Longitudes

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

The Bruce High Quality Foundation y Latitudes en MOUSSE magazine (#20 Septiembre 2009)


En el número 20 de la revista italiana MOUSSE la crítica y comisaria Cecilia Alemani entrevista al grupo de artistas neoyorkinos The Bruce High Quality Foundation, quienes hacen referencia a dos proyectos en los que Latitudes colaboró con el grupo: la oficina temporal que crearon para nuestra participación el festival 'NO SOUL FOR SALE' que tuvo lugar el pasado Junio en X Initiative en Nueva York y la obra exposición colectiva 'Greenwashing. Environment: Perils, Promises and Perplexities' en la Fondazione Sandretto Re Rebaudengo en Febrero–Mayo 2008.

Fotos de nuestra oficina durante el festival 'NO SOUL FOR SALE' aquí.
Fotos de la exposición colectiva 'Greenwashing...' aquí.
Stacks Image 39


Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani de Castelló

Lawrence Weiner, 'Under the Sun', Espai d'Art Contemporani Castelló
All photos: Latitudes | www.lttds.org

A year after 'THE CREST OF A WAVE' exhibition at Fundació Suñol in Barcelona, Lawrence Weiner has just opened a new exhibition in Spain, this time at the Espai d'Art Contemporani de Castelló. 'Under the Sun' includes an exhibition in EACC (on view until 28 March 2010) as well as a public piece in a city centre park which will open in a second phase, in early February 2010. Below Weiner's text from the exhibition invitation:

THE MARKING OF A SPACE WITHIN A PUBLIC PARK THAT IS DEPENDENT UPON MEANING NOT MEANS
THE PLACING OF A CLUSTER OF STRUCTURES THAT AFFORD A PLACE DEMARKED AT THAT MOMENT
BY THE RESULT OF A FLICK OF A WRIST
A FORM THAT CAN FLY A KITE OR KILL A BULL WITH GRACE
THAT SETS ASIDE A PLACE FOR THE MOMENT THAT IS YOURS
BEING ONLY ONE METER HIGH THEY AFFORD NOT PROTECTION BUT A DEMARCATION OF SOVEREIGN
TERRITORY WHEN OCCUPIED
TWISTED & TURNED UNDER THE SUN

Update February 2010:


Completing the first part of his 'Under the Sun' exhibition for Castelló, the artist recently inaugurated a permanent public work at 'El Pinar', Castellón. As written in the press release the project brings to mind 'the bullfighting but also the lightness and the elegance of a wave that takes shape in the space as its own territory.' 
More images here.


Images courtesy of EACC. Photos: Ángel Sánchez.
Stacks Image 39


Reduce Art Flights leafleting campaign by Gustav Metzger at the Serpentine Gallery, London

Photo: Latitudes, Barcelona.

The Reduce Art Flights (28.02.2008, Turin) leafleting campaign has been included in the exhibition 'Gustav Metzger, Decades 1959–2009' at the Serpentine Gallery in London (on view until 8 November 2009). 

The leaflet was produced in the occasion of the Latitudes-curated exhibition 'Greenwashing. Environment: Perils, Promises and Perplexities' that took place between February and May 2008 at the Fondazione Sandretto Re Rebaudengo in Turin, Italy. 

For the occasion, the invitation mailing was accompanied by the pamphlet encouraging visitors to arrange alternative travel to the exhibition.

For further info check http://www.reduceartflights.lttds.org

Stacks Image 39


Latitudes in Kult Magazine (#10, October 2009)

Milan-based Kult Magazine has published an article on art and ecology in their October issue written by art critic and curator Daniele Perra. In the section, Perra interviews curator Francesco Manacorda (curator of the exhibition 'Radical Nature: Art and Architecture for a Changing Planet 1969-2009' on view at the Barbican Art Gallery, London, until 18 October), as well as English artist Simon Starling and selects a few ongoing exhibitions and events that analyse the relationship between art and nature.

