Longitudes

Cover Story – May 2019: ‘Buenos Aires in Parallel’

Latitudes' homepage www.lttds.org

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

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


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


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


RELATED CONTENT:


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 (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) 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:

Max Andrews and Mariana Cánepa Luna in Art Basel Cities: Buenos Aires' Parallel Rooms programme on 13 April 2019


Art Basel Cities: Buenos Aires in collaboration with arteBA Fundación will host a Talks Programme between April 12–14, 2019. Forty-two speakers from across the cultural sphere will discuss salient topics with the Buenos Aires audience. 

Max Andrews and Mariana Cánepa Luna of Latitudes will each participate in Parallel Rooms, an Art Basel programme format that began in 2017 allowing attendees to choose from and roam among multiple conversations happening simultaneously. Check the full events programme here (in Spanish).


Parallel Rooms takes place at arteBA, Pista Central de la Rural, Palermo, and are free and open to the public.


Parallel Rooms | Session 2 | Room 3
"First Things First: Making Exhibitions for a General Audience"

Saturday 13 April 2019
6:30
7:30pm

In this conversation, curators Max Andrews and Lara Marmor will discuss the challenges around what has become their primary job: curating and positioning an exhibition for a non-expert audience. Together they discuss: Are there curatorial strategies for speaking to a larger public? What can we do to encourage novices to visit an exhibition and help them enjoy it?

This session is free and open to the public and will be held in Spanish.


Parallel Rooms | Session 3 | Room 2
"Beyond the Museum: New Institutional Frames for Art"
Saturday 13 April 2019
7:30—8:30pm


Art is no longer confined to just museums; we can enjoy exhibitions in abandoned buildings, parks, and other unconventional spaces. But the contexts for art are also changing in another sense, as new curatorial narratives shift traditional definitions of art and allow artists to engage in refreshing interactions with the culture at large. In this talk, curators Mariana Cánepa Luna and Solana Molina Viamonte discuss the transformation of traditional art spaces and the evolving relationship between the art lover and the curator.

This session is free and open to the public and will be held in Spanish.
+ info


RELATED CONTENT:


Residency: Askeaton Contemporary Arts, County Limerick, Ireland, 20–29 July 2018


The annual residency programme ‘Welcome to the Neighbourhood’ curated by Askeaton Contemporary Art's director Michele Horrigan has situated Irish and international artists in the midst of Askeaton, a small town in County Limerick since its conception in 2006. Over one hundred artists projects have been realised in public spaces throughout the town, bringing forward layers of daily life and creating a rich framework for encounters.

In its thirteenth year, the 2018 edition of ‘Welcome to the Neighbourhood’ invited artists Matt Calderwood, Jonny Lyons, Ruth Clinton and Niamh Moriartyand curators Gareth Bell-Jones (Flat Time House, London) and Latitudes

The programme began on July 14 and wrapped up on July 28th with an Open Day where the artists-in-residence unveiled the works they had been produced.  

Event programme.

Latitudes arrived at Askeaton on the 20th, following a short stint in Dublin's The LAB Gallery where they participated in a closed-door seminar in the context of the exhibition ‘I Slept Like A Stone’ curated by Sheena Barrett and Julia Moustacchi.

"Many public events have occurred during Welcome to the Neighbourhood, each introducing new perspectives to the role and purpose of contemporary art and knowledge production in the Limerick region. Public talks by Gareth Bell-Jones (Flat Time House, London), Latitudes, Patrick Comerford and Karin Dubsky (Coastwatch Europe) explored topics from contemporary curating practice to El Greco and marine ecology. Carl Doran’s ongoing collaborative work with Askeaton Castle’s conservation theme was showcased, while Anthony Sheehy led tours of Askeaton’s medieval heritage." [Text by Askeaton Contemporary Arts]


Askeaton's square. Desmond Castle in the background. All photos: Latitudes.
Artist and "Welcome to the neighbourhood" mastermind curator Michele Horrigan in the Desmond Castle.

Artist Sean Lynch talking about the previous editions of "Welcome to the neighbourhood".
Sunday BBQ with ACA family. Rory Prout (left) and 2018 "Welcome to the neighbourhood" artist Matt Calderwood (right).

Local guide Anthony Sheehy has led tours around Askeaton since 1964.

(Above and below) Visiting the RUSAL Aughinish alumina plant near Askeaton.

