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

Final dates 'Stake in the Mud...' film programme screenings

The tour of the film and video programme "A Stake in the Mud, A Hole in the Reel. Land Art's Expanded Field, 1968-2008" [Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008] is coming to an end, the two final screenings will take place on the:

19 October 2008, 3.30pm, Spike Island, Bristol, UK (in the context of the exhibition 'Richard Long and Simon Starling', 4 October - 23 November 2008)
25 October 2008, 12-2.30pm, Centro de Arte Dos de Mayo, Móstoles, Madrid (in the context of the exhibition 'Gustos, colecciones y cintas de vídeo')

Both of these screenings will present a selection of the material that conformed the programme, as follows:

Still from Richard Long's 'Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile (Dartmoor England, January 1969)', 1969, in Gerry Schum's 'LAND ART', 1969. Courtesy Groninger Museum, Groningen. 

Part 1 (duration 32' in Bristol and 52' in Móstoles)

· Gerry Schum (1938 Bergisch Gladbach, Germany-1973 Düsseldorf, Germany): Land Art, 1969. 32'. Includes films by Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets and Walter de Maria.· Nancy Holt (1938 Worcester, US. Lives in New Mexico, US) & Robert Smithson: Mono Lake, 1968/2004. 19'54" NOTE: Only screened at the Centro Dos de Mayo

Francis Alÿs (in collaboration with Rafael Ortega and Cuauhtémoc Medina) 'When Faith Moves Mountains (Making of)', 2002. Courtesy of the artist and Galerie Peter Kilchmann, Zurich. 

Part 2 (duration 1h 15min)

· Francis Alÿs (1959 Amberes, Belgium. Lives in Mexico City, Mexico): Cuando la fe mueve montañas (Making of), 2002. 15'.
· Donna Conlon (1966 Atlanta, US. Lives in Ciudad de Panamá, Panamá): Country Road, 2002. 1'29".
· Hans Schabus (1970 Watschig, Austria. Lives in Viena, Austria): Western, 2002. 11'.
· Ibon Aranberri (1969 Itziar, Spain. Lives in Itziar, Spain): Zuloa (Ir.T. nº513), 2004. 8'.
· Mario García Torres (1975 Monclova, Mexico. Lives in La Jolla, US): Abandoned and Forgotten Land Works That Are Not Necessarily Meant To Be Seen As Art, 2004. 7'.
· Thiago Rocha Pitta (1980 Tiradentes, Brazil. Lives in Rio de Janeiro, Brazil): Zênite invertido, 2005. 11'54''.
· Maria Thereza Alves (1961 São Paulo, Brazil. Lives in Rome, Italy): The Sun, 2006. 5'03".
· Damián Ortega (1967 Mexico City, Mexico. Lives in Mexico City, Mexico and Berlin, Germany): Reticencia al trabajo, Segunda parte, 2006. 5'15".
· Nikolaj Recke (1969 Copenhague, Denmark. Lives in Copenhague, Denmark): Tomorrow is today, 2006. 3'.
· Jordan Wolfson (1980 New York, US. Lives in Nueva York and Berlin, Germany): Landscape for Fire, 2007. 7'.
· Cyprien Gaillard (1980, Paris, France. Lives in Paris, France): Real Remnants of Fictive Wars VI, 2008. 1'40''

Read all press material that has appeared to date here.
View a slideshow of some screenings here.
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Latitudes in residency at the Frankfurter Kunstverein

Latitudes is in residence this month of August at the Frankfurter Kunstverein, Frankfurt. During this time we are researching the local artistic context, developing some writing for magazines and catalogues as well as planning projects for this and next year such as Lawrence Weiner exhibition (opening 8 October), a series of artists' projects and commissions around the future extension of the Port of Rotterdam (from February 2009 onwards) and an exhibition around the notion of the future at the Arnolfini in Bristol (Summer 2009), amongst other things! – see future projects.

