Longitudes

Friday 21 January opening: 'Christina Hemauer & Roman Keller: United Alternative Energies', Aarhus Art Building, Århus, Denmark

The exhibition 'Christina Hemauer & Roman Keller: United Alternative Energies' will open on Friday 21 January from 5pm and remain on view until 3 April 2011.

Opening programme:

17.45h Performance 'Postpetrolism was heralded here on 21 January 2011' (2006–ongoing)
18.30h Performance 'Postpetrolistic Internationale'
(2009–ongoing)
Saturday 22 January, 11am: Panel discussion with
Hemauer | Keller and the other exhibiting artist Søren Dahlgaard.

The exhibition ‘Christina Hemauer and Roman Keller: United Alternative Energies’ is the most expansive presentation of the work of the Swiss duo to date, featuring ten works, four of which are new productions.

Hemauer | Keller investigate energy – as an allegorical concept, an invisible force, and a defining theme of geopolitics and modernity. One of the main focuses of their practice is the history of oil and the fate and future of its competing alternatives, notably solar power.

Hemauer | Keller make use of a range of strategies re-enactment and performance, as well as documentary video, sculpture and text. Their work often provides an opportunity to revitalize key historical moments. For example, the 66 minute documentary essay ‘A Road Not Taken’ (2010) examines former US President Jimmy Carter’s early and ultimately futile efforts to raise awareness about oil dependency, as symbolized by the installation, in 1979, of solar panels on the roof of the West Wing of the White House.

Also featured in this exhibition is No.1 Sun Engine (2008–9). In 1913, American inventor Frank Shuman inaugurated the first large-scale solar power generator near Cairo, Egypt. Although it was economically viable compared to coal power, the plant was only used for one year. In 2008 the artists reconstructed two segments of this pioneering facility and established an information kiosk where local residents and passers-by could discover and contribute to its story.

Globalising the Internationale (2006–ongoing) is a choral work which refers to the songs of socialism and the workers' movements – one of the most widespread social upheavals of the late 19th and early 20th Centuries. With this project, the artists aim to use the collective force of the human voice to herald a new age of alternative energy beyond fossil fuels. (+ info...)


ABOUT THE ARTISTS

Christina Hemauer (1973) and Roman Keller (1969) live and work in Zürich, Switzerland. Recent exhibitions and projects include: Globalising the Internationale, for Portscapes (2009) and Portscapes exhibition, at the Museum Boijmans van Beuningen, Rotterdam (2010); 11th Cairo International Biennale, El Cairo (2008–9), Nettoyage énergétique, Center Contemporary Art Fribourg (2007), A Manifestation, a Dedication and a Place to get the Word out, Swiss Art Awards, Basilea (2007); At this place, Postpetrolism was heralded on 27 April 2006, Kunsthof, Zurich (2006).

ABOUT THE EXHIBITION

The exhibition is one of the 5 proposals selected from over 600, received via Aarhus Art Building's open submission call, and launches the 2011 season 'IMAGINE – towards an eco-aesthetic'.

A 36-page full colour publication in English and Danish will be printed on the occasion of the exhibition. It includes an introductory essay by the curators on the artists' practice as well as short texts about each of the works included in the exhibition.

Christina Hemauer & Roman Keller: United Alternative Energies’ has been possible thanks to the generous support of The Danish Arts Council Committee for International Visual Art; Pro Helvetia and the Stanley Thomas Johnson Foundation.

PRESS IMAGES
Please contact Pernille Lyngsø, [email protected] or phone +45 86 20 60 53.
Press photos can be downloaded at www.aarhuskunstbygning.dk



The Aarhus Art Building

J.M. Mørks Gade 13

DK - 8000 Århus C

DINAMARCA | MAPA


'Amikejo: Pennacchio Argentato' inaugura el 29 Enero junto con otras 5 exposiciones en MUSAC, León

6 nuevas exposiciones en MUSAC a partir 29 Enero 2011. Cortesía: MUSAC

El
29 enero MUSAC inaugura 6 exposiciones: La misión y los misioneros de Georges Adéagbo (Comisario: Octavio Zaya en colaboración con Stephan Köhler); Desaparecidos de Gervasio Sánchez (Comisaria: Sandra Balsells); El molesto asunto de Akram Zaatari (Comisario: Juan Vicente Aliaga); Un modo de organización alrededor del vacío. Brumaria Works#3 Expanded Violences (Comisario: Agustín Pérez Rubio) y Un editor independiente y libre se posiciona del lado de los artistas cneai = Centre National de l’Edition et de l’Art Imprimé (Comisaria: María Inés Rodríguez), y 'Amikejo: Pennacchio Argentato' en el Laboratorio 987 (Comisariado: Latitudes) +info.

Invitaciones de las 6 exposiciones que inauguran en MUSAC el 29 Enero 2011.

