Longitudes

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)

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. 


RELATED CONTENT:

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:

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:


Seventh episode of ‘Incidents (of Travel)’ – Dispatch by Camila Marambio and Lucy Bleach from Hobart, Tasmania

http://incidents.kadist.org/hobart.html

The seventh 'Incidents (of Travel)' dispatch comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. Lucy "shared her knowledge of volcanoes, lava, and magma leading (Camila) on a quest to relate local geochemical and geophysical conundrums to the expansive solar system." 

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.

Each of the 19 photographs is augmented by one or more extra assets – a brief commentary, soundscape or a caption – accessed by clicking the words which overlay the images
.



Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (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 on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).

The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


http://incidents.kadist.org/chicago

A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


http://incidents.kadist.org/jinja

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.


http://incidents.kadist.org/suzhou

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
http://incidents.kadist.org/lisbon

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
http://incidents.kadist.org/terengganu

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." 
http://incidents.kadist.org/terengganu

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.


RELATED CONTENT:

Sixth episode of ‘Incidents (of Travel)’ – Dispatch by Marianna Hovhannisyan and students from the National Center of Aesthetics from Yerevan, Armenia

http://incidents.kadist.org/yerevan

The sixth 'Incidents (of Travel)' episode narrates a walking itinerary in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city center

The itinerary was conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan — three art students from the National Center of Aesthetics, one of the oldest alternative art educational hubs in the city. 

The inquiry was based on how knowledge transmission and generational exchanges in the Armenian contemporary art field could be approached—particularly in terms of exploring the fragmented histories of its institutional work.

Each of the 15 photographs is augmented by one or more extra assets – a brief commentary or a caption –, accessed by clicking the words which overlay the images.



Marianna Hovhannisyan (Yerevan/San Diego) is a research-based curator, a Ph.D student in Art History, Theory, and Criticism at Visual Arts Department, Univerisity of California San Diego. 

Originally conceived by Latitudes as day-long artist-led tours around Mexico City in 2012 (with five dispatches presented as part of an exhibition on Latitudes' curatorial 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 on Kadist's Instagram as part of their #ArtistNotInTheStudioCuratorNotAtTheOffice take over initiative).


The project explores the chartered itinerary as a format of artistic encounter and an extended conversation between curator/s and artist/s. Online storytelling presents and documents curatorial fieldwork and an offline day conceived by an artist for a curator.
In 2016 Kadist and Latitudes partnered in a new 'distributed' phase of 'Incidents (of Travel)' as part of Kadist Online Projects. This new phase is developed as an online periodical that publishes contributions from invited curators and artists working around the world.


http://incidents.kadist.org/chicago

A series of itineraries conceived by six curators, artists or researchers — previous fellows of the seminar The Place from Where We Look (Kadist Paris, June 2015) — launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


http://incidents.kadist.org/jinja

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.


http://incidents.kadist.org/suzhou

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
http://incidents.kadist.org/lisbon

The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.
http://incidents.kadist.org/terengganu

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."  


RELATED CONTENT:



    Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014

    Courtesy: Gertrude Contemporary.

    Latitudes has been invited to participate in Gertrude Contemporary's Visiting Curator Program between 12 May and 7 June.
     
    The Visiting Curator Program is an initiative in which three international curators are invited to Australia each year. During the residency (between two weeks up to two months) the invited curator is hosted in Gertrude's Studio 18 and Gertrude Contemporary facilitates a series of studio visits and meetings with artists and Australian peers within the contemporary arts sector. The residencies receive support from Arts Victoria International or the Australia Council for the Arts. 

    As part of the residency, Latitudes has been invited to present their work at MADA | Monash University of Art Design & Architecture. The talk will be followed by an afternoon closed-door seminar with candidates from Curatorial Practice PhD [download course pdf] and other guests, during which Latitudes will lead a discussion concentrating on their #OpenCurating research which manifested in 10 freely published interviews with artists, curators and editors investigating new forms of interaction between publics with artworks and their production, display and discursive context.

    Residency in partnership with MADA | Monash University of Art Design & Architecture, as part of Gertrude Contemporary’s Visiting Curator Program.

    Follow us on our twitter and the archived posts on storify.


    Courtesy: Gertrude Contemporary.


