Longitudes

Longitudes atraviesa los proyectos y la investigación de Latitudes con noticias y reportajes.

Text on Crystal Bennes in the “Betwixt 2024” published by the Freelands Foundation

 

Betwixt 2024 publication. Courtesy of the Freelands Foundation.


In February 2023Latitudes was commissioned to write a text on the artistic practice of Crystal Bennes for “Betwixt 2024”, publication produced by the Freelands Foundation as part of their Freelands Artist Programme initiative supporting emerging artists across the UK since 2018.

The book has now launched, coinciding with the opening of an exhibition taking place across four sites in central and north London between 17–23 February 2024, in which Bennes participates alongside 19 other artists based in Belfast, Cardiff, Edinburgh, and Sheffield.

For the occasion, Bennes presents “When Computers Were Women” (2021), a project on the connections between the histories of computational and weaving technology, that stemmed from a residency at CERN (the European Organisation for Nuclear Research) in 2018 when she was struck by the formal similarities of the computer programming punchcards she saw in a cabinet and an older form of data-processing technology: the punch cards used to control the rods and hooks that raise the warp threads of looms fitted with Jacquard devices.

The artists featured in the “Betwixt 2024” publication are Adebola Oyekanmi, Adele Vye, Alaya Ang, Beau W. Beakhouse, Christopher Steenson, Crystal Bennes, Dorothy Hunter, Gail Howard, Jacqueline Holt, Kedisha Coakley, Kirsty Russell, Maria de Lima, Phoebe Davies, Rian Treanor, Sadia Pineda Hameed, Susan Hughes, Tara McGinn, Theresa Bruno, Thulani Rachia, Tyler Mellins and Zara Mader.

Writers in the publication are Alice Bucknell, Beth Hughes, Candice Jacobs, Cindy Sissokho, Colette Griffin, Ingrid Lyons, Jamie Sutcliffe, Jenny Richards, Kandace Siobhan Walker, Khanyisile Mbongwa, Lara Eggleton, Lucy A. Sames, Maria Howard, Mariana Cánepa Luna, Mark Peter Wright, Max Andrews, Precious Adesina, Rosalie Doubal, Sunshine Wong, Susannah Dickey, Theo Reeves-Evison and Zakiya McKenzie.

Published in 2024, 370 pages. Designed by Kristin Metho.

Available for £15 (plus shipping) here.

(Above and below) Crystal Bennes, “When Computers Were Women” (2021). Courtesy of the artist.


A month later, on March 16, 2024, Bennes will present her new project “O (Copper, cotton, cobalt, crude, naphtha, bauxite, palm)” (2023) at Talbot Rice Gallery in Edinburgh, culminating her two-year residency there and at the Edinburgh College of Art on the Freelands Artist Programme. Involving tapestry, sculptural installation, video, and performance, her project addresses the rapaciousness and sophistry of commodities trading, an arena in which financial instruments are used to bet on the future value of raw materials and natural resources including crude oil, metals, coffee, and cotton.

Latitudes’ text will also be available on the Talbot Rice Gallery website and in the gallery booklets, available for £2 at the venue. 

Crystal Bennes, Fragment from “O (Copper, cotton, cobalt, crude, naphtha, bauxite, palm)”, 2023. Courtesy of the artist.

A Classicist with a PhD from King’s College London, Dr Crystal Bennes previously worked in the U.S. Senate and as an architecture and design journalist before retraining as an artist. She studied for an MFA at Aalto University, Helsinki, and École Nationale Supérieure des Beaux-Arts, Paris, and obtained a practice-based PhD at Northumbria University, Newcastle.

Her practice is grounded in long-term projects that foreground archival research, durational fieldwork, and material experimentation. Recent bodies of work include an ongoing photographic exploration of an artificial island in Sweden created entirely out of radioactive waste from industrially-produced synthetic fertiliser and the experimental recreation of a nineteenth-century hay meadow based on a myth of unintentional plant migration from Italy to Denmark. 

Recent exhibitions include Platform: Early Career Artist Award, Edinburgh Art Festival (2023); Flora Italica, Thorvaldsens Museum, Copenhagen (2023); Mauvaise Herbes, Centre Photographique d’Ile-de-France; No Island is an Island, Landskrona Foto International Festival; and Hermes and the Veil, Gallery North, Newcastle (all 2021).

Klara and the Bomb (2022) her first photobook—charting connecting threads between the U.S.’s nuclear weapons research, women programmers, the invention of modern computers, and nuclear colonialism—was published by The Eriskay Connection in 2022, and it was shortlisted for the Photo Text Book Award at Les Rencontres d’Arles in 2023. 

