Longitudes

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

Opening performance: 'Himno Nacional' (2011) by Fermín Jiménez Landa & Lee Welch in the context of their exhibition 'Amikejo' at the Laboratorio 987, MUSAC

Pasacalles de la Agrupación Musical La Cena por León. Foto: Latitudes | www.lttds.org

'Himno Nacional' (National Anthem, 2011)
A project by Fermín Jiménez Landa & Lee Welch
24 September 2011 at 13:30h (centre of León) and 19.30h (MUSAC)
In the context of 'Amikejo' exhibition cycle at the Laboratorio 987, MUSAC 

"In the context of 'Amikejo' – an exhibition cycle on micro-nations, historical anomalies, common endeavours and optimism – a León marching band has been invited to compose a new national anthem. Composed in the most archaic tradition, markedly romantic, military and patriotic, the anthem enacts a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

Forming a journey loop from León to the island and back again, the musical representation of nationhood becomes an end in itself. During the exhibition opening, the 65+ musicians of the Agrupación Musical La Cena paraded through the streets of León (Plaza San Marcelo, Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (in front of the cathedral); and Palacio de Botines) in what could be seen as a playful, ceremonial or military action, and perform an anthem that is familiar in its musical idiom and yet is completely unidentifiable".
  – Fermín Jiménez Landa

Anthem composed by: Juan Ramón Solla Santos, musical director, Agrupación Musical La Cena, León. 



All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
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Report in quotations from 'Talking Galleries', 19–21 September 2011, MACBA auditorium

A report in quotations from the first evening's two panels and the first session of the second day of Talking Galleries.

19 September 2011
15.30h: Welcome by
Ferran Mascarell, Regional Minister of Culture of the Generalitat
Jaume Ciurana, Deputy Mayor of Culture, Knowledge, Creativity and Innovation of Barcelona
Faustino Diaz Fortuny, Deputy Director General for the Promotion of Cultural Industries and Foundations and Patronage of the Ministry of Culture
Adriaan Raemdonck, President of FEAGA (Federation of European Art Galleries Association)
Llucià Homs, main promoter of the project TALKING GALLERIES
Bartomeu Marí, MACBA's Director




Llucià Homs: "according to an art market report commissioned by TEFAF (The European Fine Art Foundation), 51% of the art business is done by gallerists and 49% by auction houses. 30% of that is done in art fairs."

Faustino Diaz: "Galeries are the basis for the construction of value". "Galleries are a fundamental cultural sector for the economic development of knowledge". 

Mascarell: "Talking Galleries should connect Catalan art to the international trends and vice-versa". "Artists are the ones making sense of our world".

16.00 h: 'The new role of the Gallerist in the art market' with:
Casey Kaplan, Casey Kaplan Gallery (New York)
Claes Nordenhake, Galerie Nordenhake (Berlín, Stockholm)
Emilio Álvarez, Galeria Àngels Barcelona (Barcelona)
Moderated by: Ann Demeester,  Director of De Appel Arts Centre (Amsterdam)



Ann Demeester: "We are not able to project a 20-50 year future anymore"..."are galleries going to become agencies for artists or are they able to foster new experiments in a globalised 21st century?"; "Collaboration should not be an enemy of competition"; "Galleries are a site for free education"; "A gallery should perform an informal efficiency"

Emilio Álvarez: "The work of a gallery is articulated in connection with the past. Memory gives meaning, one constructs value through time". "Circuits of the artworld are closed, although the product we present is open."; "A gallery has a ongoing relationship with an artist and shows him/her continuously over time, no institution will give a solo show to an artist 3 times"; "A gallery has a single monogamous relationship, museums have plural relationships with artists." 

Casey Kaplan: We (with David Zwirner and Friedrich Petzel amongst others) have done New York Gallery Week (NYGW) twice now, but I don't think is necessary to repeat it again and again if, for instance, Frieze New York is starting in May 2012"; "We are taking the risks, we produce art, we research artists, basically we do it first and then everyone follows";"A gallery is about trust in your artists and them in you. Is a small family extension that grows organically. It's also about constant reinvestment in a new space, in a new piece, in shipping ridiculous works to art fairs to show your ambition."

Claes Nordenhake: "New art should be shown in galleries first, thereafter in art fairs, kunsthalles, etc. Not the other way around!"; "A gallerist is an eternal improvisor, a cleaner, a guard, an interior designer, a carpenter, a shipping agent, a graphic designer, a bookeeper, an art historian, a teacher and sometimes a professor, a therapist, a pimp and sometimes a lover, a storage administrator, a divorce councilor, a good banker, a sympathetic drinking companion, an arrogant bastard, an interpreter, a travel agent, a cook (professional or amateur), a waiter, a restaurateur, a philosopher (or at least in late hours of the night...), an actor, a business strategist, a secretary (where the boss is the artist)... 