    This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
    All photos:
    Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
    This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

    Report from Glasgow: Lecture at The Common Guild and studio and gallery visits

    Late last month we made a trip to Glasgow at the invitation of The Common Guild to give a lecture about the work of Roman Ondák, who currently has an exhibition there (until 14 December). We took the opportunity to stay a few days in Glasgow to see exhibitions and do some studio visits with the many artists who call the city home. A big thank you to Kitty Anderson and Katrina Brown for the invitation and hospitality.

    Tea and biscuits with our talk at The Common Guild.
    In our lecture on the evening of 21 November we talked about some key works by Ondák – including SK Parking (2001) and The Stray Man (2006) – suggesting how fin-de-siècle Vienna provides a lens with which to focus on its negotiation of both the cliché of "life as art" and the grim stereotype of "the everyday" in the former Eastern Europe. 

    Ondák's show at The Common Guild filled the galleries of its present home in a Victorian townhouse near Kelvingrove Park with a series of works in vitrines which couple early still-life paintings and drawings by the Slovakian artist alongside the actual objects depicted. A chair, a length of rope, a twig, a vase, and so on, become caught in a humorous riddle about reality and its representation and when the "real" work of an artist can be said to have begun.


    Roman Ondák at The Common Guild.
    The previous day we'd visited the studio of the amazing filmmaker Luke Fowler, who was about to go to Huddersfield for their Contemporary Music festival and a collaboration with David Toop. We also met with Corin Sworn, who was one of the three artists representing Scotland at the 2013 Venice Biennial, though in fact none of them was actually Scottish. Scotland + Venice 2013 – whose final week was during our visit to Glasgow – was conceived and produced by The Common Guild. (We were also delighted to be able to meet the great filmmaker Duncan Campell, another of the Venice artists later in the week).

    We'd also had time to check out the eclectic Hunterian Museum (the oldest museum in Scotland), Aaron Angell & Jack Bilbo's show at SWG3 Gallery, as well as The Modern Institute's two venues. At the Aird's Lane branch was a show by furniture designer Martino Gamper while the Osborne Street HQ, a former bathhouse, has a show by Chris Johanson.


    The Modern Institute Aird's Lane: Martino Gamper.
    The Modern Institute at Osborne Street: Chris Johanson.
    Aaron Angell & Jack Bilbo's show at SWG3 Gallery.
    In the south of the city, we were glad to be able to visit Tramway, the multi-use arts venue that's been running since the late 1980s and now also hosts the Scottish Ballet, as well as a huge exhibition space with an important history of shows. It hosted an impressive show by Lucy Skaer entitled "Exit, Voice and Loyalty", as well as a "House Style" a series of commissions made in response to Roundabout a series of film from the 1960s and 1970s designed to promote Britain as a progressive world leader to south and south-east Asian audiences. 

    Lucy Skaer at Tramway: Exit, Voice and Loyalty takes its title from economist Albert O. Hirschman’s essay on how change comes about through dissent.
    Lucy Skaer: tenmoku glazed ceramics.
    Lucy Skaer: works based on ticket punch holes.
    House Style, curated by Panel: film by Rob Kennedy.
    Thanks to Kyla McDonald at Glasgow Sculpture Studios we visited their fantastic high-spec fabrication facilities – which include a ceramics studio, wood and metal-shop and media suites – and met with a number of artists based their. Claire Barclay had just completed a commission with Artlink commemorating the bicentenary of the Royal Edinburgh Hospital. We talked with Lauren Gault about her show at Generator Projects in Dundee, and Sarah Forrest about her recent Margaret Tait Residency in Orkney. Alex Impey told us about his interest in Michael Baxandall's "Period Eye" and Sarah Tripp had just finished edited 24 Stops, a work commissioned by Camden Arts Centre. 

    Claire Barclay's studio at GSS.
    Lauren Gault's studio at GSS with blue-glazed ceramic forms.
    Moreover, Glasgow Sculpture Studios have an exhibition space which was hosting a show by Haegue Yang entitled Journal of Bouba/kiki, the result of a residency and Haegue's evident delight in exploring some new fabrication techniques. 


    Haegue Yang's exhibition at GSS included these macramé mobiles.
    Haegue Yang at GSS. Yang's residency resulted in a number of new technical innovations, included a motorized system for a new Venetian-blind installation and these ceramic hand gestures.
    Finally we were happy to spend time with Carles Congost, who by Catalan coincidence, opened an exhibition at CCA Glasgow on Friday 22 November. Curated by Emma Brasó with works by Congost and Henry Coombes, "Man of the Year" runs until 26 January next year.
    Fear Your Talent: Carles Congost in the shadows!