Picnic site on our way to Lismore Castle.
2018 "Welcome to the neighbourhood" artist Niamh Moriarty and ACA Assistant Curator, Jessica Kelly.
(Above and below) Visiting Lismore castle’s impressive gardens.
Detail of Stuart Whipps's work included in "The Expanded Field" exhibition co-curated by Lismore Castle Arts and Askeaton Contemporary Arts at the St Carthage Hall, Lismore, which also presents works by The Center for Land Use Interpretation, Olivia Plender, The Domestic Godless, Superfolk and Filip Van Dingenen.
(Above and below) The Grange Stone circle, the largest stone circle in Ireland, was built by the Bronze Age people who lived around Lough Gur in 2100BC.
 Enchanting studio visit with local legend and stick-maker Seanie Barron.
View of Desmond Castle from the top floor of the Civic Trust.
 Banqueting Hall next to Desmond Castle, also under restoration.
Tour by the OPW workers restoring Desmond Castle.
As we later learn, these two rectangular columns in Askeaton's Friary contained a much-hunted treasure. It became the spur for Latitudes' research in the links between Barcelona and Askeaton. To be continued...

In "The Pilgrim", Latitudes reprised a 1984 article written by Tim Kelly in the back issues of The ABC News, Askeaton’s annual journal. Made available online and through social media platforms, an excerpt was heard at the Franciscan friary, of a dramatic narrative bringing to life a cryptic inscription found in the cloister there that reads "Beneath lies the Pilgrim's body, who died January 17, 1784". The story is read aloud by artist Carl Doran. The tale involves an Italian, a Spaniard, and a morbid blood-hunt that links Barcelona with Askeaton. 


Cloister in the Franciscan friary.
Ray Griffin's magic hands fabricating Matt Calderwood's boat.
Matt's first rehearsal, testing the oars on the River Deel. 
Ray and Matt carrying the boulder to the water.

"London-based artist Matt Calderwood’s installation Erractic (Approximately 4.5 Tonnes) can be seen floating on the River Deel. With a healthy interest in what the artist describes as the “non-expert production of things”, Calderwood without any prior experience, guidance or clear blueprints, constructed his own boat, and vigorously rowed it up and down the Deel. On the Open Day, it is seen on the river with what appears to be an enormous rock inside it. The longer you look at this apparition, the more uncomfortable its appearance becomes as if the boat and stone were a tangential echo or parallel universe of the stone buildings and maritime traditions of the region. In addition, a series of large-scale prints detail a selection of Askeaton stones, some real, some not, seen in various locations throughout the town." [Text by Askeaton Contemporary Arts]

Matt floatin’ out on the River Deel. He sails off accompanied by two show-dog Rottweilers (they are not part of the work!). 
Matt Calderwood and rock on the River Deel in front of Askeaton's 14th Century Franciscan Friary
(Making of) Jonny Lyons’s "Joyride" during the morning high tide at the River Deel. 

"Glasgow-based artist Jonny Lyons debuts a new installation, Joyride, at Askeaton Community Hall. Impressed by the rhythm and assured style of card playing he encountered in Askeaton, his artwork was realised in collaboration with local card sharks William Sheehan, James and Antoinette Fitzgerald, and Noel McCarthy. Surreally they appeared unannounced early one morning at high tide in the middle of the River Deel, playing the trick-taking card game of forty-fives that originated in Ireland on a specially constructed pontoon." [Text by Askeaton Contemporary Arts]

Players signing two joker cards.
On Saturday 28 July, the Open Day, over 50 guests joined the tour which took of from Askeaton's Civic Trust.
Matt Calderwood's boat made a new apparition upstream for the Open Day.
Calderwood displayed some large prints at a former hair salon. Below Calderwood discussing his work in dialogue with Sean Lynch.
Jonny Lyons new installation, Joyride, at Askeaton Community Hall. Featured in Latitudes' August 2018 Monthly Cover Story (after August it will be archived here).
A paparazzi moment with the artist and the card players. Below Lyons' installation presents the table borrowed from Ranahan's pub on the pontoon, alongside a fresh Guinness pint, two signed joker cards and the 7 of hearts – the card that blew away during the making of.
 Ruth and Niamh reenact the small photograph on the upper left which can be found at Cagney’s Bar – featuring two local women aside a broken-hearted Kiefer Sutherland (here brought to life by artist Jonny Lyons). 

“Dublin and Sligo-based artists Ruth Clinton and Niamh Moriarty are known for their intense sensitivity to microhistories and the local. In recent days they have uncovered the story of Hollywood star Kiefer Sutherland’s visit to Askeaton, soon after being dumped by Julia Roberts days before their planned wedding in 1990. A 24-year old Sutherland ended up in the west of Ireland where, in his own words, he was going to “try have a drink in every town I passed through.” Clinton and Moriarty’s artwork acts as a form of fan fiction, a stream of consciousness spread throughout the rooms of Cagney’s Bar and Ranahan’s Pub. A lino print and video accompany a photograph of Sutherland partying in Askeaton, while the artists will perform an intimate scripted theatrical performance in the snug of Ranahan’s at 3.15pm and 5pm respectively.” [Text by Askeaton Contemporary Arts]

It's been grand!