18.00 h: 'Dealing with the economic crisis' with
Georgina Adam, Journalist Financial Times (London)
Robert Tornabell, Professor of Economics at ESADE Business School (Barcelona)
Soledad Lorenzo, Galería Soledad Lorenzo (Madrid)
Moderated by: Carlos Urroz, Director ARCOmadrid (Madrid)



Dr. Robert Tornabell: "The most profitable investments are first art, then gold, and then...I don't know!"

Georgina Adam: "The size of the market is U$ 43 billion: 21 bn in auction, 22 bn in dealership. The global share in 2006 breaks up in 46% for the US; 27% for UK, 6% for France; 5% for China, 16% Others. In 2010 is 34% for the US; 22% for UK, 5% for France, a huge increase to 23% for China and, 15% Others". "Today, there are 20 top auction houses, 11 of which are chinese, which did not exist a decade ago"; "Today money is not inherited, it is made."

20 September 2011
10.00 h: 'The future of art fairs' with
Victor Gisler, Mai 36 Galerie (Zurich)
Noah Horowitz, Director VIP Art Fair (New York)
Pierre Huber, Galerie Art & Public (Geneva)
Moderated by: Carles Guerra, Chief Curator of the MACBA (Barcelona)



Carles Guerra: "Barcelona was considering initiating a fair, but with ARCOmadrid nearby and seeing how profits stand now, maybe a meeting amongst professionals such as this, is the way forward"

Noah Horowitz: "The 1970s market was trade; today it's retail and event-led" ; "Going back to TEFAF's figures: 30% of the business is done in fairs, that's obviously an average figure because for some galleries fairs are 70% of their year sales"; "The VIP Art Fair is accessible, international, transparent, communicative, it is still a one-to-one relationship with the buyer"

Victor Gisler: "A gallery shows – tells – sells". "Art fairs like Art Basel have become so hugely important that they now validate quality. If an artits hasn't been shown in Basel, it may seem not valuable". "Initiatives like the VIP Art Fair are great for telling, maybe not so much for selling, but it is online, and that is the language of the next generation which you can not neglect, and one must embrace."

Biographies of the speakers
More about Talking Galleries.
Follow #talkinggalleries
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Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme

 
Land Art Contemporary year-long initiative showcases works of art located in the countryside of Drenthe, a province in the northeastern Netherlands, which will be complemented with an international events programme dealing with the contemporary aspects of Land art. Starting on 17 September 2011, the programme is linked to the 40th anniversary of the creation of Robert Smithson's film Broken Circle/Spiral Hill in Emmen for the exhibition Sonsbeek 1971.  

Coinciding with the anniversary, Land Art Contemporary kicks off with the exhibition 'Robert Smithson – Broken Circle/Spiral Hill Revisited', at the Centre for Visual Arts (CBK) in Emmen. The exhibition's star piece will be the recently completed film 'Breaking Ground: Broken Circle/Spiral Hill' (1971–2011), uncompleted due to Smithson's untimely death in 1973, which is now finally produced, following his instructions for direction and editing, by his widow Nancy Holt in collaboration with SKOR. The film will also be screened once on 22 September at the Stedelijk Museum Amsterdam. Holt will introduce the video.

Parallel to this major exhibition, SKOR is also organising The Ultraperiferic (17 September – 27 November 2011), an exhibition that will feature the work of Lara Almarcegui (ES/NL), Jorge Satorre (MX/NL) and Cyprien Gaillard (FR/DE), three artists with whom Latitudes has worked in the recent past and whose work will also be featured in Max Andrews' essay "'A Dark Spot of Exasperation: From Smithson to the Spime'" in the forthcoming publication 'Robert Smithson: Art in Continual Movement' (ISBN 9789081531481) to be published by Alauda Publications in early 2012. The essay and The Ultraperiferic both feature Jorge Satorre's 'The erratic. Measuring compensation' (2009) which was produced in the context of 'Portscapes' and recently featured in his exhibition at Labor, Mexico City.


The project will continue in 2012–13, with a series of 'assignments' to contemporary artists "a number of artists will be set the assignment of creating a work in the spirit of Smithson, whereby the landscape is viewed as a continual process that is constantly in a state of transformation due to the interaction between man and nature", to be curated by SKOR's curators Nils van Beek and Theo Tegelaers. + info...


Land Art Contemporary is an initiative of STICHTING LACDA, Drenthe, a foundation established in 2011 by the Sanders-Ten Holte family. The program has been made possible thanks to (content and financial) support from SKOR | Foundation for Art and Public Domain, Province of Drenthe, European Agricultural Fund for Rural Development: Europe Investing in Rural Areas (LEADER), Municipality of Coevorden, Municipality of Emmen, Cultuurfonds BNG and the Sanders-Ten Holte family.
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24 Septiembre, 19h: Inauguración última exposición del ciclo anual 'Amikejo' con Fermín Jiménez Landa & Lee Welch, Laboratorio 987, MUSAC, León. 19.30h: Performance 'Himno Nacional' de Jiménez Landa.