El Laboratorio 987 de MUSAC inicia una nueva etapa en su programación. Cada año MUSAC invitará a un pequeño número de comisarios a presentar un proyecto anual para la sala de proyectos del museo, con la premisa de desarrollar una propuesta conceptual a través de cuatro exposiciones en el Laboratorio 987.

Reverso invitación de 'Amikejo: Pennacchio Argentato' (29 Enero–27 Marzo 2011)

Amikejo, la serie inaugural de esta nueva etapa, está comisariada por Latitudes. Amikejo está estructurada en cuatro exposiciones conceptualizadas entorno a los nexos relacionales y espaciales. Amikejo ('lugar de amistad' en Esperanto), se fundó sobre el anhelo de propiciar una comunicación internacional más efectiva mediante el lenguaje sintético del Esperanto. Este territorio 'neutral' en forma de cuña de 3,5 km2 situado entre los Países Bajos, Bélgica y Prusia (entorno a una importante mina de zinc) existió entre 1816 y 1920. Tras la Primera Guerra Mundial, Alemania renunció a sus pretensiones sobre el territorio en disputa y consecuentemente Amikejo-Moresnet desapareció del mapa, y fue absorbido por Bélgica, si bien las balizas fronterizas siguen visibles a día de hoy. Este episodio-lugar, y en última instancia fracaso, fue una síntesis única de cartografía, lengua, nación, política, economía y subjetividad brinda sus fronteras conceptuales y se ha designado como ubicación gemela al Laboratorio 987 durante esta temporada.

Para la primera exposición, 'Amikejo: Pennacchio Argentato' (29 Enero–27 Marzo 2011), el dúo napolitano Pennacchio Argentato presentará una instalación de nueva producción basada en las expectativas de teatralidad e interactividad en los espacios expositivos. Al transformar el espacio del Laboratorio 987 en interior semejando a un gimnasio absurdo y abstracto, el dúo entronca su propia actividad artística con el proyecto Amikejo, abordando las ideas de ocio, interactividad y sobreproducción, trabajo y el no-trabajo.

+info sobre la temporada aquí y aquí.

Programación y calendario de '
Amikejo':

·
Pennacchio Argentato (29 Enero–27 Marzo)
·
Iratxe Jaio & Klaas van Gorkum (9 Abril–12 Junio)
·
Uqbar Foundation (Mariana Castillo Deball & Irene Kopelman) (25 Junio–11 Septiembre)
·
Fermín Jiménez Landa & Lee Welch (24 Septiembre–15 Enero 2012)






Museo de Arte Contemporáneo de Castilla y León (MUSAC)
Avenida de los Reyes Leoneses, 24
24008 León, Spain
(T) +34 987 09 00 00
(F) +34 987 09 11 11
[email protected]
www.musac.es

'The Last Newspaper' catalogue editions

Ten newspapers + 4pp supplement form 'The Last Newspaper' catalogue. Photo: Joel Stillman

Produced for ten consecutive weeks from a micro-newsroom in the galleries of the New Museum, #1 The Last Post; #2 The Last Gazette; #3 The Last Register; #4 The Last Star-Ledger; #5 The Last Monitor; #6 The Last Observer; #7 The Last Evening Sun; #8 The Last Journal; #9 The Last Times; #10 The Last Express comprise the catalogue accompanying the exhibition "The Last Newspaper", curated by Richard Flood and Benjamin Godsill. Featuring over 100 contributors, and including essays and interviews with participating artists, this compilation also brings together articles and special features around an expanded selection of work that addresses the news, the newspaper, and its evolving form and function. There are two versions of the catalogue:

Regular edition of 'The Last Newspaper'. Photo: Joel Stillman

– A 'regular edition' in a poly bag with sticker containing the 10 newspapers + a 4 page black-and-white supplement with editorial, contents page and index ($15, $13.50 museum members).

Special edition: silkscreened archive box. Photo: Latitudes

– A special edition: silkscreened archive box containing the regular edition
($50).

Both can be purchased from the
New Museum Store.

Further specs:


Edited by: Latitudes
Published by:
Latitudes, Barcelona & the New Museum, New York
Texts by: multiple authors
Graphic Design: Chad Kloepfer with Joel Stillman
Format: 10x 12pp two-colour newspapers, one 4pp black-and-white newspaper, 356 x 292 mm each / Regular edition in poly bag with sticker, special edition in screenprinted archive box
Language: English
Print-run: 1,000 (of which 400 are the final catalogue edition)
Printer: Linco Printing, Long Island
Date of Publication: October–December 2010

Latitudes' projects timeline to date (2005–ongoing)


We've updated Latitudes' timeline (2005–ongoing) with some of the 2011 projects.

Newsletter #29 – January/enero 2011


LAST WEEK...
'The Last Newspaper' exhibition at the New Museum continues until 9 January. As a partner organisation Latitudes edited the exhibition catalogue over the course of 10 weeks from a micro-newsroom installed in the exhibition space. The catalogue is now available from the New Museum Store ($15, $13.50 for museum members).

