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

LAST CHANCE: 'Provenances', Umberto di Marino, Naples & 'Sequelism Part 3: Possible, Probable or Preferable Futures', Arnolfini, Bristol, UK

Jordi Mitjà 'Floating Lines' (2009). Photo: Danilo Donzelli.

Installation view of Erick Beltrán's works: 'Euridice' (ink on gold leaf on oak leaves, text on paper); 'Creusa' (ash from Vesuvius, text on paper); 'Sybil of Cumea' (inscribed tufo stone, text on paper); 'Ildeth' (carved salt from Spiral Jetty, text on paper). All works from 2009. Photo: Danilo Donzelli.

Simon Fujiwara, 'The Museum of Incest', 2008-ongoing, hexagonal table, chairs, projection screen, wood veneer panelling, vinyl mural, map, framed portraits, six framed book pages (“The Incest Museum Cast of Actors”), slide projection loop, Museum orientation video (25 min.), Museum guidebooks, various objects and artefacts. Photo: Danilo Donzelli.

Erick Beltrán, Jordi Mitjà and Simon Fujiwara
Umberto di Marino Arte Contemporanea, Naples, Italy

until 14 September 2009


'Provenances' reflects on the heritage industry and the museumification of history, as well as the creation, transmission and fidelity of cultural worth. The artists share an aesthetic and pragmatic concern with the principle of the personal archive or the pre-museal wunderkammer – the categorization and veracity of objects, images and words is always provisional. + info...

Erick Beltrán presents four works each focussed around a relic-like artifact made of a particular natural substance. Each object is accompanied by a text-diagram, and together they elicit a dense proliferation of references, narratives, contexts and interconnections. In 'Floating Lines' (2009) Jordi Mitjà reflects on practices of information retrieval, falsification and accumulation. In his seemingly-sparse installation, clusters of photocollages are hidden from immediate view by a string curtain which protects them from light while necessitating the visitor’s gesture in order to reveal them. Simon Fujiwara's 'The Museum of Incest' (2009) is a multipart project which unearths an implicit myth of human origins and an explicit sexual archeology. Fujiwara realised the performance-lecture 'The Museum of Incest. A Guided Tour' during the opening night. 

A guide of the museum has been published by Archive Books (Softcover / 21 x 15cm / 52pp / ISBN 978-88-95702-09-4).

Press links here.

Via Alabardieri 1, Piazza dei Martiri 
80121 Napoli, ITALIA
Opening hours: Mon-Sat 15–20h

'Provenances' has been kindly supported by the Institut Ramon Llull.

Haegue Yang, 'Holiday for Tomorrow', 2007. Painted wooden screens with metal feet (Yes-I-Know-Screen); PVC, shells (Shell Sculpture); 10 coloured Venetian blinds, steel cable (Blind Department); wooden platform with monitor showing 13 min DVD (Holiday Story). Courtesy of the artist and Barbara Wien, Berlin. Photo: Carl Newland.

Francesc Ruiz, 'Untitled' (Bristol) (2009). Self-adhesive digital prints. Courtesy of the artist, Maribel López Gallery, Berlin and Galeria Estrany-De la Mota, Barcelona. Photo: Carl Newland.

Victor Man, Untitled (we die,) (2008) Neon, vinyl. Courtesy of the artist and Johnen Galerie, Berlin; Untitled (Towards an Absent Friend) (2008) Funerary ceramic with rubber mat. Courtesy the artist and Zero..., Milan; Untitled (2009) Steel and taxidermy fox head. Courtesy of the artist and Zero..., Milan. Photo: Latitudes 
'Sequelism Part 3: Possible, Probable or Preferable Futures'
Arnolfini, Bristol, United Kingdom
until 20 September 2009
Free admission



Artists: Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj), Francesc Ruiz (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1977, Malaysia. Lives in Berlin/Singapore), (1971 Seoul. Lives in Berlin/Seoul)

Curated by: Nav Haq (Curator, Arnolfini) and Latitudes

'Sequelism...' is an exhibition reflecting on the future and that which is yet to happen. It looks at the political, social and ecological implications of the inexact arena of futurology: the science and interdisciplinary practice of postulating possible, probable, and preferable futures from the present. This is the first in a trilogy of Sequelism exhibitions, with Part 2 in 2010. + info...