El sábado 24 de Septiembre a las 19h inaugurará la última exposición del ciclo anual 'Amikejo' comisariada por Latitudes. La exposición presentará el trabajo de Fermín Jiménez Landa (1979, Pamplona) y Lee Welch (1975, Louiseville, EEUU) quienes no se conocían antes de que se les invitara a participar en el ciclo. Como si fuera una cuestión de diplomacia internacional, los artistas han tenido que entenderse mutuamente tanto en lo personal como en lo artístico antes de emitir una declaración conjunta, según lo acordado y negociado. Jiménez Landa y Welch han escogido establecer su colaboración en torno a la noción de “micro-nación” y los recursos que definen la soberanía: fronteras, sellos o himnos nacionales

En MUSAC presentan un conjunto de elementos algunos de los cuales se advierten directamente en el Laboratorio 987, mientras que otros documentan fenómenos en lugares remotos, o existen únicamente en la imaginación. Una estructura similar a una plataforma, junto con esculturas que adoptan la forma de portales o hitos fronterizos, crea espacios y herramientas para el encuentro y el debate, además de albergar otras obras bidimensionales y de vídeo. + info...

Eventos inauguración:

Sábado 24 de septiembre, 13:30 h.
'Himno nacional', 2011
Duración aproximada: 60'

A menudo se dice que lo más relevante de un trabajo es el proceso. 'Himno Nacional' (2011) se incorpora y se desdobla en varios elementos, historias y anécdotas. Enmarcado en 'Amikejo', un proyecto expositivo entorno a micro-naciones, anomalías históricas, empresas en común y optimismo, se ha invitado a una popular banda de música de León a que componga un nuevo himno nacional realizado a la más arcaica de las maneras: con un sabor marcadamente romántico, militar y patriótico. El himno se presenta con un objetivo paródico y fútil: la conquista de una pequeña isla situada en el mar Egeo mediante la imposición sonora del himno.

Con un viaje de ida y vuelta, de León a la isla y de la isla a León, la representación musical se convierte en una celebración en sí misma. Durante la inauguración, 65 músicos de la banda desfilarán por las calles de León en lo que podría parecer ser una acción lúdica, conmemorativa o militar, tocando un himno que resulta reconocible en su lenguaje musical y, sin embargo, es totalmente irreconocible.Fermín Jiménez Landa

La banda Agrupación Musical La Cena interpretará el nuevo himno nacional en cinco puntos del casco antiguo de León, entre los cuales se desplazará acompañándose únicamente con la sección de percusión. La banda iniciará su recorrido en la Plaza San Marcelo (13:30 h) prosiguiendo a la Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (frente a la catedral) y finalizará en la Plaza San Marcelo (frente al Palacio de Botines).

A las 19.30h volverán a interpretar el himno en el hall del MUSAC.

Stills video 'Himno Nacional. Conquista de una isla mediante la colocación de un equipo de sonido con un generador de energía limitada emitiendo un himno nacional compuesto por una banda musical de León. (2011) de Fermín Jiménez Landa. Cortesía del artista.
| UK |

The final exhibition of the year-long cycle 'Amikejo' will open on Saturday 24th, 19h, at the Laboratorio 987 space in MUSAC. The exhibition will show new works produced collaboratively by Fermín Jiménez Landa (Pamplona, Spain, 1979) & Lee Welch (Louisville, USA, 1975). Jiménez Landa and Welch did not know each other before the invitation to participate in Amikejo. As if engaged in international diplomacy, the artists have had to understand each other personally and artistically before issuing what might be regarded as a joint statement based on what they have agreed and negotiated, in the form of an exhibition. Jiménez Landa and Welch have chosen to establish their collaboration in relation to the notion of the micronation and devices which delineate sovereignty – borders, stamps, anthems, and so on.

Their works in MUSAC comprise a constellation of diverse performative, discursive, interactive and displayed elements, some of which are directly apparent in the Laboratorio 987 , while others document occurrances at remote locations, or exist only in the imagination. A platform-like structure and sculptures that take the form of portals or border markers constitute spaces and tools for assembly and discussion as well as hosting further two-dimensional and video works. + info...


OPENING EVENTS:

Saturday 24 September, 13:30 h
'Himno Nacional' (National Anthem, 2011) by Fermín Jiménez Landa
Duration: approx. 1h

It is often said that the best thing about a work of art is the process leading up to it. In the case of 'National Anthem' (2011) the work incorporates and unfolds many other elements, histories and anecdotes. In the context of 'Amikejo' – an exhibition project on micro-nations, historical anomalies, common endeavours and optimism – a León marching band has been invited to compose a new national anthem. In the most archaic tradition, markedly romantic, military and patriotic, the anthem enacts a parodic attempt to reach a futile objective: the conquering of a small island in the Aegean Sea through invasion-by-sound.

