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. 


RELATED CONTENT:

      Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’

      Latitudes' homepage www.lttds.org

      The November 2019 monthly Cover Story ‘Fighting fires in Valencia: the 30-year story of the IVAM’ on Latitudes' homepage: www.lttds.org
       

      "How does a museum recover from scandal? What imperatives exist for regional institutions outside of capitals? When, in 1989, the IVAM (Institut Valencià d’Art Modern) opened the doors to its imposing, new, slab-like building on the edge of what was once Valencia’s medieval walled core, it became the first public museum in Spain dedicated to collecting and exhibiting 20th-century art. Discussing IVAM’s rise, fall and reinvention, an article in the current frieze (issue 207, November–December) by Latitudes' Max Andrews (also a frieze Contributing Editor) is a case study on how right-wing politics impacted an entire city art ecology."


      → Continue reading
      → After November 2019, 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: 


      Max Andrews' text for Rasmus Nilausen's solo exhibition ‘Bluetooth’ at Copenhagen's Overgaden


      Rasmus Nilausen, ‘Better Half’ (2019), oil on linen, 160x130cm. Photo: Roberto Ruiz. Courtesy: the artist.

      Max Andrews of Latitudes has written a text on Rasmus Nilausen for his forthcoming solo exhibition ‘Bluetooth’ opening September 20, 5–8pm, at Copenhagen's Overgaden. Institute of Contemporary Art.

      ‘Bluetooth® is a two-way digital wireless standard that enables the exchange of information between computers, mobile phones, and other peripherals such as keyboards and headphones. For Rasmus Nilausen, painting is a technology that connects the communicative assets of drawing, writing, speaking, reading, and looking. The range of both protocols is typically less than 10 m. Could we mandate the capabilities of Nilausen-enabled devices, along with their encoding and specifications? Since around 2000, oil pigment on linen has provided Nilausen’s most widely adopted attributes and colour space. It has transmitted information and provided connectivity using the following parameters: idioms and fruits, vegetables and eyeballs, tongues and images, fingers and candles, sense and habits, nonsense and perspective, old masters and young slaves.’

      —Max Andrews


      The exhibition is on view until November 24, 2019.

      Rasmus Nilausen, ‘Historie’ (2019), oil on linen, 40x50cm. Courtesy: the artist.


      RELATED CONTENTS:

      ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’


      (Above and below) Installation views of the exhibition ‘Béton’ by Lara Almarcegui at the CAIRN centre d'art, Digne-les-Bains, 2019. All photos: François-Xavier Emery.

      Lara Almarcegui's exhibition ‘Béton’ opened on April 5 at CAIRN Centre d'art, in Digne-les-Bains, France, and will be on view until June 30th, 2019.

      Latitudes has collaborated in the bilingual catalogue ‘Lara Almarcegui. Béton’ (French/English) recently published by Silvana Editoriale on the occasion the exhibition, with the new essay ‘Thinking like a drainage basin’. The publication includes an introduction by Giulia Pagnetti (curator of the exhibition and director of CAIRN Centre d'art), a second essay titled ‘Lara Almarcegui's building sites’ by Natacha Pugnet, and a conversation between the artist and Winfried Dallmann (Associate Professor, Department of Geosciences, UiT The Arctic University of Norway, Tromsø) titled ‘Earth Calculation’.



      As Latitudes' writes in the essay (...) ‘As part of her most recent project for CAIRN Centre d’art, Almarcegui has produced ‘Roches et Materiaux du Bassin de la Bléone’ (2019), an inventory of the different types of geological matter comprising the entire drainage basin of the Bléone river from its source near Prads-Haute-Bléone to its confluence with the Durance at Chateau-Arnaux, a terrain of some 906 km2.