In page 88 (see detail above) Perra mentioned Latitudes' ecology-related projects such as the 'Greenwashing. Environment: Perils, Promises and Perplexities...' exhibition at the Fondazione Sandretto in Turin in 2008, the guest-edition of UOVO #14 in 2007 and the publication 'Land, Art: A Cultural Ecology Handbook' in 2006, to introduce our participation in the forthcoming The Wånas Foundation seminar on Art and Ecology taking place on the 21 October in Knislinge, Sweden and in the symposium organised by Hinterland Projects on 26th November titled 'The evolving relationships between artists, the changing climate and new responsibilities'.

[Above: Detail of page 88 of the magazine. With thanks to Daniele Perra]
Stacks Image 39


Newsletter #16, October 2009


We have just circulated the October 2009 Newsletter #16, you may read the English version or the versión española.

Update on the Portscapes commission series: exhibition of Paulien Oltheten at Futureland and vicinity (until 30 October) and billboard-prologue to Jorge Satorre's project (see images on the 02.10.09 post) + info...

On the 21 October Latitudes will be participating in the International seminar on Art and Ecology, organised by The Wanås Foundation, Knislinge, Sweden. 


If you would like to subscribe to our mailing list fill your data on this contact form, choose a language and confirm your subscription by clicking a link on the confirmation email we will send you. If you would like to read previous newsletters, click here.


Check also our Latitudes' at www.lttds.org/blog for further news.
Facebook fan page here
Flickr photosets here
Stacks Image 39


Portscapes news: Jorge Satorre's billboard on the A15 and Paulien Oltheten small exhibition at the visitor centre Futureland and surroundings


Placed along the A15 highway on the Maasvlakte, Jorge Satorre's billboard is the third installed as part of 'Portscapes' – joining those by Hans Schabus and Paulien Oltheten.

During the summer of 2009, Jorge Satorre was searching for, and eventually located, a large boulder – specifically one of the giant rocks carried by glaciers into The Netherlands from Scandinavia during the last Ice Age. Following the artist’s fascination with the environmental compensation projects being instigated alongside the construction of Maasvlakte 2, his project seeks to identify this rock’s precise place of origin and then return it to where it came from – an act of synthetic restitution and transnational sculptural offsetting. Satorre’s reverse geological gesture furthermore mirrors the monumental construction of the Maasvlakte 2 as a sculpting of land-form which, like the action of ice but in a far shorter time, is fundamentally altering the morphology of The Netherlands. The action is also reflected in the fact that much of the existing and future sea defense in the port area will be made from rock brought from Scandinavia. The artist’s accompanying pencil drawings offer an account of the process which incorporate both actual and imagined details, like a storyboard. A single drawing which depicts an imagined protest at the beginning of the boulder’s journey is realised as a billboard near the Futureland visitor’s centre.


A second part of his research will be presented at the Portscapes exhibition at the Museum Boijmans van Beuningen from 5 February 2010.

Paulien Oltheten's videos and photographs can also be seen until mid-November 2009 in and around Futureland, the Maasvlakte visitors’ centre [MAP HERE]. From there, visitors can set off with a route description to the locations on the Maasvlakte where other work can be seen.

Locations and some images of Oltheten's mini-billboards:


The public domain and human behaviour is the starting point for the work of Paulien Oltheten (1982), though she has described her approach as closer to that of an anthropologist rather than artist. With her still and video cameras, she generally searches with apparent casualness for moments when there is contact between people, objects and public space. On the Maasvlakte, Oltheten was faced with the fact that the familiar frame of reference of natural elements, such as trees, bushes and people, was almost completely lacking. Oltheten decided to make use of this alienation by arranging meetings with people. This resulted in a series of photographs and two short video pieces. These stagings mostly take place in locations on the Maasvlakte that will disappear or be displaced during the coming years. The photographs and videos are sometimes variations on the theme of ‘one becomes two’, referring to the Maasvlakte, of which there will later be two.

Futureland is on Europaweg 909, 3199 LC Maasvlakte, Rotterdam (Havennummer 8213). It is across the road from the E.ON power plant. Open Tuesday-Friday 10am-5pm and on Sunday 11am-5pm. Entry is free. Map here.