IN JANUARY 2011...
Curators of the exhibition 'Christina Hemauer & Roman Keller: United Alternative Energies', Aarhus Art Building, århus, Denmark, 22 January–3 April 2011.
Opening: 21 January, 5pm.

Curators of the Laboratorio 987 2011 season,
MUSAC, León: inaugural exhibition 'Amikejo: Pennacchio Argentato' (29 January–27 March 2011), opening on Saturday 29th together with MUSAC's exhibitions: The Mission and the Missionaries by Georges Adéagbo, Desaparecidos by Gervasio Sánchez, The Uneasy Subject by Akram Zaatari, and Un modo de organización alrededor del vacío. Brumaria Works#3 Expanded Violences.

IN FEBRUARY 2011...
Professional Encounters, 'Curating Emerging Artists', ARCOMadrid 2011, 18 February.

ALSO IN FEBRUARY 2011...
'Exposition Internationale des Art Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne', Meessen De Clercq, Brussels, Belgium, 24 February–7 April 2011.


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SAVE THE DATE: 'Amikejo: Pennacchio Argentato', Laboratorio 987, MUSAC, León. Opening: Saturday 29 January

Amikejo: Pennacchio/Argentato (29 January–27 March 2011)
Amikejo: Iratxe Jaio & Klaas van Gorkum (9 April–12 June 2011)
Amikejo: Uqbar Foundation (25 June–11 September 2011)
Amikejo: Fermin Jiménez Landa & Lee Welch (24 September 2011–15 January 2012)

| UK |

Amikejo is a series of four exhibitions at the Laboratorio 987 of MUSAC that is structured around relational and spatial twinning.
These artistic pairings involve various modes of binomial friendships – couples in life, dedicated duos, intermittent work partners, as well as new allies. The artist partnerships involve an overall 50–50 split of male and female practitioners, as well as Spanish-speaking and foreign origins.

The series encompasses a further register of doubling prompted by a critical reflection on the conditions and expectations of a ‘project space’ such as Laboratorio 987 within today’s contemporary art museum. Such a site is typically annexed from a hosting institution, independent yet attached, with the understanding that different, more ad-hoc and agile laws apply. Nonconformist and at the same time authorized, and following spatial theories such as Michel Foucault’s ‘heterotopia’, a project space is a typology that is neither here nor there.

Shadowing Robert Smithson’s concept of the ‘non-site’ (an indoor artwork physically and mentally paired with an outdoor site), the Laboratario 987 space has been assigned a relation with a specific remote location for the 2011 season: Amikejo.

Amikejo was an anomalous in-between state which never entirely existed, and was founded on a desire to foster more effective international communication through the synthetic language Esperanto. Following treaties of the early 19th Century, a tiny 3½ km2 wedge of land between the Netherlands, Belgium and Prussia was established as a neutral area because of an important zinc mine. In 1908 the 2,500 identity-less citizens of Neutral Moresnet, as it was known, declared it to be the world’s first Esperanto state: Amikejo (‘place of great friendship’ in Esperanto). A national anthem was constituted and stamps and a flag were designed. Yet in the wake of the first World War, Germany relinquished its claim to the disputed territory, and Amikejo-Moresnet disappeared from the map as it became part of Belgium, although border markers still exist to this day. This episode-place, between pragmatic and conceptual borders of cartography, language, nationhood, and subjectivity, is entreated as a twin site to Laboratorio 987 and lends its name and symbolic implications to the exhibition series.

For the first exhibition of the season, Neapolitan duo Pennacchio Argentato will present a new installation based on an exhibition's expectations of performance and interactivity. By transforming the
Laboratorio 987 space into an absurd and abstracted gym, the duo will frame their own activity by addressing the ideas of leisure and overproduction.
Marisa Argentato (born Naples, Italy, 1977) & Pasquale Pennacchio (born in Caserta, Italy, 1979). Live and work in Naples and Berlin. Solo exhibitions include: 'Five o’clock shadows', T293, Rome; 'The New Boring', Midway Contemporary Art, Minneapolis (2010); 'Landings 4', Landings, Vestfossen, Norway (2010); 'Do It Just', Galerie Opdahl, Berlin (2009); 'Estate', T293, Naples (2007) and 'Blind Date', Viafarini, Milan (2002). Group exhibitions include 'SI - Sindrome Italiana', Magasin, Centre National d'Art Contemporain de Grenoble, Grenoble (2010); 'Dude, where's my Career?', MMK Zollamt / Portikus, Frankfurt (2009); 'A long time ago, last night', Gallery Kortil, Rijeka, Croatia (2008); Aspen Project (Part III), Neue Alte Brücke, Frankfurt am Main (2007); 'Cinema infinito / Neverending Cinema', Galleria Civica d’Arte Contemporanea, Trento (2006).

