Longitudes

'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art' en el MARCO, Vigo




CICLO DE VÍDEO. Panorámica
Una estaca en el lodo, un hoyo en la cinta
El campo expandido del Land Art, 1968-2008

SALÓN DE ACTOS

FECHAS
jueves 8 y viernes 9 de mayo de 2008
jueves 15 y viernes 16 de mayo de 2008 [repetición]

COMISARIADO POR
Latitudes | www.LTTDS.org

ENTRADA LIBRE Y GRATUITA hasta completar aforo

MARCO, Museo de Arte Contemporánea de Vigo.
C/ Príncipe 54. 36202 Vigo.
Tel: 986 113900. Fax 986 11 39 01
[email protected] www.marcovigo.com

Durante cuatro días del mes de mayo, el salón de actos del MARCO acoge el ciclo de vídeo “Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008”, comisariado por Latitudes, después de su presentación en el Museo Tamayo de Arte Contemporáneo de México, y antes de continuar su itinerancia a Basilea, Sevilla, Barcelona y Holanda.

Tomando prestado su título de los escritos de Robert Smithson, este programa presenta una selección de imágenes en movimiento que forman parte de la memoria histórica del Land Art, acompañadas de producciones de artistas contemporáneos.


Life On Mars: 55th Carnegie International, Pittsburgh



Our shots of the 55th installment of the Carnegie International, curated by Douglas Fogle, which was unveiled last Thursday 1st May and runs until January 11th 2009. Latitudes's Max Andrews contributed to the catalogue, designed by COMA, with texts on 20 of the 40 participating artists, including Carnegie prize winners Vija Celmins and Apichatpong Weerasethakul. There's more about the opening on Artforum Diary...

Update 27 August: Jorg Heiser's review on Frieze (Issue 117, September 2008)

James Yamada's Public Art Fund Project, New York


Unveiled on Monday "this new sculpture by James Yamada entitled Our Starry Night, will be on view at Doris C. Freedman Plaza at Fifth Avenue and 60th Street. Built from powder coated aluminum and punctuated with 1,900 colored LED lights, Our Starry Night is a 12-foot-tall sculpture that acts as an interactive passageway to Central Park."

As visitors to the park walk through the Public Art Fund Project sculpture at all hours of the day and night, it will illuminate in response to each person individually. When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure's casing. This activates the LED lights that perforate the exterior of the sculpture. Common everyday metal objects such as cell phones, keys, belts, jewelry, cameras, computers, and the like will trigger the lights; the luminosity and the light patterns seen in the piece will correspond to the quantity of metal detected. Our Starry Night is literally activated by the public, reinforcing the notion that art — and particularly public art — is dependent on the people around it." (until October 28, 2008)


'Greenwashing' in Artforum Critics' Picks

Below you can read the review of the 'Greenwashing. Environment: Perils, Promises and Perplexities' exhibition by Emily Verla Bovino in Artforum Critics' Picks. The project website (www.greenwashing.lttds.org) has also been updated with links to press articles (ongoing) and a photogallery with a selection of installation shots.

- - -

"Greenwashing"
Fondazione Sandretto Re Rebaudengo
Via Modane, 16
February 29–May 18


“Cyclus Offset,” “KeayKolour Recycled May,” “Shiro Alga Carta”: A series of “all natural,” “ecological” papers color the catalogue for “Greenwashing” in a muted rainbow of earthy greens, yellows, and pinks. Designed by the exhibition’s curators—Ilaria Bonacossa and Latitudes’s Max Andrews and Mariana Cánepa Luna—the volume offers its own version of “green sheen.” Are the Fondazione and the organizers self-consciously engaging in the same banal posturing they set out to critique? Or do they see the printing of an art catalogue on recycled paper as a step in the direction of philosopher Félix Guattari’s exhortation to “think transversally,” toward a reconciliation of the nature/culture dichotomy? Like most of the show’s twenty-five participating artists, the organizers are uncompromising in their ambiguity: They neither propose grand solutions nor shy away in passive resignation. An ambitious project that occasionally falters, “Greenwashing” is largely successful in broadening and interrogating the narrow views that dominate environmentalist debates.