More on the public programme related to the exhibition on http://futurologyprogramme.org

Arnolfini 16 Narrow Quay
Bristol BS1 4QA

Opens: 10am-6pm Tues-Sun & Bank Holiday Mondays. Closed Mondays. Free entrance
'Sequelism' is generously supported by the Institut Ramon Llull and the Sociedad Estatal para la Acción Cultural en el Exterior (SEACEX), IFA, the National Arts Council Singapore and The Ratiu Family.
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Manifesta 8, 2010 - Curatorial Appointments

As announced during ARCO last February (see press release at the bottom of our 27 November 2008 post) "Manifesta 8 will explore the idea of Europe in the 21st century at the edges of the continent. More specifically, the aim of Manifesta 8 will be to engage with Europe’s present-day boundaries with Northern Africa and its interrelations with the Maghreb region."

Following Manifesta's invitation to "existing curatorial groups, artistic and interdisciplinary collectives and/or existing institutions to be part of the Curatorial Team of Manifesta 8" they have announced the appointment of the Alexandria Contemporary Arts Forum, Chamber of Public Secrets and Tranzit.org as the curatorial collectives in charge of Manifesta 8, which will open 1 October 2010 during 100 days in Murcia and Cartagena, in the south-east of Spain.

Following are their CV's taken from e-flux, 4 September 2009. Hopefully this and further information will soon be uploaded on the (ancient) Manifesta website:

Curator/Team Executive: Bassam El Baroni
Associate Curator: Jeremy Beaudry

Alexandria Contemporary Arts Forum (ACAF), founded in Alexandria (Egypt) in December 2005, focuses on contemporary art, new media and discursive practice, cultivating a deeper awareness of art in relation to all aspects of contemporary life and culture. Central to its mission is an ongoing engagement with projects that bring together established and emerging artists, university students, and diverse practitioners, in contexts that recognize the value of an informal, non-hierarchical, open-ended circulation of information and experience. The ACAF is in a constant state of flux and incorporates innovative activities, guided by its socio-cultural compass.

Curators/Team Executives: Khaled Ramadan / Alfredo Cramerotti

Chamber of Public Secrets (CPS), based in Copenhagen (Denmark) and the Middle East, works as a network of artists, curators and thinkers who have been collaborating since 2004 in the organization, production and circulation of film and video festivals, art exhibitions, TV and radio programs, political fictions and documentaries. CPS also develops forums for debate and publishes books and articles about socio-political and cultural issues such as migration, mobility, representation, colonialism, gender and difference. CPS wishes to stimulate the role of debate, while reconstructing the role of art, its responsibility and its relation to society.

Team executive: Vít Havránek
Team assembly: Zbyněk Baladrán, Dóra Hegyi, Boris Ondreička, Georg Schöllhammer

tranzit.org is a network of autonomous art associations, existing since 2002 in Austria, Czech Republic, Hungary, Slovakia, who cooperate working across borders - between nations, languages and histories. Each tranzit group operates independently from each other, using different formats and methods - such as discursive platforms, exhibitions, publications and research initiatives - but always aiming to generate a deep involvement in the local artistic and intellectual context. At the same time each tranzit group carries out a re-assessment of contemporary history, challenging the canons, geography and master-narratives of post-war European (art) histories. The aim of tranzit is to act trans-locally, in constant dialogue with cultural narratives on a local and global scale.

+ info:
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Fucking Good Art 'base camp' in Maasvlakte, Rotterdam, until 21 September

Portscapes_Fucking Good Art 'base camp' in Maasvlakte, Rotterdam
Images of the 'base camp' and surroundings where the editors of Rotterdam-based printed and online art magazine Fucking Good Art will be until 21 September. All images courtesy FGA.

Initiated and edited by artists Rob Hamelijnck and Nienke Terpsma in 2003, Fucking Good Art is a Rotterdam-based printed and online art magazine which publishes reports, interviews, critical writing and observations with a non-academic, freestyle and do-it-yourself attitude. The editors of FGA explores creative communities by residing in particular local contexts for extended periods, and specific magazine issues have grown out of residencies in cities including Munich, Berlin, Copenhagen, Riga, Zurich and São Paulo.