RELATED CONTENT:

Cover Story—November 2017: "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth"

Monthly Cover Story on http://www.lttds.org/blog/


The November 2017 Monthly Cover Story "Mining negative monuments: Ângela Ferreira, Stone Free, and The Return of the Earth" is now up on www.lttds.org – after this month it will be archived here

"On 15 November the study day The Return of the Earth: Ecologising art history in the Anthropocene takes place at the CAPC musée d’art contemporain Bordeaux in conjunction with the Latitudes-curated exhibition 4.543 billion. The matter of matter. With a keynote by science historian Jean-Baptiste Fressoz, and a conversation between artists Xavier Ribas and Ângela Ferreira—the latter both featured in the exhibition—the event will intertwine discussions of art practice and historical research, with environmental and geological narratives, and vice versa." Continue reading
 
Cover Stories' are published on a monthly basis on Latitudes' homepage and feature past, present or forthcoming projects, research, writing, artworks, exhibitions, films, objects or field trips related to our curatorial activities


RELATED CONTENT:
  • Archive of Monthly Cover Stories
  • 15 November 2017, 4:30–8pm: 'The Return of the Earth. Ecologising art history in the Anthropocene' study day at the CAPC musée, Bordeaux 24 October 2017
  • Cover Story – October 2017: Geologic Time at Stanley Glacier 11 October 2017
  • Cover Story – September 2017: Dark Disruption. David Mutiloa's 'Synthesis' 1 September 2017
  • Cover Story – August 2017: Walden 7; or, life in Sant Just Desvern 1 August 2017
  • Cover Story – July 2017: 4.543 billion 3 July 2017
  • Cover Story – June 2017: Month Light–Absent Forms 1 June 2017
  • Cover Story – May 2017: S is for Shale, or Stuart; W is for Waterfall, or Whipps 1 May 2017
  • Cover Story – April 2017: Banff Geologic Time 3 April 2017
  • Cover Story – March 2017: Time travel with Jordan Wolfson 1 March 2017
  • Cover Story February 2017: The Dutch Assembly, five years on 1 February 2017
  • Cover Story January 2017: How open are open calls? 4 January 2017

Flow Series #11: Conversación entre Haegue Yang y Latitudes, 3 mayo 2017, 19:30h



Conversación entre Haegue Yang y Latitudes
Miércoles 3 de mayo, 19:30h. 
Actividad gratuita. Aforo limitado. 
Reservas: [email protected] 
c/ Aragó 255, 08007 Barcelona
 
El undécimo encuentro de la Flow series, reunirá a Latitudes y la artista surcoreana afincada entre Berlin y Seoul Haegue Yang. Durante su conversación hablarán sobre cuatro de sus obras más recientes, entre las cuales destacan "An Opaque Wind" (Sharjah Biennial 12, 2015) y "An Opaque Wind Park in Six Folds" (Fundação de Serralves, Porto, 2016), a partir de una perspectiva en términos de patrones de desarrollo histórico y de las fluctuaciones cíclicas, planteadas por el economista y sociólogo italiano Giovanni Arrighi, quien cuestionaba ¿qué es acumulativo, qué es cíclico y qué es nuevo?

Flow series es un programa de encuentros impulsado por la Fundación Han Nefkens y la Fundació Antoni Tàpies cuyo objetivo es reunir diferentes agentes del mundo del arte procedentes de continentes y contextos diversos. Los encuentros en torno a un artista y sus producciones en curso son el objeto de una conversación seguida de un aperitivo. 


Vista de la instalación, "An Opaque Wind Park in Six Folds", Serralves Museum of Contemporary Art, Porto, Portugal, 2016. Fotos: Latitudes.


Haegue Yang (1971 Seúl, Corea del Sur) participó en documenta 13 en Kassel en el 2012 y en el 2009 representó a Corea del Sur en la Biennale di Venezia. Ha partipado en numerosas exposiciones, entre las que destacan: Hamburger Kunsthalle, Hamburgo, 2017; Fundaçao Serralves, Porto, 2016; Centre Pompidou, Paris, 2016; Ullens Center for Contemporary Art, Beijing, 2015; el Leeum, Samsung Museum of Art, Seúl, 2015; la Bergen Kunsthall, Bergen, 2013; Aubette 1928 y el Museum of Modern and Contemporary Art en Estrasburgo, 2013; Haus der Kunst en Munich, 2012; Kunsthaus Bregenz, 2011; Modern Art Oxford, 2011; el Aspen Art Museum, 2011; y el Walker Art Center en Minneapolis, 2009.

 
(Arriba y abajo) Instalación 'Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion' (2012) de Haegue Yang, comisariada por Julienne Lorz en Haus der Kunst, Munich. Foto: Latitudes.