Forming a journey loop from León to the island and back again, the musical representation of nationhood becomes an end in itself. During the exhibition opening, 65 musicians will parade through the streets of León in what could be seen as a playful, ceremonial or military action, and will perform an anthem that is familiar in its musical idiom and yet is completely unidentifiable.Fermín Jiménez Landa

13.30h: The band Agrupación Musical La Cena will parade through five points of the old town of León playing the new anthem starting at Plaza San Marcelo (13:30 h) and thereafter proceed to the Plaza Don Gutierre; Plaza San Martín; Plaza de Regla (in front of the cathedral); and finalise at the Plaza San Marcelo (in front of the Palacio de Botines).

19.30 h: Parade of the anthem at MUSAC's atrium.


Stills video 'Himno Nacional. Conquista de una isla mediante la colocación de un equipo de sonido con un generador de energía limitada emitiendo un himno nacional compuesto por una banda musical de León. (2011) de Fermín Jiménez Landa. Cortesía del artista.
Síguenos / Follow us: #amikejo y aquí / and here.

Exhibition made possible by the contribution of the Mondriaan Foundation, Amsterdam.




 
Avenida de los Reyes Leoneses, 24
24008 León
T: +34 987 09 00 00; F: +34 987 09 11 11

Martes–Viernes / Tue–Fri: 10–15 / 17–20h
Sábado y Domingo / Sat–Sun: 11–15/ 17–21h
Lunes: cerrado / Monday: closed
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Tour around Stockholm: 'The Spiral and the Square' opening at Bonniers Konsthall, IASPIS, Moderna Museet, Biologiska Museet and a few gallery openings

Street banner announcing Bonniers Konsthall's 'The Spiral and the Square. Exercises in translatability' guest curated by Jochen Volz and Daniela Castro.

23 August: Opening of Bonniers Konsthall's exhibition with the participation of: Angela Detanico & Rafael Lain; Mauricio Dias & Walter Riedweg; Eugenio Dittborn; Öyvind Fahlström; Cao Guimãraes; Dominique Gonzalez-Foerster; Fredrik Ehlin, Andjeas Ejiksson & Oscar Mangione; Laura Lima; Arto Lindsay; Dora Longo Bahia; Renata Lucas; Raimundas Malašauskas & Marcos Lutyens; Cinthia Marcelle; Rodrigo Matheus; Cildo Meireles; João Modé; Fabio Morais; Rivane Neuenschwander; Natascha Sadr Haghighian; Rirkrit Tiravanija and Haegue Yang.

Above: Two chefs prepare Rivane Neuenschwander's Gastronomic Translations (2005/2011) in temporary tents located outside Bonniers Konsthall: "Gastronomic Translations (2005/2011) has its point of departure in a shopping list that the artist found in Frankfurt. She sent it to two chefs and invited them to prepare a banquet only using the ingredients on the list. On the opening day, Bonniers Konsthall’s visitors can taste the result". [from the Konsthall web].

Rivane Neuenschwander's Gastronomic Translations, 2005-2011, by Team Kungsholmen.

(Entrance) Rirkrit Tiravanija's Untitled 2011 (police police potato grease), 2011, "is a silkscreen-workshop in the entrance of the gallery, where visitors can have a personal and unique t-shirt printed by one of our gallery hosts. The prints are in different languages – but something seems to have gone wrong in the translation." [from the Konsthall web]

Rirkrit Tiravanija's Untitled 2011 (police police potato grease), 2011, in action during the opening evening.

General view of the first exhibition space with (left) Rodrigo Matheus' Nature of Construction (2011) and (right) Haegue Yang's No. 16, Circular Flat – Lotus Robe, 2010. Far back a wooden changing room for Laura Lima's 'Marra' (1996 and 2011) performers.

Haegue Yang, No. 16, Circular Flat – Lotus Robe, 2010: "is a work comprising three light sculptures; simple, white stands in metal, covered in feathers, fabric, cables and other materials." [from the Konsthall web]

Rodrigo Matheus, Nature of Construction (2011): his "works explore representation and perception in art and nature. In Nature of Construction (2011) a metal net is put up between the branches of a tree. This type of net is put up over windows in Brazil in order to stop children from falling out. The Landscape is a kind of diorama in which a landscape painting in the background is contrasted against the authentic, but in an art gallery unnaturally installed, branches and plans in the foreground." [from the Konsthall web]
(above) General view of the second exhibition space where most works were on view: (foreground) Angela Detanico and Rafael Lain's, SATOR AREPO TENET OPERA ROTAS (2011) "is an adaption of a mysterious Latin palindrome, which can be written in a square and read from all directions. Detanico & Lain have created their own coded alphabet and written the palindrome with concrete slabs on the floor." [from the Konsthall web]. (Background) works by Öyvind Fahlström (left) and Eugenio Dittborn (right).

