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

Ester Partegàs at NoguerasBlanchard

Ester Partegàs at NoguerasBlanchard
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Tomás Saraceno

Post-leakage view of project by Tomás Saraceno at Centre d'Art Santa Mònica / CASM, the institution with possibly the best programme in Barcelona, but certainly the one with the most useless website. Also showing Jack Pierson and Joan Morey.
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Christoph Keller at ProjecteSD

Christoph Keller and Roma Publications at ProjecteSD

Revolver Archiv für aktuelle Kunst founder and general wise man Christoph Keller (on left in photo 2) gave a sparkling presentation yesterday at ProjecteSD about books, publishing, raising rare breeds, bespoke fruit schnapps and his new Christoph Keller Editions books with young artists published with JRP | Ringier. Inspirational stuff.

"ProjecteSD is pleased to present its second exhibition of artist's books. For this occasion two young independent editors have been invited: Christoph Keller and ROMA Publications. Working in different environments but with similar attitudes and interests, Roma and Keller have pursued outstanding careers and created for themselves a solid space in the publishing field of contemporary art.

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Latitudes on Resonance FM

An interview with Max Andrews about LAND, ART: A Cultural Ecology Handbook goes out tomorrow afternoon on The Two Degrees Show on Resonance FM. Two Degrees is produced by Phil England of Climate Radio.
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UOVO #12 Gold

The new issue of Uovo is out, including an interview by Max Andrews with Natascha Sadr Haghighian

Latitudes will Guest Edit UOVO #14 "Green: Ecology, Luxury and Degradation". More information here.
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Photos of the launch of the publication 'LAND, ART: A Cultural Ecology Handbook' at the LCE, London

 All images: Latitudes | www.lttds.org
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Photos of the publication 'LAND, ART: A Cultural Ecology Handbook' (RSA, 2006)

The 'LAND, ART: A Cultural Ecology Handbook' publication is finally real! Coming soon are images of the reception at the London School of Economics and Political Science last Tuesday. The book was launched by the UK's Culture Minister David Lammy during the No Way Back? conference that morning. 

You can purchase the book direct from the distributor's Cornerhouse here, or from amazon here.

All photos: Robert Justamante. Courtesy: Latitudes | www.lttds.org
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'2006 Problems' exhibition and publication by John Kørner, Victoria Miro Gallery, London

'There are plenty of known knowns in what John Kørner has recently painted: ships and trees, men and women, crocodiles and birds, town and country—and most apparently in'2006 Problems', factories and bicycles. These are modern things that we know we know. And as this commandeered logic continues, we know there are some things we do not know (known unknowns), and still others we don't yet know we don't know (unknown unknowns). It's the known unknown phenomena that belong to the realm of Kørner's sustained symptomatology of problems. Visible in paint as coloured blot marks shaped like elongated eggs or dropped-in droppings, problems often line up in Kørner's works as if notes on a musical stave or blobs of clay on wobbly shelves, latent undifferentiated tissue that's waiting to become more specific. Of course how to paint a problem must have been in itself a problem. We may presently be dealing with the problems of this year, or equally, it could be that there is a host of two thousand and six of these quandaries. Kørner makes paintings and painted ceramics, while, as he insists, he is not really a 'proper' painter. His often vast canvases are foremost a way of communicating through a very direct means and are only paintings later, almost by coincidence. All of this is, needless to say, problematic.'

Extract taken from the catalogue essay of the publication '2006 Problems: John Kørner' by Latitudes' Max Andrews.

'2006 Problems' by John Kørner
Victoria Miro Gallery, London
25 November – 22 December 2006

Exhibition catalogue: Paperback, English, 44 pages, 30 x 23 x 0.6 cm
ISBN 978-0-9554564-0-4
Purchase here for ₤10. 
More photos here.

All photos: Latitudes | www.lttds.org
Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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Peter Piller at ProjecteSD, Barcelona

Peter Piller's show Arrows at ProjecteSD, Barcelona, has been extended until 5 January. "The installation brings together 37 pictures of different formats, colour and black & white, all showing “arrows”. Arrows are symbols commonly seen on local German newspapers used by editors to underline supposedly interesting features on the image illustrating the news."

Following an excerpt on Peter Piller's work published on the Cal Cego collection web, written by Mariana Cánepa Luna from Latitudes:
"Peter Piller was born in Fritzlar, former West Germany in 1968, and currently lives between Hamburg and Leipzig, where he has been a professor at Hochschule für Grafik und Buchkunst since 2006. Piller began to work for the media agency Carat in 1997, and for years held the post dealing with evaluating and archiving regional newspapers and editing their advertisements. It was monotonous work, but there is no doubt that it helped him develop a keen and patient ability to appreciate details that are normally overlooked. In 1998 he defined his artistic method and began to collect, systemise and inventory images, a process that he defines as “an exercise in productive misunderstanding”. [1] " – Read more here.
[1] Artist quoted in ‘Classified Information’, Dominic Eichler. Frieze, November-December issue, 2006, p. 139
[Image: From 'Pfeile 2/Arrows 2'. Archiv Peter Piller 2000/2006. Pigment Print, 72 x 51 cm. Ed. 6. Courtesy the artists and ProjecteSD, Barcelona.]
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Tue Greenfort's 'Rococo Eco', Max Wigram, London

Tue Greenfort 'Rococo Eco' 17 November 2006 – 13 January 2007
Max Wigram
99 New Bond Street, London

For his first solo exhibition in the UK, Tue Greenfort’s new works in this exhibition respond to the businesses that run the length of New Bond Street. They query the function of luxury accessories, looking at how the notion of luxury has historically changed from the roots of capitalism to neo-liberalism. They also question the meaning of wealth and who benefits from its consumption.

The installation 'Fur No Fur' (2006) makes reference to the former function of the gallery as a fur shop. Placing on a clothes rail a silver fox and mink fur stitched together for visitors to try them on in front of a fragmented mirror, Greenfort has graphically visualised the economic transaction taking place between those who give up a coat to the international charitable organisation P.E.T.A. (People for the Ethical Treatment of Animals) to receive in exchange tax-exemption. He has also included a mink trap to address how the institutionalization of anti-fur movements in the UK and the ban on mink farming has led to the industry moving to places like China where animal rights activism doesn’t exist. As a consequence, this shift has produced a disequilibrium in the bio-diverse ecosystem of the English countryside as, for the last two decades, minks have been endangering smaller rodents like water voles.

IMAGES ABOVE: 'Fur No Fur', 2006. Installation of 4 elements: Mirrors (175 x 145 x 36 cm); Galvanised steel mink trap (23.7 x 83 x 7.5 cm); Two furs (each, approx. 120 x 53 x 21 cm); Aluminium clothes rail (145 x 120 x 50 cm). Courtesy the artist and Max Wigram Gallery, London.
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