Between 2022 and 2024 she was a resident at Talbot Rice Gallery as part of a Freelands Foundation Artists programme. Together with Tom Jeffreys, she is the editor of The Peninent Review.


RELATED CONTENT:

  • Latitudes’ writing since 2005.
  • Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli, 27 Oct 2023
  • Text on Crystal Bennes for the Freelands Foundation Artists programme, 31 May 2023
  • Latitudes’ essay “Un suelo para las historias del arte del futuro” [Soil for Future Art Histories] in TBA21’s catalogue “Futuros Abundantes”, 22 Jan 2023
  • Max Andrews reviews Bruno Zhu’s exhibition “I am not afraid”, Cordova, Barcelona, 30 Mar 2022
  • Nueva publicación: “Passió i cartografia per a un incendi dels ulls” (MACBA, 2022), 2 Mar 2022 
  • New publication: “Things Things Say” now available, 28 Feb 2022
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Cover Story, February 2024: Climate Conscious Travel to ARCOmadrid

   February 2024 cover story on www.lttds.org


The February 2024 monthly Cover Story “Climate Conscious Travel to ARCOmadrid” is now up Latitudes’ homepage: www.lttds.org

“As part of its wider Climate Conscious Travel campaign, Gallery Climate Coalition and its International Volunteer Team, GCC Spain, are collaborating with ARCOmadrid on the initiative #TrainToARCOmadrid to encourage more climate-conscious travel choices when traveling to the art fair, which this year runs from 6–10 March 2024. ” 

→ Continue reading (after February this story will be archived here).

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive, 2 Jan 2024 
  • Cover Story, December 2023: Ibon Aranberri, Partial View, 2 Dec 2023 
  • Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
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Cover Story, January 2024: Curating Lab 2014–Curatorial Intensive

   January 2024 cover story on www.lttds.org


The January 2024 monthly Cover Story “Curating Lab 2014 – Curatorial Intensive” is now up on our homepage: www.lttds.org

“As we start 2024, for one reason or another we find ourselves pausing to reminisce about Curating Lab 2014–Curatorial Intensive, which took place in June 2014, and which was organised by NUS Museum, Singapore, with support from the National Arts Council of Singapore. ” → Continue reading (after January 2024  this story will be archived here).

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, December 2023: Ibon Aranberri, Partial View
  •  Sat, 2 Dec 2023 
  • Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
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2023 in 11 cover stories

Since Spring 2015 we have been publishing a monthly cover story on our homepage (www.lttds.org) featuring past, present, or forthcoming projects, as well as sharing our research, travel, or texts, featuring artworks, exhibitions, films, or objects related to our curatorial practiceBelow are those published throughout 2023 (#90 to #100), which you can read again in this archive. See you in 2024!


Cover Story, January 2023: Claudia Pagès’ “Gerundi Circular”.

Cover Story, February 2023: Soil for Future Art Histories.

Cover Story, March 2023: Art, Climate and New Coalitions.

Cover Story, April 2023: Jerónimo Hagerman (1967–2023).

Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona

Cover Story, June 2023: Crystal Bennes futures

Cover Story, July–August 2023: Honeymoon in Valencia.

Cover Story – September 2023: The Pilgrim in Ireland.

Cover Story – October 2023: A tree felled, a tree cut in 7

Cover Story – November 2023: ”Surucuá, Teque-teque, Arara” by Daniel Steegmann Mangrané

And to close the year, Cover Story #100 – December 2023: Ibon Aranberri, Partial View


→ RELATED CONTENT:
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Wolfgang Tillmans’ “Truth Study Center (NY)” (2010)

The cover of “The Last Observer” featured Wolfgang Tillmans’s “Truth Study Center (NY)”. Issue 6 of the catalogue-in-progress of “The Last Newspaper” (New Museum, 2010). Edited by Latitudes.

In the frenzied weeks of autumn 2010, we had the chance to “live with” artworks during the course of ten weeks while we live-edited a weekly tabloid that ultimately constituted the ten-part catalogue of “The Last Newspaper” (October 2010–January 2011) exhibition at the New Museum. For almost the entire duration of the show, Latitudes commissioned articles, opinion columns, adverts, interviews, and focus pieces, and also wrote about the featured artworks, artists, events, and issues covered (or missing!) in the exhibition we were embedded in.