(above) "Dominique Gonzalez-Foerster’s Textorama (2011) has its basis in an exhibition she produced for the Hispanic Society of America in 2009-2010. Her exhibition related to the institution’s famous research library. The calligrammatic wall is an exploration and continuation of this library, with excerpts and quotations from canonical as well as unknown works of various languages."

"João Modé's 'Vanish' (2005) incense spirals have a short life cycle. Assembled in clusters, one spiral sets fire to another until only ashes remain." [from the Konsthall web]

Rivane Neuenschwander's "In 'First Love' (2005/2011), viewers can describe their first love to a police artist who creates a “facial composite” – an image that has travelled a long way from the original object of love." [from the Konsthall web]

(Foreground) Stage ready for Arto Lindsay's performance during the opening evening. (Background) "The artist duo Angela Detanico & Rafael Lain’s work is focused on language, and specifically typography. New Roman Times (2011) is a remodelling and reversal of the classic typeface Times New Roman." [from the Konsthall web]

24 August: IASPIS's corridor. Studio visits with Anna Sandgren, Priscila Fernandes, Helen Mirra and Job Ramos.

25 August: Former premises of Moderna Museet, currently hosting The Museum of Architecture.

Moderna Museet's 2004 Rafael Moneo extension with exhibitions on the museum's photography collection and a solo show of Klara Lidén.

25 August: (Below) An amazing discovery: the Biologiska Museet (Biological Museum) in Djurgården, a place that "contains collections of Scandinavian [stuffed!] mammals and birds in their natural habitats. Backgrounds for the dioramas [viewed from two levels] were painted by Bruno Liljefors, and the [1893] building was designed by Agi Lindegren, who used Norwegian medieval stave churches as a model." (from www.visitstockholm.com).

25 August: Opening of 'T-a-l-i-s-m-a-n-ic' exhibition of Lucie Fontaine at Fruit and Flower Deli Stockholm.
as well as several other galleries opening at the vibrant Hudiksvallsgatan:

Including the beautiful show 'Loch Ness, non-site' by Gerard Byrne at Galerie Nordenhake (+ and better images here). 

Below detail of his work 'Some gestalt forms surveyed, and organized into primary structures, on dates between 2001 – 2011' Site: Loch Ness, Scotland, 2001 - ongoing. Silver gelatin prints, wooden forms, linen lined vitrine.

(Below) Alba S. Enström “Through love and emotions…” opened at the young Crystal

(Below) and on the first floor, Andréhn-Schiptjenko hosted a solo show of Annika von Hausswolff.

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Newsletter #36 – September/septiembre 2011


LAST DAYS...

'Amikejo: uqbar (Irene Kolpelman & Mariana Castillo Deball',
Laboratorio 987, 2011 season guest curated by Latitudes, MUSAC, León. Until 11 September.


OPENING 24 SEPTEMBER...


'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the exhibition cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León,
24 September 2011–15 January 2012. Opening: Saturday 24 September.

Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their working process.



www.youtube.com/LatitudesVideos
www.flickr.com/photos/lttds/
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SAVE THE DATE: 24 September opening final 'Amikejo' show with Fermín Jiménez Landa & Lee Welch, Laboratorio 987, MUSAC, León

Invitation for 'Amikejo' exhibition. Photo: Fermín Jiménez Landa & Lee Welch.

Fermín Jiménez Landa (1979, Pamplona, Spain. Lives in Valencia/Pamplona, Spain) & Lee Welch (1975, Louisville, USA. Lives in Rotterdam, The Netherlands) did not know each other before the invitation to participate in Amikejo. As if engaged in international diplomacy, the artists have had to understand each other personally and artistically before issuing what might be regarded as a joint statement based on what they have agreed and negotiated, in the form of an exhibition.
Jiménez Landa and Welch have chosen to establish their collaboration in relation to the notion of the micronation and devices which delineate sovereigntyborders, stamps, anthems, and so on. Their project refers to other historical episodes in addition to Amikejo itself as well as taking inspiration from methodologies which combine fixed parameters with improvisation, such as the directing technique of filmmaker John Cassavetes.

Their works in MUSAC comprise a constellation of diverse performative, discursive, interactive and displayed elements, some of which are directly apparent in the Laboratorio 987, while others document occurrances at remote locations, or exist only in the imagination.

A platform-like structure and sculptures that take the form of portals or border markers constitute spaces and tools for assembly and discussion as well as hosting further two-dimensional and video works. A marching band from León was recruited to compose and perform a national anthem for a new autonomous island state and the founding of this micronation has been documented in video and photography. Companioning this, a series of letters have been sent by the artists using stamps from Moresnet, the republic which anteceded Amijeko.
Jiménez Landa’s and Welch’s joint endeavour considers how art can produce new understanding, memories and communicative possibilities together with an audience.