    This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
    All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
    This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

    Report from New York: Gramcsi Monument, visiting critics at ISCP, Carol Bove at The High Line and galleries route

    Visiting Thomas Hirschhorn's "Gramcsi Monument", a project produced by Dia Art Foundation at Forest Houses, in the south Bronx. Some recent articles on the project are available via Artfagcity's "How Do People Feel About the Gramsci Monument?" and a summary with more reviews via the Gallerist.
     

    On the September 4 and 12 we were 'visiting critics' at the International Studio & Curatorial Program (ISCP) in Bushwick, Brooklyn. The first round included seven visits to the studios of Sofie Thorsen, Niko Luoma, Ramiro Chaves, Mojé Assefjah, Shigeyuki Kihara, Javier Barrios and Tobias Dostal. In the second round (12 visits), we visited Paulien Oltheten (participant in our 2009 project "Portscapes"), Henrjeta Mece, Deva Graf, Bernard Williams, Hugues Reip, Ruth Campau, Tricia Middleton, Savas Bovraz, Sasa Tkacenko, I-Chen Kuo, Mónica Ferreras and Petr Sprincl and collaborator Marie Hájková. A selection of images below.

    Back in 2006, Max Andrews of Latitudes edited the publication and wrote the catalogue essay for an exhibition at Victoria Miro Gallery in London of Danish artist John Kørner, also a current resident at ISCP.


    (Above) Studio visit with Danish-born, Vienna-based artist Sofie Thorsen.
     (Above) Studio visit with Finnish artist Niko Luoma.
     (Above) Studio visit with Argentinian-born, Mexico City-based artist Ramiro Chaves.
     (Above) Studio visit with Dutch artist Paulien Oltheten.
     (Above) Studio visit with Kurdish-born Turkish-based artist Savas Bovraz, recipient of the 2013 Victor Fellowship of the Hasselblad Foundation.
    (Above) Studio visit with Chicago-based artist Bernard Williams.
     (Above) Studio visit with Berlin-based artist Tobias Dostal, creator of this magic trick
    you'll be amazed!
      (Above) Studio visit with Canadian artist Tricia Middleton.

    On September 11, we joined a tour along the northernmost part of The High Line (the as yet unopened section from 34th to 30th street). Alongside Carol Bove's works (read New Yorker review here), and despite the infernal temperatures, there were amazing views of New York's midtown, soon to disappear with the forthcoming construction of Hudson Yards

     

    On Friday 13, we visited a few Chelsea galleries, starting at 18th street with a bombastic show by Matthew Day Jackson show at Hauser Wirth. A concise review of the exhibition in this New Yorker article.
    (Above) Ho Chi Minh City and Los Angeles-based collective The Propeller Group at Lombard Freid.

    (Above) An overview of the 1960s–2000s work by the late John McCracken occupied David Zwirner's spaces.
    (Above) Phil Collins at Tanya Bonakdar.


     (Above) "Some Dreamers of the Golden Dream" a cross-generational group show with works by Ed Ruscha, Alex Israel, Alex Hubbard, Julie Becker, Lutz Bacher, and Rachel Harrison at Greene Naftali Gallery.


    (Above) The always great Annette Kelm presents 2013 photographs at Andrew Kreps – on view until November 2nd.


    (Above) Claudia Wieser's mirrors, ceramics, wooden sculptures, geometric prints at Marianne Boesky


    Barbara Gladstone Gallery showed Damián Ortega's 25 twisted steel sculptures which cast the alphabet with their shadows.


    At Metro Pictures, David Maljkovic's show includes the animation "Afterform" – on view until October 19.


    (Above) Wonderful photographic work by Leslie Hewitt at Sikkema Jenkins – on view until 5 October. Another short view of the exhibition on this New Yorker article.


    (Above) Bortolami Gallery presented paintings by Morgan Fisher based on colour swatches from a prefab house company owned by artist father.

    (Above and below) Pablo Helguera's "Librería Donceles" at Kent Fine Art (210 11th Avenue, 2nd floor). "Librería Donceles" is an itinerant bookstore of 10,000 used books in Spanish, of virtually every subject, and the only Spanish-language used-book store in the city. On view until 8 November. 


    In the Lower East Side, Simon Preston presented one of the best shows in town centered around the new film 'Provenance' (2013) by Chicago-born artist Amy Siegel. The 40min. the film documents the interior of homes of avid collectors in New York, London, Belgium and Paris that have furnished their homes with 1950s tables, chairs, settees and desks originally conceived by Le Corbusier and Pierre Jeanneret, for several buildings in Chandigarh, India. Go see it, ends 6 October.