For ”The Last Observer”, the sixth of the ten issues of “The Last Newspaper” (pdf here), we commissioned then-writer Lorena Muñoz-Alonso to interview artist Wolfgang Tillmans about his work “Truth Study Center (NY)” (2010). Tillmans’ work shared the floor with our temporary office and is a project he began in 2005 with a show at his London gallery Maureen Paley.

Photo: LeBal Books here.

Forward ten years. In 2021, the interview “Is This True or Not?” was included in the 352-page reader “Wolfgang Tillmans: A Reader” (ISBN 9781633451124), published on the occasion of his
 retrospective “To Look Without Fear” at the Museum of Modern Art in New York, and edited by Roxana Marcoci and Phil Taylor – see pages 171 to 173.

(Above and below) Wolfgang Tillmans, “Truth Study Center, 2005–”, installation view at the New Museum, 2010. Photos: Latitudes, Barcelona. Courtesy the artist and Maureen Paley Gallery.



We recently received a request to use our Tillmans’s New Museum installation photograph in the highly anticipated publication “Disordered Attention: How We Look at Art and Performance” (Verso Books
by our former teacher, and now professor in the Ph.D. Program in Art History at CUNY Graduate Center in New YorkDr. Claire Bishop

In “Disordered Attention...”, Bishop “identifies trends in contemporary practice – research-based installations, performance exhibitions, interventions, and invocations of modernist architecture – and their challenges to traditional modes of attention. Charting a critical path through the last
three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.”

The book will be available from June 2024. An excerpt was published in Artforum in April 2023, titled “Information Overload”.

Cover of the forthcoming book “Disordered Attention: How We Look at Art and Performance” (Verso Books, 2024). 


RELATED CONTENT:

  • Night at the (New) Museum, 11 Dec 2010
  • At Last...The Last Newspaper catalogue!, 10 Dec 2010
  • 'THE LAST OBSERVER' AVAILABLE NOW! #6 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum, 10 Nov 2010
  • 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), 4 January 2019
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Cover Story, December 2023: Ibon Aranberri, Partial View

  

December 2023 cover story on www.lttds.org


The December 2023 monthly Cover Story “Ibon Aranberri. Partial View” is now up on our homepage: www.lttds.org

“This month’s Cover Story, the 100th no less, focusses on artist Ibon Aranberri, whose anthology exhibition “Vista partial” (Partial View) has recently opened at the Museo Nacional Centro de Arte Reina Sofía in Madrid, and with whom Latitudes has been able to collaborate on several occasions.” → Continue reading (after December 2023 this story will be archived here).

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané, 2 Nov 2023
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
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Conferencia sobre “A Knot Which is Not” de Eulàlia Rovira en Palma, Mallorca

Fotos de @laia_ventayol.


El pasado 11 de noviembre 2023, la artista Laia Ventayol presentó en Palma, Mallorca, una conferencia sobre el video “A knot which is not” de Eulàlia Rovira en el marco del LXVIII Anglo-Catalan Society Conference en la Universitat de les Illes Balears. 

A knot which is not” [Un nudo que no lo es] (2020–21) fue fruto de una investigación que se inició con la inauguración de la exposición “Cosas que las cosas dicen” (17 de octubre 2020–17 de enero 2021, véase el trailer) comisariada por Latitudes en Fabra i Coats: Centre d’Art Contemporani de Barcelona, y que se proyectó en línea una vez clausuró la exposición. 

Concebimos la participación de Rovira en la exposición como meta narradora de la misma. Su voz acompañó a los visitantes al inicio de la exposición – Eulàlia fue la voz de la audioguía – y a su cierre – con la presentación del video A knot which is not”, filmado en la sala expositiva una vez volvía a estar vacía.

“Si bien la línea recta es cómplice del abaratamiento y el estandarización de muchos productos, ¿a dónde nos lleva la curva, o todavía mejor, el nudo? Dando giros a las historias de la propia fábrica textil de la Fabra i Coats y a los objetos que de allí salían, la lengua que nos habla ejercita palabras que las manos parecen haber dejado de reconocer.” – Eulàlia Rovira

(Abajo y arriba) Fragmentos del video “A knot which is not” [Un nudo que no lo es] (2020–21) de Eulàlia Rovira. Cortesía de la artista.

En la conferencia, Ventayol ha compartido imágenes del proceso de investigación que realizó Rovira para la elaboración de la narración de “A Knot Which is Not” (2021), así como sobre la colaboración que Stuart Whipps, otro artista de la exposición que exhibió The Kipper and the Corpse” (2004–en curso), entabló con Keith Woodfield, quien trabajó en la empresa motora British Leyland en Longbridge (Birmingham) durante +30 años.