Iratxe Jaio (born Markina-Xemein, Basque Country, 1976) & Klaas van Gorkum (born Delft, the Netherlands, 1975). Live and work in Rotterdam, the Netherlands. Solo projects include 'Quédense dentro y cierren las ventanas/ Stay inside. Close windows and doors', produced by consonni, Bilbao, and the municipality of Utrecht (2008); 'Let me hold your hand', Centre for Visual Introspection, Bucharest (2008) and 'Meanwhile, in the living room...', Centro Cultural Montehermoso, Vitoria-Gasteiz. Group exhibitions include 'The People United Will Never Be Defeated', TENT Center for Contemporary Art, Rotterdam (2010); 'Gure Artea 2008', Sala Rekalde, Bilbao (2008); 'Wij waren in Overvecht / We were in Overvecht', Centraal Museum, Utrecht (2008) and 'Radiodays', De Appel, Amsterdam (2005).

Uqbar Foundation [Mariana Castillo Deball (born 1975, Mexico City, Mexico) & Irene Kopelman (born 1976, Córdoba, Argentina)]. Live and work in Amsterdam, the Netherlands. Uqbar Foundation projects include 'Zeno Reminder', Cabinet Magazine Space / Performa 09, New York (2009);
'Principle of Hope', Manifesta 7, Rovereto, Italy (2008); 'Transacciones Filosóficas', Museo Astronómico de Córdoba, Argentina (2007); 'Blackmarket for Useful Knowledge and Non-Knowledge', 10th International Istanbul Biennial (2007); 'A for Alibi', Utrecht University Museum, Utrecht & De Appel, Amsterdam (2006–8).

Fermín Jiménez Landa (born Pamplona, Spain, 1979. Lives in Valencia, Spain) & Lee Welch (born Louisville, USA, 1975. Lives in Rotterdam, the Netherlands).
Jiménez Landa's solo exhibitions include 'No muy a menudo, ni muy poco', Galería Valle Ortí, Valencia (2010); 'Actos oficiales', Sala Montcada, Caixaforum, Barcelona (2008). Group shows include 'Welcome Home', Galería Moisés Pérez de Albéniz, Pamplona (2010); 'Kairós: Moments de Claredat', Sala Muncunill, Terrassa, Spain (2009); 'Nostalgia del futuro', Centro del Carmen, Valencia; 'Creación Injuve 09', Cículo de Bellas Artes, Madrid (2009); 'Entornos próximos', Artium, Vitoria-Gasteiz (2006).

Solo exhibitions by Lee Welch include 'At the still point of the turning world', Galway Arts Centre, Galway (2009); and 'Never Odd or Even and other pieces', The LAB, Dublin (2008). Group exhibitions include 'We have the final proof', Andreiana Mihail Gallery, Bucharest; Clifford Irving Show, Kadist Art Foundation, Paris (2009); work.in.space, Connaught House, Dublin (2009); 'It’s not for reading. It’s for making', FormContent, London (2009); 'Non-knowledge', Project Arts Centre, Dublin (2008); and 'Play', Draíocht Arts Centre, Dublin (2008).


Pennacchio Argentato, view of the exhibition 'Five o'clock shadows', T293 Rome.
Courtesy of the artist and T293, Naples.
| ES |
Amikejo: Pennacchio/Argentato (29 Enero–27 Marzo 2011)
Amikejo: Iratxe Jaio & Klaas van Gorkum (9 Abril–12 Junio 2011)
Amikejo: Uqbar Foundation (25 Junio–11 Septiembre 2011)
Amikejo: Fermin Jiménez Landa & Lee Welch (24 Septiembre 2011–15 Enero 2012)

Amikejo es una serie de cuatro exposiciones en el Laboratorio 987 del MUSAC estructurada entorno al hermanamiento relacional y espacial. Estas parejas artísticas implican distintos modos de amistades binomiales - parejas de vida, dedicados dúos, socios intermitentes y nuevos aliados. Las colaboraciones se dividen en un 50% de profesionales masculinos y un 50% femeninos, así como una mezcla equitativa de orígenes de hispanos y extranjeros.

La serie incluye además un registro adicional de desdoblamiento a raíz de una reflexión crítica sobre las condiciones y expectativas que genera un espacio museístico destinado a proyectos como es el Laboratorio 987. Este lugar normalmente figura como anexo de la institución anfitriona, independiente y al mismo tiempo adjunto, con el entendimiento de que leyes diferentes o ritmos más ágiles son aplicables. Partiendo de las teorías acerca de la ‘heterotopia’ de Foucault, este ‘project space’ no es ni aquí ni allí. Siguiendo la teoría del ‘non-site’ (una obra de arte está vinculada física y mentalmente con un sitio al aire libre) de Robert Smithson, se planteará una relación del Laboratorio 987 con una ubicación remota y al mismo tiempo específica:
Amikejo.
Amikejo (‘lugar de gran amistad’ en Esperanto) fue un anómalo estado que nunca existió del todo, fundado con el deseo de fomentar una comunicación internacional más eficaz a través de un idioma sintético, el Esperanto. A raíz de los tratados de principios del siglo XIX, una pequeña cuña de 3,5 km2 de terreno entre los Países Bajos, Bélgica y Prusia se fundó como Moresnet Neutral gracias a los intereses que surgieron entorno a una importante mina de cinc. En 1908 sus 2,500 ciudadanos apátridas, se autodeclararon como el primer estado Esperanto: Amikejo. Se creó un himno nacional y se diseñaron sellos y una bandera. Sin embargo, a raíz de la primera guerra mundial, Alemania renunció a su derecho al territorio en disputa y Moresnet Neutro/Amikejo, desapareció del mapa y se convirtió en parte de Bélgica, aunque los límites de su frontera todavía existen hoy en día. Este episodio, entre las fronteras de lo pragmático y lo conceptual de la cartografía, del idioma, la nacionalidad y la subjetividad, se convertirá en un sitio hermanado al Laboratorio 987 y prestará su nombre y las implicaciones simbólicas a la temporada de exposiciones del 2011 del MUSAC.