Portscapes is a series of public art commissions initiated by the Port of Rotterdam Authority with advice and support from SKOR (Foundation for Art and Public Space, Amterdam) and curated by Latitudes. www.portscapes.nl

[Photos of Jorge Satorre's board by Ben Wind; Photos of Paulien Oltheten's by the artist and Ben Wind.]
Stacks Image 39


Sala Rekalde de Bilbao

Desde el blog de 'Sala Rekalde: arte contemporáneo y responsabilidad pública' siguiendo al comunicado enviado el 21 Abril, donde se expresaba la preocupación por el cese de la directora de la sala Rekalde.

Más información en
http://www.rekaldeadhesiones.com


29/09/09

[email protected] [email protected],


Nos tomamos la libertad de responder con este mail a tu apoyo al texto del 21 de abril de 2009 (www.rekaldeadhesiones.com) con el que exponíamos nuestra preocupación ante una serie de decisiones políticas con respecto a la Sala Rekalde de Bilbao. Lo hacemos ahora, en la confianza de contar con tu interés y porque es cuando algunas de las consecuencias de aquellas decisiones empiezan a hacerse efectivas.

La carta de apoyo convocó la adhesión de 647 personas relacionadas con la realidad del arte contemporáneo desde un gran número de países. Fue publicada en prensa y enviada a los representantes de los diferentes partidos políticos integrantes de la Comisión de Cultura de las Juntas Generales de Bizkaia, encargada de evaluar la situación.

Si bien las primeras reacciones por parte de la Diputada de Cultura de la Diputación Foral de Bizkaia, responsable de la sala Rekalde, parecían responder positivamente a través de pronunciamientos en la prensa a nuestra demanda de refrendar el programa realizado por la sala, es sólo ahora que se hace pública la conclusión real del problema:

El cese de la directora de su cargo ha supuesto su vuelta al puesto de comisaria que ocupaba antes de su designación y que es el puesto que han venido ocupando las sucesivas responsables de la programación de la sala. La situación administrativa creada supone en la práctica que Leire Vergara, responsable del programa desde 2006, y ajena al cese decretado en abril, ha sido despedida de su puesto. Es clara la incoherencia en la que incurre la Diputada de Cultura, Miren Josune Ariztondo, que ha mostrado a través de los medios y ante la Comisión de Cultura de las Juntas Generales de Bizkaia su respaldo al programa realizado, pero que cesa por supuesta razón administrativa a quien es responsable de ese programa.

En su momento, distintas agrupaciones de profesionales (entre otros, la Asociación de directores de Arte Contemporáneo de España, el Instituto de Arte Contemporáneo y el Consejo de Críticos de Artes visuales) exigieron a la Diputada de Cultura que aplicara las recomendaciones del Documento de Buenas Prácticas en museos y centros de arte firmado por distintas agrupaciones profesionales y el Ministerio de Cultura. La Diputada de Cultura no ha anunciado, hasta la fecha, concurso público alguno para cubrir la dirección artística de la sala Rekalde. Entendemos, de acuerdo con las citadas agrupaciones, que la sala Rekalde ha adquirido una posición entre las instituciones artísticas en la que no se puede permitir prescindir de un procedimiento estimado como básico por la totalidad de los agentes e instituciones del sector.

En nuestro anterior escrito, quisimos dejar fuera de toda duda el contrastado valor que ha tenido el programa de la sala Rekalde. Ahora que incluso quienes han causado esta situación han reconocido públicamente este valor, sólo nos queda pedir que se tomen decisiones en consecuencia y que se evite la irresponsabilidad de dilapidar el prestigio internacional que Rekalde ha conseguido en estos años. Quienes hemos valorado este hecho somos además conscientes de la dificultad y la fragilidad de tales logros, sólo posibles en situaciones de confianza mutua entre los agentes del arte y los gestores de la cultura. Tras tantas equivocadas decisiones, esta confianza no puede darse ya por hecha. Seguiremos atentos a las consecuencias de este proceso con gran preocupación y determinación.