A catalogue by Mousse Publishing companioning the '
Amikejo' series will be launched in early 2012, following the conclusion of the exhibition cycle.
_

Museo de Arte Contemporáneo de Castilla y León (MUSAC)
Avenida de los Reyes Leoneses, 24

24008 León, SPAIN

www.musac.es
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Photo gallery of Uqbar's 'Amikejo' exhibition, on view until 11 September at the Laboratorio 987, MUSAC, León



In the third instalment of the
Amikejo exhibition cycle, uqbar (Irene Kopelman & Mariana Castillo Deball) explore the idea of working together as a subject in itself. The “interchanges, mutations, transmutations, metamorphosis and contaminations that working together entails ... the hybrids we create together, not belonging to one or the other but rather creating an in between zone”, as the artists have described.

The exhibition at the Laboratorio 987 is based on the principal of chirality or ‘handedness’. Chirality is a property of an object that is not superimposable on its mirror image. Human hands are perhaps the most recognizable example of chirality: the left hand is a non-superimposable mirror image of the right hand. Cases of chirality can be found in many different organisms in nature, such as in the twisted petals of certain orchids, shells and fish scales.

General view of the exhibition. Photo: Imagen MAS. Courtesy: the artists and MUSAC, León.

The exhibition is composed of a spiral staircase, which serves as a viewpoint for other artifacts and objects. Uqbar creates a psychedelic chiral ecosystem, featuring hanging papier-mâché epiphyte sculptures and enlarged stone microfossils, as well as “Banyan tree drawings, a video of a chemical reaction, fables among non-humans and drawings of hybrid creatures”.

Watch the video interview with Uqbar about their work in the exhibition:


Via youtube

ABOUT THE ARTISTS

Uqbar is an occasional collaboration between artists Mariana Castillo Deball & Irene Kopelman initiated in 2005. Its practice has led to sculptural installations, seminars and publications, and frequently involves the cooperation of individuals outside the artistic field, including scientists and writers. Uqbar’s projects are often sparked by an oblique investigation into a particular repository of knowledge, and following Jorge Luis Borges (whose fictional place Uqbar lends its name to the foundation) they approach a world through an abundance of possible of meanings and possible histories. Fuga di Un Piano (2009) for Manifesta 7, Rovereto, Italy, for example, took the International Center for the study of Futurism as its point of departure, by presenting in part a future archive of some imagined sculptural creations of a speculative creative automaton.

Uqbar projects include Principle of Hope, Manifesta 7, Rovereto, Italy; Zeno Reminder, Cabinet Magazine Space / Performa 09, New York (2009); Principle of Hope, Manifesta 7, Rovereto, Italia (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).


'Amikejo' is an exhibition cycle of four exhibitions guest curated by Latitudes, taking place in January, April, June and September 2011 at the Laboratorio 987, MUSAC. A catalogue by Mousse Publishing companioning the exhibition series will be launched in 2012 following the conclusion of the cycle.

Follow us on #amikejo and on Latitudes' website.

Exhibition kindly supported by the Mondriaan Foundation, Amsterdam.




MUSAC
Avenida de los Reyes Leoneses, 24
24008 León, ES
Tue–Fri: 10–15 / 17–20h; Sat–Sun: 11–15/ 17–21h. Monday closed.

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Latitudes 'out of office' photo album 2010–11 season

Following a tradition started in 2009 (see the 2010 post) we say goodbye to the 2010-11 season with an 'out of office' post with some unseen and 'behind the scenes' moments of the last 11 months. Happy holidays/felices vacaciones!

– Latitudes | www.lttds.org

 17 September 2010: Opening of 'Antes que todo' at the Centro de Arte Dos de Mayo, Móstoles (Madrid). Latitudes contributed artist entries to the exhibition catalogue (+ images)

20 September 2010: BCN-NYC. Ahead are 11 intense weeks of hard work as a partner organisation of 'The Last Newspaper' exhibition, for which Latitudes produced a weekly newspaper in a live situation from the New Museum galleries for 10 consecutive weeks. Weekly blogs and videos of each newspaper (now 'The Last Newspaper' exhibition catalogue): #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. (+ images)
 
25 September 2010: Studio visit with Ester Partegàs (+ images). Partegàs was the 'advertising department' in the 10 tabloid newspaper series edited by Latitudes for 'The Last Newspaper'.

early October: Final touches to 'The Last Newspaper' exhibition curated by Richard Flood and Benjamin Godsill. Show opened 6 October 2010. (+ installation images)

21 October 2010: Presentation of 'Vic Cambrils Barcelona...' project at the Midway Contemporary Art's library, Minneapolis. A selection of 50 self- and micro-published books and paper editions by Catalan artists, designers, curators... (+ images)
  22 October 2010: Yves Klein gala dinner at the Walker Art Center, Minneapolis.