Marisa Argentato (Nápoles, Italia, 1977) & Pasquale Pennacchio (Caserta, Italia, 1979). Viven y trabajan en Nápoles y Berlin. Exposiciones individuales incluyen:
'Five o’clock shadows', T293, Rome; 'The New Boring', Midway Contemporary Art, Minneapolis (2010); 'Landings 4', Landings, Vestfossen, Norway (2010); 'Do It Just', Galerie Opdahl, Berlin (2009); 'Estate', T293, Naples (2007) and 'Blind Date', Viafarini, Milan (2002). Group exhibitions include 'SI - Sindrome Italiana', Magasin, Centre National d'Art Contemporain de Grenoble, Grenoble (2010); 'Dude, where's my Career?', MMK Zollamt / Portikus, Frankfurt (2009); 'A long time ago, last night', Gallery Kortil, Rijeka, Croatia (2008);Aspen Project (Part III), Neue Alte Brücke, Frankfurt am Main (2007); 'Cinema infinito / Neverending Cinema', Galleria Civica d’Arte Contemporanea, Trento (2006).

Iratxe Jaio (Markina-Xemein, País Basco, 1976) & Klaas van Gorkum (Delft, Holanda, 1975). Viven y trabajan en Róterdam,
Holanda. Exposiciones individuales incluyen: 'Quédense dentro y cierren las ventanas/ Stay inside. Close windows and doors', produced by consonni, Bilbao, and the municipality of Utrecht (2008); 'Let me hold your hand', Centre for Visual Introspection, Bucharest (2008) and 'Meanwhile, in the living room...', Centro Cultural Montehermoso, Vitoria-Gasteiz. Group exhibitions include 'The People United Will Never Be Defeated', TENT Center for Contemporary Art, Rotterdam (2010); 'Gure Artea 2008', Sala Rekalde, Bilbao (2008); 'Wij waren in Overvecht / We were in Overvecht', Centraal Museum, Utrecht (2008) and 'Radiodays', De Appel, Amsterdam (2005).

Uqbar Foundation [Mariana Castillo Deball (1975, México DF, México) & Irene Kopelman (1976, Córdoba, Argentina)]. Viven y trabajan en Amsterdam, Holanda.
Proyectos de Uqbar Foundation incluyen: 'Zeno Reminder', Cabinet Magazine Space / Performa 09, New York (2009);
'Principle of Hope', Manifesta 7, Rovereto, Italy (2008); 'Transacciones Filosóficas', Museo Astronómico de Córdoba, Argentina (2007); 'Blackmarket for Useful Knowledge and Non-Knowledge', 10th International Istanbul Biennial (2007); 'A for Alibi', Utrecht University Museum, Utrecht & De Appel, Amsterdam (2006–8).

Fermín Jiménez Landa (Pamplona, 1979. Vive en Valencia) & Lee Welch (Louisville, Estados Unidos, 1975. Vive en Róterdam, Holanda).
Exposiciones individuales de Jiménez Landa incluyen: 'No muy a menudo, ni muy poco', Galería Valle Ortí, Valencia (2010); 'Actos oficiales', Sala Montcada, Caixaforum, Barcelona (2008). Exposiciones colectivas incluyen: 'Welcome Home', Galería Moisés Pérez de Albéniz, Pamplona (2010); 'Kairós: Moments de Claredat', Sala Muncunill, Terrassa, Spain (2009); 'Nostalgia del futuro', Centro del Carmen, Valencia; 'Creación Injuve 09', Cículo de Bellas Artes, Madrid (2009); 'Entornos próximos', Artium, Vitoria-Gasteiz (2006).
Exposiciones individuales de Lee Welch incluyen: 'At the still point of the turning world', Galway Arts Centre, Galway (2009); y 'Never Odd or Even and other pieces', The LAB, Dublin (2008). Exposiciones colectivas incluyen: 'We have the final proof', Andreiana Mihail Gallery, Bucharest; Clifford Irving Show, Kadist Art Foundation, Paris (2009); work.in.space, Connaught House, Dublin (2009); 'It’s not for reading. It’s for making', FormContent, Londres (2009); 'Non-knowledge', Project Arts Centre, Dublin (2008); and 'Play', Draíocht Arts Centre, Dublin (2008).