Te haremos saber si surge alguna iniciativa pública de respuesta a esta situación e intentaremos mantenerte al corriente de la conclusión de este lamentable proceso.

Otra vez gracias y un saludo,

Peio Aguirre, José Ramón Amondarain, Ricardo Antón, Xabier Arakistain, Ibon Aranberri, Aimar Arriola, Txomin Badiola, Haizea Barcenilla, Daniel Castillejo, Guadalupe Echevarría, Miren Eraso, Santiago Eraso, Inazio Escudero, Oier Etxeberria, Jon Mikel Euba, Esther Ferrer, Charo Garaigorta, Iñaki Garmendia, Beatriz Herráez, Eduardo Hurtado, Fernando Illana, Iñaki Imaz, Pello Irazu, Miren Jaio, Iratxe Jaio/Klaas van Gorkum, Abigail Lazkoz, Maider López, Asier Mendizabal, Juan Luis Moraza, Ignacio Múgica, María Mur, Isabel de Naverán, Itziar Okariz, Lucía Onzain, Moisés Pérez de Albeniz, Sergio Prego, María Ptqk, Josu Rekalde, Natxo Rodríguez, Arturo f. Rodríguez, Xabier Sáenz de Gorbea, Xabier Salaberria, Azucena Vieites

–ENG-

Dear friend,

By means of this email we are taking the liberty of responding to your support for the text of April 21st 2009 (www.rekaldeadhesiones.com), in which we expressed our concern over a series of political decisions concerning the Sala Rekalde of Bilbao. We are doing so now as we trust in your interest in this question, and because some of the consequences of those decisions are beginning to come into effect.

The letter of support was signed by 647 people related to the reality of contemporary art from a great number of countries. It was published in the press and sent to the representatives of the different political parties who form part of the Cultural Commission of the Representative Assembly of Biscay, which was responsible for evaluating the situation.

While the first reactions, in statements to the press, by the Representative for Culture of the Provincial Council of Biscay, responsible for the Sala Rekalde, seemed to respond positively to our demand for endorsement of the programme developed by the Sala Rekalde, it is only now that the real conclusion of the question is being made public:

The dismissal of the Director from her post has meant her return to the curatorial position she held before her appointment, a position that has been occupied successively by the persons responsible for designing the Sala Rekalde’s programme. The administrative situation created has in practice meant that Leire Vergara, who has been responsible for the programme since 2006 and who has no connection with the dismissal decreed in April, has been dismissed from her position. What is clear is the inconsistency of Miren Josune Ariztondo, the Representative for Culture: after expressing, in the press and before the Cultural Commission of the Representative Assembly of Biscay, her support for the programme developed, she has dismissed the person responsible for that programme for a supposedly administrative reason.

At their time, different professional groups (amongst them the Association of Directors of Spanish Contemporary Art, the Institute of Contemporary Art and the Council of Visual Art Critics) demanded that the Representative for Culture should apply the recommendations of the Document of Good Practices in Museums and Art Centres, signed by different professional groups and the Ministry of Culture. To date, the Representative for Culture has not announced any open public competition to fill the position of artistic director of the Sala Rekalde. We understand, together with the abovementioned groups, that the Sala Rekalde has acquired a position amongst the artistic institutions in which it is not permissible to dispense with a procedure considered as basic by all the agents and institutions of the sector.

In our earlier communication, we wished to leave beyond all doubt the proven value of the programme of the Sala Rekalde. Now that even those who brought about this situation have publicly recognised this value, all we can do is ask that they take decisions accordingly and avoid the irresponsibility of squandering the international prestige that Rekalde has won in recent years. Such achievements are difficult and fragile, and are only possible in situations of mutual trust between the agents of art and the managers of culture. In the wake of so many erroneous decisions, this trust can no longer be taken for granted. We will continue to monitor the consequences of this process with great concern and determination.

We will let you know if any public initiative arises in response to this situation, and we will try to keep you informed about the conclusion of this lamentable process.