      In discussing how storytelling might integrate with environmental science, anthropologist Julie Cruikshank poses the rhetorical question, “are glaciers ‘good to think with’?”[1] She suggests that glaciers and glacial stories be allowed to disrupt and exceed conceptual fields and dominant frameworks of knowledge. Ecologist Aldo Leopold coined the term “to think like a mountain” in his 1949 book ‘A Sand County Almanac’, proposing that history could be narrated, or indeed art could be made, from the point of view of non-human actors. Are drainage basins good to think with? What might it entail to think like the rocks and topological forms that funnel water into a river in the Alpes-de-Haute-Provence département in southeastern France?’



      ‘Lara Almarcegui. Béton’
      April 2019, 48 pages, 24 x 17 cm
      Texts by Natacha Pugnet, Latitudes and an interview between the artist and Winfried Dallmann. 
      French/English 
      Published by Silvana Editoriale
      March 2019
      Edited by CAIRN centre d'art
      ISBN 9788836640904
      Purchase here for 10 Euros.

      RELATED CONTENT:
      • Writing archive on Latitudes' website;
      • Review – ‘Domènec. Y la tierra será el paraíso', adn galería, Barcelona, frieze.com, 13 March 2019
      • Opinion – ‘Frank Zappa’s Genre-Defying ‘Civilization Phaze III’’, frieze, January-February 2019, Issue 200, and frieze.com, 14 January 2019
      • Review – ‘Te toca a tí’ [It's your turn], Espai d'art contemporani de Castelló, art-agenda, 7 January 2019
      • art-agenda review of Frieze week 2018 15 October 2018
      • Catalogue essay – ‘The Kørner Problem’, in the monograph ‘John Kørner', ed. by Maria Nipper. Published by Roulette Russe, 2017. 19 February 2018

      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 

      Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ for art-agenda



      Te toca a tí’ [It's Your Turn]
      Espai d'art contemporani de Castelló, Castelló de la Plana
      October 26, 2018—February 17, 2019


      "Two pairs of hands play a game of cat’s cradle, forming a star from a loop of string; viewers may imagine one person pulling the string while the other interprets their instructions. This photograph, which appears on the cover of the booklet accompanying the group exhibition “Te toca a tí” [It’s your turn] at the Espai d’art contemporani de Castelló (EACC), epitomizes the exhibition’s conceptual framework. Curated by Laura Vallés Vílchez and including works by ten artists, the show asks whether a gallery can become a site of negotiation, and if so, in what ways it can be re-signified."

      —> Continue reading here.

      Text originally published in art-agenda on January 7, 2019.



      Teresa Lanceta, selection of tapestries and sewn fabrics, 2003-2018. Variable dimensions. Courtesy of the artist and Galería Espacio Mínimo. Photo by Ester Pegueroles.


      Luca Frei, ‘Simone Forti's See-Saw’, 2015. Variable dimensions. Performance with plywood see-saw. Courtesy of the artist and The Museum of Modern Art, New York. Committee on Media and Performance Funds, 2018. Photo by Luca Frei.


      Céline Condorelli, ‘Models for a Qualitative Society’, 2016. Variable dimensions. Painted blackwood acacia, steel. 84 x 119 cm, Inkjet prints. Courtesy of the artist. Photo by Ester Pegueroles.

      RELATED CONTENT:



        Cover Story—January 2019: “Seesaw”

        Latitudes' home page www.lttds.org

        The January 2019 Monthly Cover Story “Seesaw” is now up on Latitudes' homepage: www.lttds.org


        “The exhibition “Te toca a tí” (It’s your turn) continues at Espai d’art contemporani de Castelló, Castellón de la Plana, until February 17th. Curated by Laura Vallés Vílchez (editor of the journal Concreta) it includes works by ten artists within a conceptual framework that asks how a gallery space can become a site of negotiation, process, reciprocity, and empathy. Mariana Cánepa Luna’s review of this optimistic show was recently published in Art Agenda.”