Museo de Arte Contemporáneo de
Castilla y León (MUSAC)
Avenida de los Reyes Leoneses, 24
24008 León, Spain
(T) +34 987 09 00 00
(F) +34 987 09 11 11
[email protected]

www.musac.es

Selection of press coverage of Latitudes' weekly newspaper for 'The Last Newspaper' exhibition at the New Museum

Following is a selection of press reviews that has appeared in relation to 'The Last Newspaper' exhibition (New Museum, 6 October 2010–9 January 2011), in particular those who focused on Latitudes' edition of a weekly newspaper as catalogue-in-formation:

Holland Cotter, 'Art and News, Intersecting in the Digital Age', The New York Times, 7 October 2010:

"And at the behest of the
New Museum a print-savvy group called Latitudes from Barcelona is issuing another tabloid, this one weekly and edited from the third-floor gallery, that will double as an exhibition catalog. That publication would, of course, be the ideal place for the curators and participating artists to go on the record, at un-Twitterish length and polemical breadth, about the viability of analog journalism — and analog art — in the digital age. (...) Meanwhile the Latitudes news team — Max Andrews and Mariana Canepa Luna are the editors — has invited everybody and anybody, meaning you and me, to submit editorial suggestions and pitch stories, either in person or by e-mail ([email protected]). In the loosey-goosey spirit of the show, their paper will change names weekly, from the “The Last Post” to “The Last Gazette” to “The Last Register,” etc. But a genuinely “last newspaper” is still nowhere in sight. And you read that here."


Danielle Aronowitz, 'New Museum exhibit is black and white and read all over', Columbia Spectator, 8 October 2010:

(...) "A second group, Latitudes—a curatorial organization based in Barcelona, Spain—will compile, edit, and publish a weekly newspaper that will catalogue information about the exhibit and the contributing artist groups over the next 10 weeks. To emphasize its importance, [exhibition curator Richard] Flood referred to this publication as “the journal of the exhibition.”

Luc Sante, 'Disappearing Ink', The New York Review of Books's blog, 1 November 2010:

(...) and a tabloid, edited by the Barcelona-based curatorial office Latitudes, that has been variously called The Last Post, The Last Gazette, and The Last Register. (...) The tabloid, which focuses on newspapers, as well as on the show itself, is rather puckish. The Last Gazette includes, for example, a record of a quixotic attempt by Ines Schaber to approach the underground facility in western Pennsylvania where the photo agency Corbis keeps its archive of some 70 million pictures. The story evokes the cold-war espionage genre—an unremarkable setting masks a culture of such militant secrecy that the best the author could manage is a murkily distant photo of the facility’s parking lot. Its meandering text and bland snapshots, on the other hand, evoke the whimsical record-keeping of 1970s conceptual art, which is rather more in keeping with the spirit of the show.


Valerie Seckler, 'Hyper-local Newspaper as Museum Piece? Not exactly', The Urban Times, November 2010:

“How is a museum, such as New Museum, no longer (just) in the artwork display business?” asks an editorial in The Last Post. “Is it a producer, a publisher or a distributor? Should a museum or a newspaper be a community, a platform or a network, for example?” The newspapers themselves are hybrids: actual publications and art object. (...) The Last…” newspaper series comprises “final” editions with names like “The Last Observer,” “The Last Monitor,” and (the first edition) “The Last Post.” They are dedicated to illuminating “The Last Newspaper” fine art on exhibit. Some of the reportage ranges beyond it. (...) The Last Post” itself is an arch reference to the never-ending practice of posting 21st century news online. “The Last Post’s” Oct. 6th edition’s screaming front page headline makes the humorous proposition: “Ink vs Link.” Smaller decks stacked below it read: “Lippmann vs Dewey, Fact vs Interpretation, Editor vs Curator,” and conclude with the query: “How do you get your information?”

Adam Chadwick, 'Art and journalism …sometimes a fine line…', http://fittoprintfilm.wordpress.com, 1 December 2010:

This past Saturday members of the group Latitudes – an independent Barcelona-based curatorial office – hosted an event for the “Fit to Print” production team at the New Museum in the Bowery neighborhood of lower Manhattan. (...) I was too intrigued by the wall-to-wall displays of vintage newspaper front pages in one of the rooms. It was hard not to examine the way in which newspapers implemented multiple sub-headlines back in the early part of the twentieth century. In a way, many start-up news websites are creating similar sub-heads to draw reader attention in the vast wild west of search engine optimization. This would be a topic our guest speaker, Jason Fry, would speak about during our panel discussion.

[Read an edited transcription of the event here.]

This is tomorrow, 'The Last Newspaper', 5 December 2010:

Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers.