We are sharing the residency facilities with Oviedo-born artist Cova Macías and Athens-based curators and critics Xenia Kalpaktsoglou (co-director Athens Biennial and co-curator 1st Athens Biennial 2007) and Christopher Marinos (Athens-based art critic and curator).

The Frankfurter Kunstverein residencies are supported by the
Deutsche Börse Residecy Program.

More on www.fkv.de
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Lawrence Weiner en el CAC Málaga

El viernes 25 de Julio se inaugura en el Centro de Arte Contemporáneo de Málaga la exposición individual 'Forever and a Day' (Siempre y un día) del artista norteamericano Lawrence Weiner (Nueva York, 1942), que se podrá visitar hasta el 26 octubre. Para crear esta instalación Weiner ha tomado como punto de partida la ubicación geográfica y la historia de la ciudad de Málaga. El artista utiliza símbolos de la mezcla de culturas que se han dado en esta ciudad – la herencia que dejaron fenicios, griegos, romanos y los árabes – al tiempo que reflexiona sobre el sur y las fronteras.

Latitudes está actualmente trabajando con el artista en su próximo proyecto: 'THE CREST OF A WAVE' que se presentará en la Fundació Suñol, Barcelona, el 8 de Octubre y que se podrá visitar hasta el 15 de Noviembre. Más información aquí.

Centro de Arte Contemporáneo Málaga (CAC Málaga)
c/ Alemania s/n
29001, Málaga, España
T: + 34 952 12 00 55

: Update 06.09.08 :
Reseña 'Vecindad con la historia' de Juan Bosco Díaz en el suplemento Babelia de El País, aquí.


* Gracias a Beatriz Lafuente, Responsable de Comunicación, CAC Málaga. *
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Ferran Barenblit out, Vicenç Altaió in at the Centre d'Arte Santa Mònica (CASM), Barcelona

Last weekend was a turbulent one for the Barcelona art scene. On Friday 11th the Culture Councillor Joan Manuel Tresserras announced the appointment of a new director for the Centre d'Arte Santa Mònica (CASM): Vicenç Altaió, who modestly describes himself as a 'poet, writer, catalan translator, theatre critic, art critic, opinion generator and cultural agitator' and until then the director of KRTU ("Culture, Research, Technology, Universal"). The trouble was, however, that CASM already had a director: Ferran Barenblit, appointed during the summer in 2002. If you'll excuse the football link, the act was not unlike FC Barcelona's recent appointment of 'the next' head coach Guardiola when Frank Rijkaard was still at the club. Invitations to leave are never easy, political muggings of a cultural institution are even harder to bear. On this occassion the news of this affair has hit the press and blogs with general signs of bewilderment, disappointment and bitterness.

For those not entirely familiar with the Barcelona art landscape, CASM has followed the kunsthalle model with funding from the local government (Generalitat de Catalunya) and occasional sponsors. Under Barenblit's directorship, a series of adjunct local curators (Montse Badia, David G. Torres, Frederic Montornés) and international guest curators (Miguel Von Hafe Pérez, Jacob Fabricius) have produced exhibitions and projects by artists such as Christian Jankowski, Tomás Saraceno, Fernando Sánchez Castillo, Dora García, Maria Eichhorn, Joao Tabarra, Filipa César, Nedko Solakov, Runa Islam, Maria Nordman, Cabelo, Juan López, Peter Liversidge, Carles Congost, Antoni Abad, Francesc Ruiz, Joan Morey, Mike Nelson, Joachim Koester, Toni Matelli, Jill Magid, Ceal Floyer and Jiri Kovanda (see our blog from 20.11.07) amongst many other group shows (Think, Hamsterwheel...). Currently, CASM is one of the institutions invited to participate in 'Lucky Number Seven' Site Santa Fe with a compelling project by Martí Anson.