Foto cortesía de Laia Ventayol.


CONTENIDOS RELACIONADOS:

  • Catálogo de la exposición diseñado por Bendita Gloria
  • Guía de la exposición (descargar pdf)
  • Videos de la exposición (tráiler disponible en catalán, castellano e inglés)
  • Audioguía (disponible en catalán, castellano e inglés)
  • The Pilgrim from Askeaton, 12 September 2023
  • Cover Story, May 2022: Things Things Say in print, 2 May 2022
  • New publication: “Things Things Say” now available, 28 Feb 2022
  • Premiere del vídeo “A knot which is not” [Un nus que no ho és] (2020–21) de Eulàlia Rovira, 15 febrero 2021
  • Reseñas: Exposición ‘Cosas que las cosas dicen’ en Fabra i Coats: Centre d'Art Contemporani de Barcelona, 11 January 2021 
  • Cover Story–January 2021: ‘Things Things Say’: ‘VIP's Union’, 1 January 2021
  • Performance “One motif says to the other: I can’t take my eyes off you” by Eulàlia Rovira and Adrian Schindler in the exhibition ‘Cream cheese and pretty ribbons!’, 17 September 2018

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Cover Story, November 2023: Surucuá, Teque-teque, Arara: Daniel Steegmann Mangrané

  November 2023 cover story on www.lttds.org


The November 2023 monthly Cover Story “Surucuá, Teque-teque, Arara” is now up on our homepage: www.lttds.org

Daniel Steegmann Mangrané’s exhibition “Una fulla al lloc de l’ull” (A Leaf Shapes the Eye) opens later this month at Museu d’Art Contemporani de Barcelona (MACBA). Curated by Hiuwai Chu and João Laia, the show includes works from the late 1990s to the present. 

→ Continue reading (after November 2023 this story will be archived here).

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


→ RELATED CONTENTS

  • Archive of Monthly Cover Stories 
  • Cover Story, October 2023: A tree felled, a tree cut in 7, 2 October 2023
  • Cover Story, September 2023: The Pilgrim in Ireland, 6 September 2023
  • Cover Story, July–August 2023: Honeymoon in Valencia, 1 July 2023
  • Cover Story, June 2023: Crystal Bennes futures, 1 Jun 2023
  • Cover Story, May 2023: Ruth Clinton & Niamh Moriarty in Barcelona, 1 May 2023
  • Cover Story, April 2023: Jerónimo Hagerman (1967–2023), 1 Apr 2023
  • Cover Story, March 2023: Art, Climate and New Coalitions, 1 March 2023
  • Cover Story, February 2023: Soil for Future Art Histories, 2 Feb 2023
  • Cover Story, January 2023: Claudia Pagès’ ‘Gerundi Circular’, 2 Jan 2023
  • Cover Story, December 2022: “The Melt Goes On Forever. David Hammons and DART Festival, 1 December 2022
  • Cover Story, November 2022: Jorge Satorre’s Barcelona, 1 Nov 2022
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Text on Lara Almarcegui’s Graves (2021) in “Sketches of Transition. An Atlas on Growth and Decay” edited by Michele Bazzoli

Photo: @michele_bazzoli

Premièred at Onomatopee on October 25th, 2023, during the Dutch Design Week, t
he publication “Sketches of Transition. An Atlas on Growth and Decay” brings together the practices of five different artists in relation to the key concept of transition. 

Edited by Italian-born, Amsterdam-based artist 
Michele Bazzoli the book includes a reprint of Latitudes’ text on Lara Almarcegui’s project “Graves” originally commissioned to accompany her solo exhibition at Centre d’Art la Panera, Lleida, curated by Cèlia del Diego and on view between February and June 2021.

Gazing through various apertures of “Sketches of Transition”’s featured researches, each chapter could be considered a sketch of transition in itself, as an annotation on an alternative perspective on the material and visual spheres of our existences. With the same freedom of sketching on a blank paper sheet, the contributions investigate and probe new modes of production of beauty and wonder. 