'THE LAST POST' / 'THE LAST GAZETTE' / 'THE LAST REGISTER'... is the evolving-titled 12-page free weekly newspaper and an incremental exhibition catalogue edited during a 10 week editorial residency by Latitudes. Produced from a micro-newsroom placed on the third floor of the museum the tabloids will be an archive in formation companioning The Last Newspaper’s exhibition, artworks and events, as well as being a platform for critical reflection on the wider agency of art and artists with respect to concerns about how information is produced, managed, recorded, re-ordered, and disseminated.

With kind permission from Latitudes we are reproducing two selected text from their catalogue/newspapers, written by The Last Newspaper London correspondent and 'this is tomorrow' features editor Lorena Muñoz-Alonso (continue reading...)

Kristin M. Jones, 'Chronicles of a Medium in Crisis', The Wall Street Journal, 16 December 2010:

(...) Via a micronewsroom, Latitudes, a Barcelona-based curatorial team, produced a tabloid whose name changed each week. The spirited articles include stories on artists, filmmakers and topics ranging from ProPublica to the history of cast-iron newsstand paperweights; its issues will be bound together after the show ends in lieu of a catalog. The editors commissioned profiles and interviews related to the show but also solicited story ideas, headlines inspired by personal events and other information from the public.

Read more articles and reviews here.

'The Last Newspaper' exhibition catalogue available from the New Museum Store

Produced by Latitudes for ten consecutive weeks from a micro-newsroom placed in the third floor galleries of the New Museum, the compilation of The Last Post; The Last Gazette; The Last Register; The Last Star-Ledger; The Last Monitor; The Last Observer; The Last Evening Sun; The Last Journal; The Last Times and The Last Express comprise the catalogue accompanying the show The Last Newspaper (on view until 9 January 2011), curated by Richard Flood and Benjamin Godsill.

Featuring over 100 contibutors, and including essays and interviews with participating artists and organisations, this compilation also brings together articles and special features around an expanded selection of work that addresses the news, the newspaper, and its evolving form and function.


New Museum & Latitudes; 2010; 11.5" x 14"; 10 newspapers + 4 page supplement with final editorial, table of content and index
Price: $15 (New Museum members $13.50)
Or buy online from the New Museum Store


SAVE THE DATE: 'United Alternative Energies: Christina Hemauer & Roman Keller', Aarhus Art Building, Denmark. Opening: 21 January, 5pm

Slides showing the installation of the solar panels on the roof of the White House in 1979
by US former president Jimmie Carter, subject of Hemauer/Keller film 'A Road Not Taken' (2010). Courtesy: the artists


'United Alternative Energies: Christina Hemauer & Roman Keller'
Curated by Latitudes
22 January 22 - 3 April 2011
Opening: 21 January 2011, 5pm

'United Alternative Energies: Christina Hemauer & Roman Keller' is one of 5 exhibition proposals selected from approximately 600 submissions received in response to the Aarhus Art Building's open call for their 2011 programme, entitled 'Imagine: Towards an Eco-Aesthetic'.

Christina Hemauer and Roman Keller have investigated the concept of energy for several years. One of their main areas of interest is the history of oil and its competing alternatives, notably solar energy. Often involving historical research, remembrance, performance and film, their projects focus in particular on the politics of oil, energy crises, and the pursuit of new technology.

The exhibition will be the most comprehensive presentation of the duo's work to date. A small catalogue will be published coinciding with the opening of the exhibition (+ info...)

Poster of the film 'A Road Not Taken' (2010). Courtesy: the artists

The Aarhus Art Building
J.M. Moerks Gade 13
DK-8000 Aarhus C
DENMARK

Night at the (New) Museum

Coinciding with the end of our New Museum editorial project we'd like to share these great shots of what has been our working space during the past 10 weeks at the New Museum: our micro-newsroom during the night.

The photos have been taken by New Museum night guard and photographer Steven Slawinski during the third week of our editorial residency – when 'The Last Register' (#3) was the newspaper of the week. We would like to thank Steven for sharing his archive, and to New Museum guard Carol Fassler for putting us in touch.



We would like to express our thanks to everyone at the New Museum. Thank you to Lisa Phillips, Toby Devan Lewis Director, and The Last Newspaper co-curators Richard Flood, Director of Special Projects and Curator at Large, and Benjamin Godsill, Curatorial Associate, for hosting us and inviting us to collaborate in this expansive and timely project. Our sincere gratitude and praise are due to Richard and Benjamin for their support and trust and for the brave exhibition whose works have become our local community.

Thank you to Joshua Edwards, Exhibitions Manager and Shannon Bowser, Chief Preparator for sharing expertise on producing Luciano Fabro’s Pavimiento-Tautologia. Praise is due to Desiree B. Ramos, Curatorial Fellow; Eungie Joo, Keith Haring Director & Curator of Education & Public Programs; Cris Scorza, Manager of Tours and Family Programs and Joseph Keehn II, Associate Educator; to Gabriel Einsohn, Communications Officer and Annie Wachnicki, Marketing Manager for their help in many ways. We are most grateful to each of the inspiring New Museum guards and guides for their support and interest in our weekly progress and for taking care of our working space.