Manolo Borja-Villel, the recently appointed director of the Museo Nacional Centro de Arte Reina Sofia in Madrid (see our post 23 December) has declared in El País that, "the fact that the government imposes a project ... at best, as an instrument of propaganda, indicates a regression to dark times" (this and other quotations translated from the Spanish / Catalan). According to El Pais (12 July) during the presentation of the new director, Culture Councillor Tresserras insisted "there are no victims left along the way" and that the centre and the general budget (750,000 Euros/annum) will still exist, but in a new location (still to be discussed with the townhall). He added "Barenblit's programme was interesting, but the centre didn't have the social performance required". Barenblit was not invited to the presentation, and, the promise of the new location not being confirmed, he handed in his resignation. Later Barenblit declared "it is the best moment [to resign], after receiving the compromise that the new centre is under discussions. I'm coinvinced that my departure is the best guarantee that this process takes place; I always said that directors should have an expiry date ... CASM collaborated with many artists and local entities and promoted Catalan art abroad".

There had been rumours for several months (see El Periodico, 18.02,08 or even earlier this month the possible relocation of CASM was discussed with the president of the Visual Artists Association (AAVC), see El País 05.07.08) claiming that CASM was going to be taken over by the Generalitat and would be converted into a center for Catalan culture, speculation that has prompted numerous strongly-worded responses by various art associations (visual artists association, association of museum directors, art gallery associations...). With this shadow looming over CASM, the programme in recent months has sufferred an inevitable slide.

The new CASM director Vicenç Altaió will take his position in January 2009 and turn CASM into what is described in the vaguest of terms as "a multidisciplinary center for art, science, thought and communication". The questions are, what place 'the new CASM' can take on the Barcelona art landscape? Does the city need another venue for diluted cultural programming? What happened to the 'código de buenas prácticas' (code of good practice) that was decided last year by the Ministry of Culture, whereby "made" appointments were to be replaced by an open-application advisory-panel system based on merit? Where else will ambitious new work be produced in the city? In recent years Barcelona has suffered from the abrupt disappearance of art spaces including Sala Metrònom, the 'relocation' of Sala Montcada from the city centre – its now sited at Caixafòrum– and the failure of Espai 13 in Fundació Miró to produce relevant and informed projects. There is sadly little space for experimentation, fertile discussion or risk-taking.

What is most dismaying is the utter control the Barcelona politicians seem to have over publicly funded cultural programmes. There is, it seems, a lack of support and respect for the work of experienced and trained art professionals and as there is always an ominous cloud hanging over institutions or initiatives when a (4-yearly) change of administration takes effect, there is little continuity and plenty of suspicion. Working within such constant bureaucratic insecurity is never productive and it undermines confidence and creativity. Instead cultural programmes should have their own administrative cycles, their own secured funding, their own staff who are independent from state workers and protected from temporary or mileuristas contracts and their own governing board. It should go without saying that directors should be free to foment long-term creative relationships with the local scene as well as with national and international contexts.

Many questions remain unanswered: where will the proposed new Kunsthalle be? Why didn't CASM have an independent administrative and advisoary board to prevent such undemocratic moves and defend the exhibition programme? Who will now steer and programme such a space? And admist this political-cultural debacle, another factor has been unleashed: who will take control over the first Catalan Pavilion at the 2009 Venice Biennial in the Magazzini del Sale? Incidentally, the proposals (open submission until 2 September) for the pavilion will be assessed by a jury of six artists and curators and the decision will be made public on 1 October.

UPDATE 30.07.08:
Ferran Barenblit appointed director of the recently opened Centro Dos de Mayo, Móstoles (Madrid). His proposal was selected amongst 26 candidates by a committee of experts (Rafael Doctor, director of MUSAC, León; Lourdes Fernández, director of ARCO; José Guirao, director of La Casa Encendida, Madrid; Isabel Rosell, general director of Archives, Museums & Libraries of the Comunidad de Madrid and Carlos Urroz, advisor of Fine Arts to the Consejería de Cultura y Turismo de la Comunidad de Madrid). He will take up his new job in September. More here and here (all links in Spanish).