13 November 2010: final checks of issue #7 'The Last Evening Sun' with the brilliant TLN part-time staffers Janine Armin and Greg Barton. (+ images of the exhibition)

18 November 2010: 'The Last...' graphic designers Chad Kloepfer and Joel Stillman discussing with New Museum's Daniel Thiem and Latitudes' the final bits & pieces of 'The Last Newspaper' catalogue.

24 November 2010: Issue #8 'The Last Journal' delivered! Won-der-ful cover by Fernando Bryce.

late November 2010: Checking the headlines of 'The Last Times' (#9) featuring Peter Piller, Robert Gober, Andrea Bowers, Angel Nevarez & Valerie Tevere amongst others.
 Late November: The board is almost filled with the weekly mini-posters with 'The Last...' headlines. Underneath pictures of the team that made TLN possible.

10 December 2010: This is how 10 weeks of full-time work look like when you pile them up.
  10 December 2010: Packaging the 10 newspapers + cover/index with New Museum's Daniel Thiem and the ever helpful Irina Chernyakova.

early January 2011: Delivery of our copies of 'The Last Newspaper' to our home, what-a-moment! (+ images)

19 January 2011: Installing with Christina Hemauer and Roman Keller their solo show at the Aarhus Art Building, Centre for Contemporary Art, Århus, Denmark. (+ images)

Roman & Christina installing 'End of Life - Contribution to the inefficiency of poetry' (2010). They know what they are doing!
 21 January 2011: Leaving our cozy temporary homes before the opening of the exhibition.

26 January 2011: The crates are here! First installation of 'Amikejo: Pennacchio/Argentato' at the Laboratorio 987, MUSAC. (+ images)

Placing one of Pennacchio Argentato's slabs with the installation crew.

Amikejo wonderful helpers Pilar and Maria from the Escuela de Arte Superior de Conservación y Restauración de Bienes Culturales, León. Gracias for being there!

Final touches... Filming a short interview with Pennacchio/Argentato at the Laboratorio 987, MUSAC. You can watch it here.
 21 February 2011: Delivery of Martí Anson's works in Meessen de Clercq, Brussels, for the exhibition 'Expositition International des Arts...' (+ images)

Unpacking Martí Anson's furniture, trying to make sense of their parts.

Unpacking bits and pieces of Sarah Ortmeyer's VITRINE MAURICE (2011).

Lunch break with Maria Loboda, Martí Anson and Max of Latitudes. Eating delicious baguettes from next door's deli.

Placing Maria Loboda's new pieces in the Wunderkammer.

Charlotte Moth's nine photographic prints before being installed.

23 February: Placing Martí Anson's furniture on the (finally dry) platform.

2 March 2011: Studio visit with Iratxe Jaio and Klaas van Gorkum in Rotterdam deciding the display of their forthcoming exhibition at the Laboratorio 987, MUSAC. Above: home-made maquette of the Laboratorio. (+ images)

2 March 2011: Klaas van Gorkum grandfather's lathe in action in the artists' studio (+ info)
 2 March 2011: Trying out different displays and selecting the objects made by Klaas van Gorkum's grandfather for the exhibition, would they all fit in the platform?

3 March 2011: Laying out each page of the forthcoming publication 'Lara Almarcegui. Projects 1995-2010' in the artist studio in Rotterdam.

5 April 2011: Installation day 1 of Iratxe Jaio & Klaas van Gorkum show at the Laboratorio 987.
Tricky part: placing the platform on the wooden legs manufactured by the artists using Jos van Gorkum's lathe.

Klaas discussing with über-fabulous 'Amikejo' coordinator Carlos Ordás, 'Amikejo' helpers Pilar and Maria and the technicians from Artefacto how to install the photographs on the wall.

8 April 2011: Press conference at the Laboratorio 987 (+ info)
 9–13 May 2011: Week-long seminar with A-Study participants discussing curatorial practices. Photo: Gerda Kochanska.
 20 May 2011: Studio visit with Lee Welch at Piet Zwart in Rotterdam, to discuss his ideas for the final Amikejo show (opening 24 September) at the Laboratorio 987 in collaboration with Fermín Jiménez Landa.

early June 2011: Navigating Venice by vaporetto... (photo tour Giardini, Arsenale and Eventi Collaterali)

early June: and navigating Venice by foot...
 
21 June 2011: Unwrapping Irene Kopelman's sculptures to be exhibited as part of Uqbar's exhibition, the third chapter of Amikejo at Laboratorio 987, MUSAC.