        —> 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
        • Writing archive – exhibition reviews, artists' profiles, opinion columns, interviews, and catalogue essays written by Latitudes since 2005.
        • 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 

        Max Andrews reviews in frieze: ‘A Provisional History of the Technical Image, 1844–2018’ (LUMA Foundation, Arlès) and Pere Llobera's ‘Acció’ (Bombon Projects, Barcelona) and ‘Kill Your Darlings’ (Sis Galería, Sabadell)

        Max Andrews, co-founder of Latitudes and contributing editor to frieze, recently reviewed the group exhibition ‘A Provisional History of the Technical Image, 1844–2018’ at LUMA Foundation in Arlès. The exhibition is curated by artist Walead Beshty and is on view until January 6, 2019. Published on frieze.com, 20 December 2018.
        Frank Gehry's LUMA building under construction, as of October 12, 2018. Above and following photos by Latitudes. 

        Views from the exhibition ‘A Provisional History of the Technical Image, 1844–2018’.

        "Le Fusil Photographique" by Étienne-Jules Marey. 

        Works by Wolfgang Tillmans (vitrines) and Christopher Williams (wall).

        Hans-Peter Feldmann's "9-12 Front Page", 2001. 


        ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

        ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.

        ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


        ‘PICTURE INDUSTRY: A Provisional History of the Technical Image, 1844–2018’, curated by Walead Beshty. Exhibition views, les Forges, Luma Arles, Parc des Ateliers, Arles, France, 2018. © Marc Domage.


        Also for frieze, Max Andrews reviewed two concurrent exhibitions by Pere Llobera: Acció’ at Bombon Projects (Barcelona) and ‘Kill Your Darlings’ at Sis Galería (in nearby Sabadell), ‘exploring the artist’s ever-changing styles and painterly references.’ Published online on 13 November 2018, and included in January-February 2019 print issue #200.

        “As if tormented by his own cursed hand, Llobera’s darkly fugitive shtick is his alarm at its ability to paint so adeptly so easily, despite his mind’s suspicion of painters painting to be admired.” 


         Views from Pere Llobera's exhibition ‘Acció’ at Bombon Projects, Barcelona. Courtesy the artist. Above and photos below: Roberto Ruiz.



        RELATED CONTENT:
        • Writing archive on Latitudes' website (since 2005);
        • Max Andrews reviews Lúa Coderch; "Crash Test. The Molecular Turn" and Julia Spínola for frieze 9 April 2018
        • "The Kørner problem” essay by Max Andrews in the monograph "John Kørner" published by Roulette Russe, 19 February 2018
        • Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017, 21 July 2017
        • Cover Story – January 2017: How open are open calls? 4 January 2017
        • Cover Story – December 2016: Ten years ago – Land, Art: A Cultural Ecology Handbook, 5 December 2016
        • January 2016 Monthly Cover Story: Kasper Akhøj's Eileen Gray’s E.1027, 4 January 2016
        • Review of the exhibition "What cannot be used is forgotten" in the May issue of frieze magazine, 29 April 2015
        • Review of Maria Thereza Alves' exhibition at CAAC Sevilla published in frieze magazine 9 March 2015

        Mariana Cánepa Luna's London Roundup of Frieze week 2018 for art-agenda.com

        Advertising in Pimlico. Above and below photos by Latitudes.

        London Roundup
        Various locations, London
        October 12, 2018


        Just as Frieze Art Fair opened last Wednesday, Prime Minister Theresa May gave her keynote speech—and dared to dance again—at the Conservative Party Conference in Birmingham. She announced that freedom of movement would be terminated “once and for all” by limiting access to “highly skilled workers” (in short, migrants earning over 30,000 British pounds per year). Countless art professionals earn much less (including entry-level curatorial staff at Tate, and yours truly), as well as doubtless many of the myriad gallery and museum folks involved in the city-wide jamboree of Frieze week. How do we imagine London’s contemporary art ecology post-Brexit, a scene that has grown exponentially since Tate Modern’s opening in 2000 and the first Frieze Art Fair in 2003? The question of how the 2019 edition of the fair is going to be affected was the elephant in the tent. Most people I asked shrugged: negotiations are still ongoing, consequences are yet to be seen. “It’ll be fiiiiine,” a London museum director told me. “Maybe we’ll visit a smaller fair, like the first editions—remember those days?” opined a British gallerist friend working in New York. Although one could put this upbeat denial down to the cliché of dark British humor and the spirit of “muddling through,” I nevertheless left worried that something more troubling lay behind it.