Sketches of Transition. An Atlas on Growth and Decay
Editor: Michele Bazzoli
Designer: Kai Udema
Texts: Maria Barnas, Michele Bazzoli, Dagmar Bosma, Yana Naidenov, Lara Almarcegui’s text by Latitudes (Max Andrews & Mariana Cánepa Luna)
Publisher: Onomatopee project
Date of publication: October 2023
ISBN: 978-94-93148-98-7


(Above and two below) Views of Michele Bazzoli’s exhibition “Sketches of Transition. An Atlas on Growth and Decay” and namesake publication at Onomatopee, Amsterdam. Courtesy Michele Bazzoli.



Latitudes’ text presents the two new projects Almarcegui produced for her solo exhibition at Centre d'Art la Panera. “Rocas y Materiales de la Cordillera de los Pirineos” (2021) was an austere ordered list presented as a large wall text detailing the quantities of rocks and materials that constitute the Pyrenees (two images below). 

(Above and below) Installation view of “Graves” exhibition at the Centre d'Art la Panera, Lleida. Photos Jordi V. Pou.


The second work, “Gravera” (2021), was a large video projection documenting the industrial complex operated by Sorigué near the town of Balaguer, which temporarily stopped operations for a day (images of the public programme organised during the exhibition below). 

(Above and below) “Gravera aturada” was an event organised by the Centre d'Art la Panera, Lleida, on 19 February 2021, as part of Lara Almarcegui’s solo exhibition. For the occasion, citizens were able to take a tour around Sorigué’s gravel mining and processing plant near Balaguer, which stopped its activity for a day. Photos Jordi V. Pou.








RELATED CONTENT:
    • Cover Story – April 2021: Lara Almarcegui at La Panera, 2 Apr 2021
    • 18 marzo 2021, 18:30h: Mesa redonda “Transformación geológica y construcción artificial” con Lara Almarcegui y Juan Guardiola, 8 Mar 2021
    • 11 de julio 2019, 19h: Conversación con Lara Almarcegui en el Institut Valencià d'Art Modern (IVAM), 25 June 2019
    • ‘Thinking like a drainage basin’ essay in the catalogue of the exhibition ‘Lara Almarcegui. Béton’, 8 April 2019
    • Works by Lara Almarcegui included in the exhibition “4.543 billion. A Matter of Matter”, CAPC musée d'art contemporain de Bordeaux, 2017
    • Report from Urdaibai: commission series ‘Sense and Sustainability’, Urdaibai Arte 2012 22 July 2012
    • Launch of the monograph ‘Lara Almarcegui. Projects 1995–2010’, edited by Latitudes at 'The Dutch Assembly', ARCOmadrid, 15 February, 19-20h 14 February 2012
    • Photos 'In conversation with Lara Almarcegui', 19 May 2011, TENT, Rotterdam 6 June 2011
    • Portscapes bus tour: Lara Almarcegui wasteland tour and Christina Hemauer & Roman Keller's 'Postpetrolistic Internationale' choir performance 10 November 2009
    • Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid 28 October 2008
    • Catálogo 'Estratos', texto sobre Lara Almarcegui, PAC Murcia 2008, 28 Mayo 2008
    • Lara Almarcegui, “Wastelands” in “LAND, ART: A Cultural Ecology Handbook”, Royal Society of Arts and Arts Council England, 2006
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    Montse Badia sobre GCC Spain en la revista Bonart #198


    Foto: María Gracia de Pedro.


    (...) “Con el objetivo de proporcionar guías de actuación para trabajar en términos de responsabilidad ambiental desde el mundo del arte, nace Gallery Climate Coalition, una entidad sin ánimo de lucro que trabaja desde Nueva York, Los Ángeles, Taiwán, Londres, Berlín, Italia y desde hace unos meses también desde España, impulsada por Carolina Grau y Latitudes, entre otros. [1]

    Y como nada mejor que los datos para visualizar lo que puede ser cambiado, la página web de GCC (www.galleryclimatecoalition.org) ofrece una calculadora que indica la cantidad de CO2 que producimos al realizar un viaje de trabajo, organizamos un transporte, imprimimos documentos o trabajamos desde casa.”


    Montse Badia, “‘Green Teams’ vs ‘green washing’”, Bonart #198, Septiembre 2023–Febrero 2024, p. 31.

    [1] A fecha de mayo 2023, el Comité de GCC Spain está conformado por María Gracia de Pedro (Badr El Jundi Gallery); Carolina Grau (Comisaria independiente); Lucía Mendoza y Laura Carro (Galería Lucía Mendoza); Cecilia Durán (Galería Senda); Carmen Huerta (TAC7); Nicky Ure (UreCulture); Max Andrews y Mariana Cánepa Luna (Latitudes).


    CONTENIDO RELACIONADO:


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