Works by Jorge Peris, Lara Almarcegui, and Chu Yun provide the most exemplary models of this approach. For Fairy, 2008, Peris bolted slabs of wet clay to the walls of a back room, transforming the space’s frigid architecture into a musty den of soft, sweating walls kept moist by a network of sprinklers. Like Peris’s installation, Almarcegui’s slide show and postcards, titled A Wasteland: Rotterdam Harbour, 2003–2018; Genk, 2004–2014; Arganzuela Public Slaughterhouse, Madrid, 2005–2006; Peterson Paper Factory, Moss, 2006–2007, documents microenvironments that are at once constructed and deconstructed, simultaneously additive and subtractive. In A Wasteland—wilderness by design—the artist negotiated with municipal authorities and landowners to preserve the atmosphere of disuse in a selection of urban lots, sparing them from the restoration and clean-up of urban planners. In Chu’s Constellation, 2006, various appliances set to “sleep” mode are arranged in a dark room. Their twinkling red, blue, and green lights are the stars of a heaven inhabited by obsolete electronics, including VHS players and soon-to-be-outmoded technologies, like CRT television monitors. While Chu’s work evokes what Andrews calls the “‘What can I do?’ responses to climate change,” it also explores the seductiveness of the spectacular apocalypse scenarios frequently invoked in environmentalist rhetoric. Such eschatological visions aren’t the province of environmentalists alone, however. As Noam Chomsky affirms in Cornelia Parker’s video, Chomskian Abstract, 2007: “About a third of the population probably believes it doesn’t matter what we do about global warming . . . because Jesus is coming and so . . . what’s the difference? . . . Those of us who are saved will rise to heaven, and everyone else will be massacred—and it’ll be wonderful.”

Emily Verla Bovino


Thomas Hirschhorn's 'Poor tunning' in kurimanzutto, Mexico City



'Poor Tuning' at kurimanzutto, Mexico City continues until April 27: "Thomas Hirschhorn’s current exhibition, “Poor Tuning,” presents ten pimped-out race cars..." (Artforum) more...

While 'Stand-alone' at Museo Tamayo, Mexico City, which continues until May 18, presents a three-room rendering of a kind of demonic fireplace inspired by a student occupation of a university campus.

Premiere del ciclo de video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' en el Museo Tamayo, México DF


'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'
Auditorium Museo Tamayo, Mexico City

Programme 1. Tuesday 1 April 2008, 19:30 h
Programme 2. Wednesday 2 April 2008, 19:30 h
(Repetition: 5 & 6 April 2008, 13:00 h)

Free entrance.

With films by Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Nancy Holt & Robert Smithson, Gordon Matta-Clark, Damián Ortega, Nikolaj Recke, Thiago Rocha Pitta, Hans Schabus, Gerry Schum (with films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Robert Smithson, Jordan Wolfson.

Download the full screening programme here.

  
Paseo Reforma y Gandhi
Bosque de Chapultepec
Ciudad de México
CP 11580 Mexico
tel. (+5255) 5286 6519/29
fax. (+5255) 5286 6539
[email protected]
www.museotamayo.org

Hans Schabus at the Barbican, London

Max Andrews of Latitudes gave a gallery talk in the context of the Hans Schabus's new commission 'Next Time I’m Here, I’ll Be There' last weekend at The Curve Gallery, Barbican, London. The exhibition runs until 1 June 2008.

Hans Schabus
Next Time I’m Here, I’ll be There, 2008
The Curve, Barbican Art Gallery
Courtesy of Barbican Art Gallery
Photo © Lyndon Douglas


'Greenwashing' en El Cultural (13 Marzo 2008)

Ibon Aranberri 'Light over Lemoniz (without shockwave)', 2000–4. 
Cortesía del artista e Isabella Bortolozzi, Berlin.