        If Frieze might have triggered the relocation of many contemporary art galleries from the East to the West of the city, two recent institutional openings are enforcing a southern axis. The new Goldsmiths Centre for Contemporary Art in New Cross, housed in a listed Victorian bathhouse refurbished by 2015 Turner Prize winners Assemble, kicked off with a sparkling survey show of Mika Rottenberg’s absurdist film installations offering grotesque parodies of current labor conditions. The second home of the South London Gallery at Peckham Road Fire Station, elegantly renovated by 6a architects, opened with “Knock Knock,” a group show about the uses of humor—from political satire to visual puns—in contemporary art. The addition of these spaces will surely benefit Gasworks, a short bus ride away in nearby Vauxhall, whose truly international program of residencies and exhibitions over the last two decades has been a vital antidote to the dangers of isolationism in the British art scene.


        —> Continue reading here.

        Text originally published in Art-agenda on October 12, 2018.



        Lucy Dodd at Sprüth Magers, London.

        Façade of the new Goldsmiths Centre for Contemporary Art in New Cross.
        Detail of Mika Rottenberg's show at Goldsmiths Centre for Contemporary Art in New Cross.
        Part of Tania Bruguera’s 2018 Hyundai Commission at Tate Modern. 
        Visitor's comments on the Turner Prize 2018 board.
        Installation from Atelier E.B's show at the Serpentine Sackler Galleries, London.
        Detail from Cayetano Ferrer's solo exhibition “Demaster” at Southard Reid, London.
        Martine Syms at Sadie Coles HQ, London. 
        Judith Kopf's "Flock of Sheep" (2017) at the South London Gallery.
        Cornelia Parker Transitional "Object" (PsychoBarn) at the Royal Academy.
         Johanna Unzueta at Proyectos Ultravioleta, Focus section, Frieze Art Fair.
         (Above + below) Sam Lewitt, "Core (the "Work")", BMW Open Work commission, Frieze Art Fair.
         Ian Law at RODEO, Frieze Art Fair.
        (Above and below) Oscar Humphries' "Sèvres and Japonism" at Frieze Masters, London. 

        (Above and below) Chris Burden at Gagosian, London.  

        Lawrence Abu Hamdan at Chisenhale, London.
        Daniel Silver at Frith Street Gallery, London.
        Kemang Wa Lahulere at Marian Goodman Gallery, London.
         Alicja Kwade's work in the "Space Shifters" exhibition, Hayward Gallery, London.
         (Above and below) Elmgreen and Dragset, "This is how we bite our tongue", Whitechapel, London.
        Amy Sillman at Camden Art Center, London.

        RELATED CONTENT: 

        Cover Story–May 2018: "Shadowing Roman Ondák"

        Latitudes' home page www.lttds.org

        The May 2018 Monthly Cover Story "Shadowing Roman Ondák" is now up on Latitudes' homepage: www.lttds.org

        This month we revisit Roman Ondák’s exhibition ‘Some Thing’ at The Common Guild, Glasgow, in 2013, during which Latitudes was invited to give a talk. Roman’s show comprised a series of composite works in display cases. Early still-life paintings and pencil drawings from his student days in Slovakia in the 1980s were coupled with the actual objects depicted – a chair, a length of rope, a helmet, a vase (a detail of "Shadow, 1981/2013" is the work above), and so on, which were placed in a deadpan way on top of them.

        —> 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:



        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