    This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter
    All photos: Latitudes (except when noted otherwise in the photo caption)

    Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes, 24 Abril 2013, Barcelona

    Cartel "Salvem Can Felipa" de Quim Packard colgado en la zona común de los estudios en Hangar.

    El pasado 24 de Abril, cinco miembros de la Comisión de Programas 2010–2013 de Hangar (formado por Àlex Mitrani, Joan Vilapuig, Jordi Mitjà, Dora Garcia (ausente) y Max Andrews y Mariana Cánepa Luna de Latitudes) realizó una de las visitas periódicas a los artistas residentes en el centro de Poble Nou, en este caso a Llobet y Pons; Quim Packard; Aggtelek; Rasmus Nilausen; Marla Jacarilla, Raúl Nieves (blablabLAB) y Mireia c. Saladrigues

    A continuación un breve sumario que recoge los tuits que publicamos durante la visita (véase https://twitter.com/lttds).

    Llobet y Pons (dúo formado por Jasmina Llobet y Luis Fernandez Pons) acaban de participar en la Setouchi Triennale 2013, Japón, donde han presentado la pieza "No one wins – Minibasket". Asímismo hemos visto sus últimas investigaciones con piezas realizadas con pasta dental endurecida; al pulido de diamantes que realizaron durante una residencia en Lokaal01, Amberes, o sobre la reconversión de materiales, como es el caso de 'Ex-Fork' presentada recientemente en Can Felipa.



    Quim Packard actualmente está desarrollando "Historias de amor y odio", un "relato en formado dibujo que se emite diariamente, a partir del 15 de abril, vía redes sociales (véase tumblr aquí) y que finaliza en un concierto / performance en la Capsa Jove de Tarragona, el día 24 de abril a las 19h; en motivo de la presentación de la publicación 2012 del CA Tarragona Centro de Arte" (web de Hangar).


     

    En el estudio del dúo Aggtelek (Gema Perales and Xandro Valles) vimos la serie de pinturas realizadas a partir de collages que envían a una de las fábricas de producción (prácticamente mecánica) de pintura en China para su realización. Éstas han sido recientemente presentadas en la Galería José Robles en Madrid, y próximamente se presentará un conjunto similar en 18a edición de la feria Liste en Basilea con la galería Exile de Berlin.



    Marla Jacarilla fue ganadora de la reciente convocatoria BCN Producció 2013 con el proyecto "Acotaciones tras la cuarta pared" que inaugurará el próximo 15 de Mayo en el Espai Cub de La Capella en Barcelona. "'Acotaciones tras la cuarta pared' es un drama en cuatro actos cuyo tono oscila entre lo trágico, cómico, fársico y metalingüístico. Una historia en la que un presunto demiurgo conversa con personajes existentes que pertenecen a otras obras teatrales y que se han trasladado al momento actual" (web de La Capella).




    En el 2012 Rasmus Nilausen expuso 'Sisyphus, rhopography and a headless chicken' (ver video) en el espacio de La Capella (como ganador de la convocatoria BCN Producció 2012), Barcelona y en el 2013 tuvo la exposición 'Still' en la nueva galería madrileña García Galería.



    Raúl Nieves del dúo blablabLAB nos presentó su trabajo con impresoras 3D y herramientas de código libre que realiza a través de talleres programados periódicamente desde Hangar.

    La entrevista con Mireia c. Saladrigues tuvo lugar via skype ya que se encuentra preparando 'No tocar, por favor', una exposición colectiva en el ARTIUM de Vitoria comisariada por Jorge Luis Marzo (blog del proyecto aquí) que inaugura en un par de semanas en Vitoria.


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

    Creative Commons Licence
    This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.