22 June 2011: Irene Kopelman and Mariana Castillo Deball unwrapping Mariana's sculptures.

23 June 2011: Installing Uqbar, stairs going up and down...

24 June 2011: Final piece to install. Mariana and Irene Kopelman giving 'left, right, up...' instructions to Artefacto crew member. (+ images)

25 June 2011: Uqbar presents their show to the press and museum staff.

29 June 2011: Third day of 'Campus'. Participants chat outside and look at the project vinyls placed on the façade. (+ images)

4–8 July 2011, week #1 with Libia Castro and Ólafur Ólafsson. Mapping participants to ideas, mapping ideas to participants.

4–8 July 2011, week #1 with Libia Castro and Ólafur Ólafsson. Ólafur and Antoine see the world in 3D.

11–15 July 2011, week #2 with Renata Lucas.

18–21 July 2011, week #3 with Peter Piller.

18–22 July 2011: Mariana invited by the Mondriaan visitors programme to tour Amsterdam, Rotterdam and Utrecht's galleries, museums, art centers and artist studios. Above poster campaign signed by 'Disgruntled Dutch Artists' posted in several institutions in relation to the HUGE change Dutch arts will suffer due to unprecedented cuts. (+ images)

25–29 July 2011, week #4 with Adrià Julià.

29 July 2011, 19.30h: Display of the projects and ideas-in-the-making developed during 'Campus'. After 5 weeks of group talks, video screenings, tutorials and production, a one-month exhibition opens at Espai Cultural Caja Madrid, the same space occupied by 'Campus' during the last five weeks.

All photos: Latitudes | www.lttds.org (except when noted in the photo caption).
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CAMPUS: Semana #4, 25–29 Julio. Sesión de trabajo final con Adrià Julià e inauguración exposición (29 Julio, 19.30–21h)

Adrià Julià,Videostill, 'La Villa Basque, Vernon, California' 2005. Cortesía del artista.

Semana #4: 25–29 Julio
Sesión de trabajo con Adrià Julià
(Invitado semanal, miércoles 27 julio, Jennifer Doyle, Prof. Asociada, University California, Riverside)

Viernes 29 julio, 19.30–21h: Finissage 'Campus', Espai Cultural Caja Madrid, Plaça Catalunya 9 (esquina Rambla Catalunya) - Os esperamos!

Esta última semana se enfocará a la performatividad del discurso artístico y se trabajará sobre los distintos mecanismos de presentación y representación del propio trabajo y del ajeno. Los participantes trabajarán entorno a las estrategias narrativas que pasan por la inmediatez, la presencia, la delegación y la ausencia tanto individual como colectiva. Siendo ésta la última semana, Julià abordará las conclusiones de las experiencias acumuladas durante todas las sesiones de trabajo y los modos de presentación de las ideas y proyectos que se han desarrollado. 



Adrià Julià, Notes on the Missing Oh (2010). Installation, 9.84 ft. x 7.08 in. www.calfund.org

Adrià Julià (Barcelona, 1974) vive y trabaja en Los Angeles, donde se graduó en el California Institute of the Arts, Los Angeles (2003). Julià estudia los comportamientos humanos desde conceptos como memoria, resistencia, desplazamiento, sobrevivencia o erosión, para reflexionar sobre la libertad y las relaciones personales. Entre sus exposiciones individuales destacan: ‘Indications for Another Place’, Museo Tamayo, Mexico DF (2010); ‘No Place Like Home’, Insa Art Space, Seoul, Korea (2009); ‘A Means of Passing the Time’, LAXART, Los Angeles (2007); ‘La Villa Basque’, Vernon, California’, Artists Space, Nueva York (2005). Ha participado en numerosas colectivas, entre las que se encuentran: ‘Antes que todo’, Centro de Arte Dos de Mayo, Móstoles (2010); 7 Bienal do Mercosul, Porto Alegre (2009); ‘The little shop on Hoxton Street’, Limoncello Gallery, Londres (2009); 9 Biennale de Lyon, Lyon (2007). En el 2011 Julià es investigador en la Jan van Eyck Academie, Maastricht.

El 29 de julio tendrá lugar el finissage de
'Campus' en el Espai Cultural Caja Madrid, con una presentación documental de los proyectos e ideas desarrollados durante entre el 27 junio y el 29 julio. Quince artistas nacidos en o después del 1980 seleccionados mediante convocatoria abierta, han participado en cuatro semanas de trabajo consecutivas dirigidas por los artistas Libia Castro (Madrid, 1969) & Ólafur Ólafsson (Reykjavik, 1973), Renata Lucas (Ribeirão Preto, 1971), Peter Piller (Fritzlar, 1968) y Adrià Julià (Barcelona, 1974).

Combinando modelos de escuela experimental y de residencia de artistas, 'Campus' es una escuela temporal, gratuita y sin créditos universitarios que tendrá lugar en el Espai Cultural Caja Madrid (Barcelona) entre el 27 Junio y el 28 Agosto 2011.

'
Campus' es un proyecto concebido y dirigido por Latitudes y producido por Obra Social Caja Madrid. 

 Síguenos en Twitter #campusespai
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