We would like to express our gratitude to Marta Rincón and Eloisa Ferrari for securing the financial support offered by The State Corporation for Spanish Cultural Action Abroad (SEACEX), which has made it possible for us be in New York during these months.

The graphic design of the newspapers has been an absolutely critical element to the tone of the project and we salute Chad Kloepfer and Joel Stillman, who have been so generous with their time and incredible talent in establishing the visual identity of The Last... newspapers, and in giving up their weekends laying them out. Thank you to Daniel Thiem, Retail Operations Manager at the New Museum, for taking care of the afterlife of this print adventure, and to Tammy Lin at Linco Printing for making the printing and delivery run smoothly.

Sharing the third floor of the New Museum with the other partner organizations has been a memorable experience and we are particularly appreciative of Alan Rapp as well as Virginia Millington and Natalia Fidelholtz – our temporary neighbors at the New City Reader and StoryCorps respectively.

The project would also not have been possible without the assistance of our news team, who have been crucial in their dedication and good humor, and in toiling late hours, and while juggling other commitments, in writing sterling words. Kudos to Editor-at-Large Janine Armin, to Greg Barton, Irina Chernyakova, Collin Munn and Gwen Schwartz. We would also like to highlight the generous contributions of Adam Chadwick, Julienne Lorz, Andrew Losowsky and our London correspondent Lorena Muñoz-Alonso.

We have been pleased to have been able to involve an incredible network of writers, curators, artists and journalists that week after week have graced, and been splashed over, the pages of 'The Last...' Visual artist Francesc Ruiz, project cartoonist with his series ‘The Woods’, and our advertising department, artist Ester Partegàs, we thank especially for their amazing work and for their stamina in signing up to the weekly deadlines.

We are indebted to all of the participating artists and organizations as well as many other individuals for their efforts, for having trusted our editorial skills and for having given time and contributions pro bono – Ignasi Aballí; Lars Bang Larsen; Judith Bernstein; Dara Birnbaum; Pierre Bismuth; Andrea Bowers; Fernando Bryce; Luis Camnitzer; Sarah Charlesworth; Emily Cheeger; Doryun Chong; City-As-School class; Ana Paula Cohen; Scott Cole; Christine Cooper; Holly Coulis; Marc d'Andre; Chris Dercon; Patricia Esquivias; Jacob Fabricius; Luciano Figueiredo; Angela Freiberger; Jason Fry; Simon Fujiwara; Dora García; Martin Gran; Hans Haacke; Ilana Halperin; Rick Herron; Ridley Howard; Marcel Janco; Adrià Julià; Maria Loboda; Nate Lowman; Renzo Martens; Rob McKenzie; Simone Menegoi; Aleksandra Mir; Rodrigo Moura; Nick Mrozowski; Angel Nevarez & Valerie Tevere; Sophie O'Brien; Damián Ortega; Alona Pardo; Amalia Pica; Michalis Pichler; Ed Pierce; Peter Piller; William Pope L.; Michael Rakowitz; Christian Rattemeyer; Yasmil Raymond; Kolja Reichert; Mauro Restiffe; Kathleen Ritter; Kirstine Roepstroff; Julia Rometti & Victor Costales; David Salle; Mike Santisteven; Joe Saltzman; Ines Schaber; Paul Schmeltzer; Charity Scribner; Manuel Segade; Adam Shecter; Harley Spiller; Stephen Spretnjak; Alexandra Tarver; Mi Tijo; Wolfgang Tillmans; Rirkrit Tiravanija; Nicoline van Harskamp; Pablo Vargas Lugo; Sergio Vega; Marie Voignier; Mark von Schlegell; Haegue Yang; Carey Young; Sarah Wang; Warren Webster; and Jordan Wolfson. Thanks too the New Museum Facebook and Twitter contributors: aodt; Kristi Collom; Michele Corriel; djnron; Isadora Ficovic; A.J. Fries; Rachel Elise Greiner; Sioux Jordan; Eleanor Martineau; Acht Millimeter; Sofia Pontén; Jenny Pruden; Bonnie Severien; Kate Shafer; Liz Shores; Goso Tominaga; and Anne Wölk.

We would also like to thank those who have helped us obtain images or permission to reprint texts: Barbican Art Centre, London; Edoardo Bonaspetti, Mousse magazine; Bugada & Cargnel, Paris; Janine Iamunno, patch.com; Nick Hunt/PatrickMcMullan.com; Jeff Khonsary, Fillip; Lisa Middag at the Walker Art Center, Minneapolis; kurimanzutto; Michele Robecchi; Benoit Pailley; Peres Projects, Berlin; Katie Sokolor/Gothamist.

– Latitudes (Max Andrews & Mariana Cánepa Luna), December 2010.

Excerpted from 'FROM THE EDITORS’ DESK – Last words, clarifications, frequently asked questions, and thanks from Latitudes' originally published in 'The Last Newspaper' catalogue.

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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.

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Latitudes
2005—2020