To read responses from different parties around Barcelona's cultural politics, read posts on http://cassantamonica.wordpress.com and on http://www.culturadebase.net (in Spanish and Catalan)

[Photos: Kris Martin, 'The End' (2005) (included in the SantaMòniCA 2007 summer show 'PENSA/PIENSA/THINK' curated by Montse Badia, Ferran Barenblit, Jacob Fabricius and Frederic Montornés) and below Ferran Barenblit (left) with Christian Jankowski talking to Joan Manuel Tresserras (right) in May 2007 during the launch of Jankowski's Living Sculptures]
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New and bigger photo galleries in Latitudes website

For those who visit our website (www.lttds.org) regularly, you would like to know that we have enhanced the photo galleries with a larger slideshow format: at the top a caption explaining what you see and at the bottom the usual back and forth arrow to navigate, as well as a thumbnail panel.

An example of this is this one: http://www.lttds.org/projects/current/stake/stakegallery/stakegallery.html, where we just uploaded photos from the recent film & video screenings at the Fundació Suñol, Barcelona and at the Wilheminapolder in Holland, when 130 people attended the screenings in this beautiful 18th Century barn.

We have also updated other gallery sections like that of Greenwashing, where you'll be able to see the exhibition catalogue designed by The Bookmakers Ed., Turin (slideshow of the works in the exhibition on the Greenwashing web). And of course, we keep feeding our various archives, such as this or this or this or this!
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Alexandra Navratil at Angels Barcelona & Frieze.com

Latitudes' Max Andrews reviews Alexandra Navratil's (17.06.08 > 20.09.08) show at Àngels Barcelona for Frieze.com

"Navratil’s curious exhibition ... prompts a filmic response throughout – each element, including drawings and two videos, might be read as parts of the same arcane, deconstructed movie production. Yet ..."
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Ciclo film y video en el Nivell Zero, Fundació Suñol, 7-8 Julio 2008, 19.30h

Invitación a las proyecciones en la Fundació Suñol, Barcelona.

Después de las presentaciones en México, Vigo, Basilea y Sevilla continuamos con la itinerancia del ciclo de film y video 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008'. La próxima proyección será en el Nivell Zero de la Fundació Suñol, Barcelona, el 7 y 8 Julio a las 19.30h.

El ciclo se divide en dos partes: la primera proyección (7 Julio, 1h 38m duración) muestra obras clásicas del Land Art realizadas en los sesenta y setenta (algunas son post-producciones del 2004 y 2005) y la segunda parte (8 Julio, 1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años. Para más información sobre los films que se proyectan, véase programa (castellano) o la invitación (catalán).

Aforo limitado | 2 € por sesión | Reserva previa: 93 496 10 32

Nivell Zero de la Fundació Suñol
c/ Rosselló 240
08008 – Barcelona
T 93 496 10 32

Programas anteriores y prensa, aquí.

El viernes 11 de Julio, a las 11.30am presentaremos el programa en una granja en la Wilheminapolder (véanse fotos), Holanda, como parte de una serie de encargos artísticos que está llevando a cabo SKOR (la Fundación de arte y espacio público de Amsterdam) en la zona. Para más información (en inglés).

SKOR organiza un autobús desde Amsterdam hacia la Wilheminapolder. El bus saldrá a las 9am desde sus oficinas en Ruysdaelkade 2. Coste transporte: € 10.00 (evento y comida = € 17.50). Para registrarse escribir a info@cbkzeeland.nl o llamar al: +31 0118-611443.

Durante el trayecto se podrá escuchar la banda sonora realizada especialmente para la ocasión por Rutger Zuydervedt, conocido como Machinefabriek.