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

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

    Latitudes 2006–2020

    Previous posts

    Feb 2020 (1)
    Jan 2020 (4)
    Dec 2019 (3)
    Nov 2019 (6)
    Oct 2019 (2)
    Sep 2019 (6)
    Aug 2019 (5)
    Jul 2019 (1)
    Jun 2019 (2)
    May 2019 (3)
    Apr 2019 (1)
    Mar 2019 (3)
    Feb 2019 (1)
    Jan 2019 (3)
    Dec 2018 (5)
    Nov 2018 (3)
    Oct 2018 (5)
    Sep 2018 (7)
    Aug 2018 (5)
    Jul 2018 (2)
    Jun 2018 (2)
    May 2018 (3)
    Apr 2018 (3)
    Mar 2018 (2)
    Feb 2018 (4)
    Jan 2018 (3)
    Dec 2017 (3)
    Nov 2017 (3)
    Oct 2017 (4)
    Sep 2017 (3)
    Aug 2017 (2)
    Jul 2017 (2)
    Jun 2017 (2)
    May 2017 (2)
    Apr 2017 (3)
    Mar 2017 (3)
    Feb 2017 (3)
    Jan 2017 (2)
    Dec 2016 (2)
    Nov 2016 (3)
    Oct 2016 (3)
    Sep 2016 (2)
    Aug 2016 (6)
    Jul 2016 (2)
    Jun 2016 (3)
    May 2016 (5)
    Apr 2016 (2)
    Mar 2016 (2)
    Feb 2016 (6)
    Jan 2016 (3)
    Dec 2015 (1)
    Nov 2015 (1)
    Oct 2015 (3)
    Sep 2015 (1)
    Aug 2015 (4)
    Jul 2015 (5)
    Jun 2015 (3)
    May 2015 (3)
    Apr 2015 (4)
    Mar 2015 (2)
    Feb 2015 (2)
    Jan 2015 (2)
    Dec 2014 (2)
    Nov 2014 (3)
    Oct 2014 (2)
    Sep 2014 (2)
    Aug 2014 (2)
    Jun 2014 (3)
    May 2014 (3)
    Apr 2014 (2)
    Mar 2014 (3)
    Feb 2014 (1)
    Jan 2014 (1)
    Dec 2013 (4)
    Nov 2013 (3)
    Oct 2013 (6)
    Sep 2013 (4)
    Aug 2013 (2)
    Jul 2013 (1)
    Jun 2013 (3)
    May 2013 (4)
    Apr 2013 (2)
    Mar 2013 (4)
    Feb 2013 (2)
    Jan 2013 (5)
    Dec 2012 (5)
    Nov 2012 (4)
    Oct 2012 (4)
    Sep 2012 (6)
    Aug 2012 (4)
    Jul 2012 (2)
    Jun 2012 (3)
    May 2012 (8)
    Apr 2012 (7)
    Mar 2012 (5)
    Feb 2012 (5)
    Jan 2012 (4)
    Dec 2011 (4)
    Nov 2011 (3)
    Oct 2011 (6)
    Sep 2011 (4)
    Aug 2011 (7)
    Jul 2011 (3)
    Jun 2011 (8)
    May 2011 (10)
    Apr 2011 (6)
    Mar 2011 (7)
    Feb 2011 (9)
    Jan 2011 (3)
    Dec 2010 (8)
    Nov 2010 (9)
    Oct 2010 (6)
    Sep 2010 (11)
    Aug 2010 (6)
    Jun 2010 (4)
    May 2010 (5)
    Apr 2010 (11)
    Mar 2010 (4)
    Feb 2010 (6)
    Jan 2010 (7)
    Dec 2009 (6)
    Nov 2009 (3)
    Oct 2009 (7)
    Sep 2009 (11)
    Aug 2009 (11)
    Jul 2009 (2)
    Jun 2009 (10)
    May 2009 (7)
    Apr 2009 (5)
    Mar 2009 (6)
    Feb 2009 (4)
    Jan 2009 (5)
    Dec 2008 (6)
    Nov 2008 (5)
    Oct 2008 (5)
    Sep 2008 (5)
    Aug 2008 (3)
    Jul 2008 (3)
    Jun 2008 (5)
    May 2008 (4)
    Apr 2008 (5)
    Mar 2008 (3)
    Feb 2008 (7)
    Jan 2008 (5)
    Dec 2007 (5)
    Nov 2007 (5)
    Oct 2007 (6)
    Sep 2007 (8)
    Aug 2007 (3)
    Jul 2007 (5)
    May 2007 (8)
    Apr 2007 (8)
    Mar 2007 (8)
    Feb 2007 (3)
    Jan 2007 (1)
    Dec 2006 (8)
    Nov 2006 (2)
    Oct 2006 (6)
    Sep 2006 (10)
    Aug 2006 (1)
    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.

    More about us. Browse projects. Read Longitudes. Receive newsletters.

    Contact us. 
    All content
    Latitudes
    2005—2020