Thank you once again, and best wishes,
Stacks Image 39


Catalogue essays: Henrik Håkansson, Museo Rufino Tamayo; Haegue Yang, Artsonje Center / samuso

Two recent catalogue essays by Latitudes' Max Andrews:

Henrik Håkansson - Museo Tamayo catalogue

• ‘Untitled (You Are Good For Me Because You Destroy Me)’, Henrik Håkansson: Novelas de la selva / The Jungle Novels, Museo Rufino Tamayo, Mexico City, 2009 (Spanish and English)

Haegue Yang – Samuso publication

• ‘Towards Haegue Yang’s ‘Blind Rooms’’, Haegue Yang, Artsonje Center / samuso, Seoul, 2009 (Korean) & forthcoming in Symmetric Inequality: Haegue Yang, Sala Rekalde, Bilbao, 2009 (Spanish, Basque and English)

Stacks Image 39


Presentación de la web www.plataformacuratorial.es durante las segundas jornadas de 'Producir, Exponer, Interpretar...', Matadero Madrid

 
Presentada durante las segundas jornadas de 'PRODUCIR, EXPONER, INTERPRETAR. Estrategias y conflictos en la práctica curatorial', Matadero, Madrid, 25-27 Septiembre 2009) la web www.plataformacuratorial.es recoge resumenes de las presentaciones de la primera parte de estas jornadas que tuvo lugar en MUSAC (Mayo 2009), textos, links de interés, comentarios en formato twitter sobre las segundas jornadas, fotografías, etc. También existe una página en facebook.

Abajo imágenes de las jornadas.

[Fotos: Latitudes | www.lttds.org]
Stacks Image 39


Segunda parte de las jornadas 'PRODUCIR, EXPONER, INTERPRETAR. Estrategias y conflictos en la práctica curatorial', Matadero, Madrid, 25-27 Septiembre 2009

Pablo Helguera 'Artoons' published in ArtWold Salon's blog http://www.artworldsalon.com/blog

Entre 25, 26 y 27 de septiembre 2009 Latitudes participará en las segundas jornadas de 'PRODUCIR, EXPONER, INTERPRETAR (Estrategias y conflictos en la práctica curatorial)', cuya primera parte tuvo lugar en MUSAC, León, 22–24 de mayo. 

'PRODUCIR, EXPONER, INTERPRETAR' es un encuentro nacional de comisarios de arte contemporáneo, vinculados generacionalmente, cuyo objetivo es, por un lado incentivar la creación de redes sociales entre profesionales del sector; y por otro lado, poner de relieve una serie de cuestiones en torno a la práctica curatorial.

Participan: David Arlandis / Javier Marroquí (Comisarios independientes, Valencia); David Armengol (Comisario independiente, Barcelona); María Bella (Comisaria de Intermediae, Madrid); Álex Brahim (Comisario independiente, Barcelona); Amanda Cuesta (Comisaria independiente, Barcelona); Beatriz Herráez (Comisaria, Centro Cultural Montehermoso Kulturunea, Vitoria); Latitudes (Comisarios independientes, Barcelona); Iván López Munuera (Comisario independiente, Madrid); Manuela Moscoso (Comisaria independiente, Madrid); RMS La Asociación (Comisarios independientes, Madrid); Manuel Segade (Departamento de exposiciones, CGAC, Santiago de Compostela); Virginia Torrente (Doméstico, comisaria independiente, Madrid); Leire Vergara (Comisaria independiente, Bilbao).

Véase curriculum de los participantes aquí.

Dirigen: Tania Pardo (Comisaria MUSAC); Manuela Villa (Responsable de contenidos de Matadero Madrid y Coordinadora general de La noche en blanco).

Matadero Madrid
Paseo de la Chopera 14, 28045, Madrid
T: 915 177 309
[email protected]
www.mataderomadrid.com
Stacks Image 39



Cookies Advice: We use cookies. If you continue browsing, we consider that you accept their use. Aviso de Cookies: Utilizamos cookies. Si continua navegando, consideramos que acepta su uso.