Franero Hongersdijk en la Wilheminapolder, Holanda.
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Henrik Håkansson, 'The Jungle Novels', Museo Rufino Tamayo, Mexico City


Opening today, Håkansson's exhibition at the Museo Tamayo (until 20 September) is the outcome of recordings carried out at the Montes Azules, El Triunfo, and Monarch Butterfly Biosphere Reserves, and photographs and videos obtained over four weeks by twelve remote cameras placed by the artist in different spots throughout the southern Lacandon Rainforest, Mexico.

Curated by Tatiana Cuevas for the Tamayo, the catalogue features an extended essay by Latitudes' Max Andrews. See photos of the catalogue here.

Read about the show on ARTFORUM critics' picks.
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Proyección 'Una Estaca en el lodo...' CAAC, Sevilla, 24–25 Junio, 20h

Los días 24 y 25 de Junio, a las 20h, se proyectará el ciclo 'Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008' que Latitudes ha comisariado en el Centro Andaluz de Arte Contemporáneo (CAAC, Sevilla). El programa revisa una selección de imágenes en movimiento que forman parte de la memoria histórica de Land Art (Parte 1, 1h38m), acompañadas de producciones de artistas contemporáneos (Parte 2, 1h15m).

Próximas proyecciones: 7–8 Julio, Fundació Suñol, Barcelona; y 11 Julio, antiguo granero Hongersdijk Farmstead, Wilheminapolder, Holanda (auspiciada por SKOR Foundation Art and Public Space, Amsterdam).

Más información http://www.lttds.org/projects/current/stake/stake.html
Descargar los programas de mano (inglés y español)


Centro Andaluz de Arte Contemporáneo
Monasterio de la Cartuja de Sta. Mª de las Cuevas
Acceso: Avda. Américo Vespucio nº 2, Isla de la Cartuja y
Avda de los Descubrimientos s/n (por pasarela de Torneo)
Tel. +34 955 037 070

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Fallo Jurado Premios Casablancas 2008, 20 Junio, 20h

El viernes 20 de junio 2008 a partir de las 18h, en el antiguo recinto fabril de la Fabra i Coats, tendrá lugar el inicio oficial de la edición del Sant Andreu Contemporani Premi Miquel Casablancas 2008. Se fallarán los 2 ganadores/as y los finalistas de la modalidad de compra-obra y beca-proyecto de este año.

Los premios se complementarán con un programa que, a lo largo de 2008, contará con tres proyectos coordinados por los tres equipos que conforman el jurado de este año (Aimar Arriola, comisario e investigador; Mariana Cánepa Luna, comisaria y escritora (en representación de Latitudes); Alicia Yáñez, comisaria (en representación del colectivo BECUPU); Alex Brahim, comisario y productor cultural; Joan Morey, artista y Jordi Mitjà, artista).

Programa 20 Junio:

18:00 h. Algunas consideraciones sobre arte emergente
Mesa redonda con la participación de los miembros del jurado del Concurs d’Arts Visuals Premi Miquel Casablancas 2008
20:00 h. Entrega de Premios
21:00 h. Espacio de consulta sobre el Premi Miquel Casablancas y presentación del proyecto 'Caballo' de Jorge Satorre, propuesta ganadora de la convocatoria de proyecto 2006.
22:00 h. Concierto de Los gru, www.myspace.com/lordmanythings
23:00 h. Concierto de Internet 2, http://www.myspace.com/internet2
24:00 h. Fito vs. klsbeatsdj, http://www.myspace.com/fitoconesa

+ info: http://santandreucontemporani.wordpress.com

:: Update 25 Junio 2008 ::

Los ganadores del Concurs d’Arts Visuals Premi Miquel Casablancas 2008 son:

Modalidad obra: 'Unir los puntos' de Mariona Moncunill (finalistas: Fito Conesa, Fermín Jiménez Landa, Mireia C. Saladrigues, Oriol Vilanova)

Modalidad proyecto: 'Taller Poble Sec' de Marc Navarro & Pol Esteve (finalistas: Verónica Aguilera, Sergi Botella, Daniel Jacoby, Enrique Lista)
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