A continuación una selección del artículo 'Verde es el color del dinero' de Mariano Navarro que se publicó en el suplemento 'El Cultural' de 'El Mundo' el 13 Marzo 2008:

"Greenwashing se ocupa de un tema pujante, la situación del medioambiente en el mundo, y cómo su título indica lo hace desde una óptica tan amplia como determinada. Greenwashing es un neologismo que define la injustificable apropiación de las virtudes medioambientales por parte de la industria, los estamentos políticos o las organizaciones, con la finalidad de crear una imagen positiva de sus actividades o productos y una imagen mistificadora que distraiga la atención respecto a sus propias responsabilidades e impactos medioambientales negativos. Green significa verde, washing, lavar, y podría traducirse por “lavar con verde” o, más irónicamente, por “el verde lava más blanco.”

El comisariado ha sido un trabajo colectivo entre Ilaria Bonacossa, jefa de exposiciones de la Fondazione, y el estudio Latitudes, formado por Max Andrews y Mariana Cánepa Luna, colaboradores del programa Arts & Ecology, autores del libro Land, Art: A Cultural Ecology Handbook, organizadores en la Bienal de Sharjah de un simposio sobre el tema y editores de un número de la revista UOVO, de Turín, con el tema Ecología, Lujo & Degradación. Cito esta parte de su curriculum porque sin el conocimiento previo del temario tratado, difícilmente podrían haber llevado a cabo una lectura que, sin ilustrar tesis preconcebida alguna, resulte tan rica, tan alertadora e instructiva, en el mejor sentido del término. Tampoco para la Fondazione, que ha dedicado esfuerzos en esos aspectos desde 2001." 



'Post-it City: Occasional Cities' at CCCB, Barcelona

Curated by Martí Peran and featuring over 70 case-studies/projects, including by artists Banu Cennetoglu (featured in the Walker Art Center's Brave New Worlds–which opens in Mexico City at the end of April), Can Altay, and René Francisco, "Post-it City looks at different overlapping uses of urban territory, focusing on the viewpoints offered by architecture, town planning and the visual arts. [The initiative] seeks to explore the phenomenon ... of the ephemeral cities that infect the everyday city with uncoded, temporary, anonymous uses ..."

Continues at the CCCB, Barcelona, until 25 May 2008.

Film programme ‘A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field 1968–2008'

Gerry Schum, 'Land Art TV' (1969). Courtesy Groninger Museum, Groningen.

Latitudes was invited to curate the Spring 2008 Panorámica cycle for the Museo Tamayo Arte Contemporáneo, Mexico City. The cycle is titled 'A Stake in the Mud, a Hole in the Reel. Land Art's Expanded Field 1968–2008' and will be screened in two parts on 1st and 2nd April at 19.30h (and repeated on 5–6 April at 13h.)

Borrowing its title from the writings of Robert Smithson, the programme revisits a selection of moving-image works that form part of the historical memory of Land Art, through and alongside more recent productions by contemporary artists. Indeed a concern with remoteness, together with the powerful allure of specific sites, weaves throughout the films’ itinerary, which includes the sewers of New York and Vienna (Gordon Matta-Clark, Hans Schabus), the deserts of California (Mario Garcia Torres), the mountains of the Basque country (Ibon Aranberri), and the beaches of Taveuni (Nikolaj Recke).
Dowload the screening programme here (Spanish, pdf, 624 KB)

Part 1:Gerry Schum's LAND ART (1969) which includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria), Nancy Holt & Robert Smithson, Robert Smithson and Gordon Matta-Clark.
Part 2:
Maria Thereza Alves, Francis Alÿs, Ibon Aranberri, Donna Conlon, Cyprien Gaillard, Mario García Torres, Damián Ortega, Hans Schabus, Nikolaj Recke, Thiago Rocha Pitta and Jordan Wolfson.

The programme will also be presented in Museo de Arte Contemporánea de Vigo, Vigo (8-9 and 15-16 May); Stadtkino/Kunsthalle Basel (27 May); Centro Andaluz Arte Contemporáneo, Sevilla (24-25 June) and Fundació Suñol, Barcelona (7–8 July).

The programme is available for screenings in auditoriums. If you are interested in hosting it, please write to info[at]lttds[dot]org to receive information on the available dates and terms and conditions.

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—2019