Adapting their embedded approach for Portscapes, the editors of FGA are living and working in a ‘base camp’ on the Maasvlakte for 5 weeks, starting 20 August while producing Portscapes_ON AIR. Comprising a series of audio walks, field recordings and conversations with guests from different disciplines Portscapes_ON AIR will be broadcast on the internet (www.portscapes.nl).

Inspired by their camp’s proximity to the pipeline which carries sand from the Yangtzehaven to the future Maasvlakte 2, the editors of FGA approach their endeavour both as inhabitants of an industrial and man-made territory and in relation to the redistribution and displacement of knowledge. Alongside other grand movements of transportation and trade taking place in the port, FGA’s broadcasts take shape through encounters with others and consider the role that art and artists have in other registers of exchange. Starting from the principal that in order to really understand a place one needs to really inhabit it, and the question of how to represent a place like as Maasvlakte 2 which does not yet fully exist, the editors of FGA also aim to stimulate discussion about the representation of Dutch landscape. They hope that their project could be pilot for a further research residencies.

Participants contributing to Fucking Good Art's research on Maasvlakte and webradio:

Frank Bruggeman: Designer, artist and one of the editors of 'Club Donny', a strictly unedited journal on the personal experience of nature in the urban enviroment.

Hans Aarsman: Former photo journalist, and currently columnist for the Dutch newspaper "De Volkskrant" and playwriter. In 1988 he travelled for one year in Holland in his camper van - a Citroën HY - to produced the book 'Hollandse Taferelen'. He has published several publications: the photo book 'Aarsmans Amsterdam' (1993), his first novel 'Twee hoofden, een kussen' (1995) and in 2003 the autobiographical book 'Vrrooom! Vrrooomm!'. Some of his photos are free for download at the Nederlands Fotomuseum.

Remko Andeweg: Botanical analyst, City biologist of Rotterdam and author of the book 'Vreemde Planten in Rotterdam' [Exotic plants in Rotterdam, 2002], about the migration of plants that are considered foreign and endanger domestic vegetation.

Lino Hellings: Errorist! Recently founded the press agency P.A.P.A, an international network of artists and correspondents that creates news by taking action. Co-author of the publication "An Architecture of Interaction", and one of the founders of Dogtroep (1975), a self-styled form of visual theatre.

Gijsbert Korevaar: Industrial Ecologist.

Aurélie Barbier: A French urban planner specialised in emerging cities. Currently working for Urbaplan, an urban planning firm based in Switzerland. She has worked on various projects in Southern Europe and sub-Saharan African countries (Cameroon, Niger, Ghana). Over the past five years, she has focused on the definition of master plan, regulatory plan and slum upgrading projects through a comprehensive approach that includes both social and technical dimensions of urban development.

Martin Blum: Swiss artist and farmer. Works together with Haimo Ganz under the name GANZBLUM. In their art projects they focus on (life)cycles. Martin recently started public art projects on his farm "Frohe Aussicht" outside Zurich.

Marjolijn de Kok: Theoretical archeologist specialised on settlements and the wetlands of Holland. Also co-publisher of LIMA.

John Lonsdale: Architect. In the last years he has begun mapping the ‘Mudscapes of the Netherlands’ whereby he strives for the reconciliation of architecture with landscape.

Achilleka Komguem: Artist from Duala. Editor of journal 'Diartgonale' and worked on a radio show in Bessengue. He is in visiting Holland for 'Talking about!' a project by curators Zoë Gray and Lucia Babina that brings six artists and cultural producers from Cameroon to the Netherlands. FGA are hosting Achilleka during his visit.

CLUI: The Centre for Land Use Interpretation is a research organisation based in Culver City, Los Angeles, involved in exploring, examining, and understanding land and landscape issues. The Center employs a variety of methods to pursue its mission - engaging in research, classification, extrapolation, and exhibition. http://www.clui.org

Thank you to PUMA for providing the accommodation and Delta for the electricity.

Portscapes is commissioned by the Port of Rotterdam Authority with advice from SKOR (Foundation for Art and Public Space, Amterdam) and is curated by Latitudes. Read more on completed projects and projects in production.