen at Tate Liverpool.

      Brian Jungen carves ‘feathers’ from the soles of Nike trainers to create a series of sculptures that resemble Cheyenne-style war bonnets. These headdresses, familiar from countless Westerns, address a long history of conflict and the lingering effects of colonisation. They signify the strength and pride of indigenous people today.


      Duane Linklater at Tate Liverpool.

      The sculptural works of Duane Linklater consider the notions of cultural loss, social amnesia and identity from the perspective of the indigenous peoples in Canada. Commenting on the economy of the fur trade, they suggest that animals, even in death, might retain their spirits or selfhood beyond the value they possess as commodities.






      Haegue Yang at Tate Liverpool.

      Haegue Yang presented her sculpture series "The Intermediates" (2015-ongoing) in Tate Liverpool's Wolfson Gallery. Made from artificial woven straw, The Intermediates allude to both traditional arts and crafts techniques and modern industrial production methods. Representing figures and sites from folk tales and ancient traditions, they question definitions of ‘paganism’. Yang’s environment for these works includes recordings of wildlife taken from the British Library’s sound collection, a wallpaper juxtaposing pagan traditions and modern history, and suspended ribbons that evoke folk traditions such as maypole dancing. Her multisensory, hybrid environments suggest fleeting connotations of time, place, figures and experiences that connect ‘folk’ traditions and contemporary culture.



       Not as part of the biennial programming, but this conversation coincided with our visit. 

      The White Pube's Zarina Muhammad and Gabrielle de la Puente were in conversation with Tate Liverpool's new director Helen Legg about their origins as "embodied art critics", their practice and the challenges art criticism presents today. 

      Aslan Gaisumov at St George’s Hall

      Tracing the struggles and turbulent histories of the Chechen people, Aslan Gaisumov’s most recent work Keicheyuhea (2017) follows the artist’s grandmother as she returns to her lost homeland in the mountainous scenery of the North Caucasus for the first time since the displacement of her family 73 years earlier. 

      Naeem Mohaiemen at the St George’s Hall.
        
      Screened in the courtroom at St George’s Hall is "Two Meetings and a Funeral" (2017), a three-channel film by Naeem Mohaiemen – currently nominated for the Turner Prize 2018. The work revisits the Cold War-era power struggles between the political coalitions of the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). The project navigates alliances of convenience made during Bangladesh’s fight for UN recognition, as well as parallel decolonisation struggles in Palestine-Israel, the Portuguese colonies and South Africa.

      At the Victoria Gallery & Museum. Part of "Worlds within worlds" section. 

      Display of the Brendel Plant Models of World Museum anatomical models of plants, made for display and teaching purposes by the Berlin firm of R Brendel & Co in Germany around the turn of the 20th century.


      Francis Alÿs' paintings at the Victoria Gallery & Museum. 

      Francis Alÿs presents a selection of postcard-size paintings from the 1980s to today under the title Age Piece. Executed in the tradition of classic à plein air painting, these works allude to the condition of global tourism in the contemporary art scene. Many of the paintings were done while scouting new locations for future film projects, often in conflict zones such as Israel and Palestine, Afghanistan and Iraq.

      Liverpool Metropolitan Cathedral Plateau.

      Five bench-like sculptures can be found on the plateau behind the Liverpool Metropolitan Cathedral. For this new commission, Ryan Gander dissected a model of architect Frederick Gibberd’s modernist cathedral into a series of simple ‘building blocks’. The blocks were then reassembled into different configurations by schoolchildren from Liverpool: Jamie Clark, Phoebe Edwards, Tianna Mehta, Maisie Williams and Joshua Yates. The maquettes that Gander and the children created have been reproduced on a larger scale to produce this new public seating arrangement within the cathedral grounds. This presentation is part of a larger project, Time Moves Quickly.

       John James Audubon at the Central Library.

      One of the only 120 complete edition copies of The Birds of America by John James Audubon at the Central Library. The 19th-century book contains exquisite illustrations of a wide variety of birds of the United States.

      Paul Elliman's work at Exhibition Research Lab.

      Paul Elliman presents the "Vauxhall Astra 2020", the forthcoming and newest model of a car available since 1979 when General Motors launched the Vauxhall/Opel Astra, now the only car produced at Ellesmere Port. The Astra 2020 is offered as a constellation of raw materials, half-a-dozen boulders and rock-like lumps of the car’s constituent parts at original scale, made of steel (iron ore), glass, plastic, aluminum, rubber, and electrical components.


      Mohamed Bourouissa has created a garden working with local people, gardeners, school pupils, teachers and artists. The artist was inspired by a garden made by a patient of the psychoanalyst and writer Frantz Fanon at the Blida-Joinville Psychiatric Hospital in Blida, Algeria. Fanon’s patient created the garden as occupational therapy, reflecting the organisation of his mental space through its structure. Bourouissa researched and learned the patient’s approach to botany, architecture, and therapy in order to create a similar garden in Liverpool. The garden has been conceived as a space of ‘resilience’. Some of the plants are native to Algeria and others have healing effects. A film documenting the garden and its evolution is presented at FACT.


      Very close to Bourouissa's Resilience Garden is Assemble's ongoing project at Granby's Street.

      Assemble's ceramic workshop in Granby Street, "a manufacturer of architectural ceramics, based in Liverpool and established in 2015. The workshop is part of Assemble's ongoing involvement with the Granby Four Streets neighbourhood."

      Work by Taus Makhacheva at Blackburne House.

      Taus Makhacheva has created a ruin-like sculptural installation that serves as a spa, in collaboration with artist Alexander Kutovoi. The installation incorporates ASMR (Autonomous Sensory Meridian Response) techniques and video.


      RELATED CONTENT:
      • Report from Athens: "AGORA", 4th Athens Biennale 2013 4 November 2013
      • (Post 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013 9 June 2013
      • (Part 2/3) "The Encyclopedic Palace", 55th Venice Biennale in tote bags 14 June 2013
      • (Post 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013 17 June 2013
      • Manifesta 9, "The Deep of the Modern", Genk, Belgium, 2 June – 30 September 2012 in pictures and seen by the critics 12 June 2012
      • dOCUMENTA (13) in pictures & as seen by the critics, 9 June–16 September 2012 12 June 2012

      Eighth episode of ‘Incidents (of Travel)’ – Dispatch by Alejandra Aguado and Diego Bianchi from Buenos Aires, Argentina

      Episode 8 from Buenos Aires now online on http://incidents.kadist.org/


      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.

      Each of the 20 photographs is augmented by one or more extra assets – a brief commentary, a sound or a caption – accessed by clicking the words overlaying the images.








      'Incidents (of Travel)' explores the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and a day conceived by an artist for a curator.

      Conceived by Latitudes in 2012 as day-long artist-led tours around Mexico City (with five dispatches presented as part of an exhibition at Casa del Lago), 'Incidents of Travel' had sequels in 2013 in Hong Kong (online dispatches published via Twitter, Instagram, and Soundcloud) and San Francisco in 2015 (daily posts as part of Kadist's Instagram take over initiative #ArtistNotInTheStudioCuratorNotAtTheOffice).

      In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects, publishing contributions from invited curators and artists working around the world.





      Earlier conversations have taken place in Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 

      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 a fishermen, house builders, 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.

      RELATED CONTENT:


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

      Latitudes | www.LTTDS.org (except when otherwise noted).

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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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      2005—2019