Latitudes ha colaborado con Yang en varias ocasiones a lo largo de la última década. En el 2007 encargó una entrevista entre el comisario Doryun Chong y Yang para el número 14 de la revista UOVO (leer un extracto en el blog del Walker Art Center). En el 2009 Latitudes presentó su pieza ‘Holiday for Tomorrow’ (2007) en el marco de la exposición colectiva ‘Sequelism Part 3: Possible, Probable, or Preferable Futures’ en Arnolfini, Bristol. 


(Above and below) Haegue Yang, 'Holiday for Tomorrow' (2007), Arnolfini, Bristol, 2009. Photos: Carl Newman.


Más adelante, en el 2010, Yang colaboró con una fotocopia de su rostro para la cubierta de ‘The Star Ledger’, el cuarto fascículo que formó el catálogo de la exposición ‘The Last Newspaper’ (New Museum, Nueva York), editado por Latitudes durante el transcurso de dicha exposición.

Cover of The Last Star-Ledger, issue 4 of 10 edited by Latitudes during ‘The Last Newspaper’ exhibition at the New Museum, New York, 2010.

Recientemente, con motivo de la conmemoración del 10º aniversario de Latitudes, le encargó un diseño para una edición limitada de tote bags (¡agotada!). El diseño se basó en ‘Eclectic Totemic’ – el papel pintado creado en colaboración con los diseñadores OK-RM (Oliver Knight y Rory McGrath) para su exposición individual en el Museo de Arte Moderno y Contemporáneo de Estrasburgo en el 2013. 



Fotografiando el tote bag realizado por Haegue Yang realizado en colaboración con OK-RM, que conmemora el 10º aniversario de Latitudes. Foto: Latitudes.

Además, Max Andrews de Latitudes ha escrito sobre su trabajo para el catálogo de la Carnegie International 2008 en Pittsburgh, así como la publicación que acompañó su exposición individual ‘Desigualdad simétrica’ en la Sala Rekalde en el 2008–9. En el 2012 escribió sobre su obra 'Tectonic Texture' emplazada en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai.


'Tectonic Texture' (2012) de Haegue Yang en la Cantera de Andrabide, como parte de la serie de intervenciones ‘Sentido y Sensibilidad’ en Urdaibai. Foto: Latitudes.


CONTENIDO RELACIONADO:

Selected press coverage of 'The Dutch Assembly' at ARCOmadrid 2012

Rubén Grilo during his performance at 'The Dutch Assembly'. Space designed by Jasper Niens and Thijs Ewalts. Photo: Latitudes | www.lttds.org

(ES) Bea Espejo, "ARCO 2012, cifras y letras", El Cultural online, 23 November 2011


(UK) The Netherlands is the guest country at ARCOmadrid 2012, art-agenda.com, 13 February 2012

(ES) "ARCO 2012: Entrevista a Latitudes, comisarios de "The Dutch Assembly", Blog www.camilayelarte.blogspot.com, 15 Febrero 2012

(ES/UK) Álvaro Calleja, 'Un puente entre dos naciones/A bridge between two nations', ABCDArco, 16 Febrero 2012, p.7

(ES) Roland Groenenboom, "Holanda, reinventarse para sobrevivir", El Cultural, 17 Febrero 2012

(ES/UK) 'Kunstbeeld interviews Latitudes', special ARCOmadrid 2012 issue y en español aquí

(UK) Jolien Verlaek, "State of the arts: Spain - the Netherlands. Interview Mariana Cánepa Luna", Metropolis M, 18 February 2012

(ES) Entrevista con Mariana Cánepa, www.masdearte.com, 18 Febrero 2012

Videos ('The Dutch Assembly' related events/participants):

(ES) Entrevista a Lara Almarcegui, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Mariana Cánepa, www.hoyesarte.tv, 15 Febrero 2012

(ES) Entrevista a Adrià Julià, www.hoyesarte.tv, 18 Febrero 2012

'Care', performance by Rory Pilgrim at 'The Dutch Assembly' at ARCOmadrid, Metropolis M


+ info: 
The Dutch Assembly and programme details here.

Mobile-friendly version of the 'The Dutch Assembly' ARCOmadrid programme


'The Dutch Assembly''s day-by-day programme is available here for mobile devices: http://www.lttds.org/mobile/dutchassembly

Follow the programme on Twitter: #NLassembly

 –

ARCOMadrid (Ifema)

Feria de Madrid
28042 Madrid, Spain
MAP + Getting there

Professional preview: Wednesday 15 and Thursday 16 February, 12 noon–9pm
General public: Friday 17, Saturday 18 and Sunday 19
February, 12 noon–8pm

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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