Newsletter #37 - October/octubre 2011
Mon, Oct 3 2011
THIS MONTH...
Participation in the symposia 'Antimonuments: Critique of Public Space', Espai d'Art Contemporani de Castelló, Saturday 22 October 2011. Coordinated by Ángela Molina and with the participation of Iria Candela (Assistant Curator, Tate Modern, London), Patricia Esquivias (artist, Madrid), Latitudes (independent curators, Barcelona) and Racons Públics (curator/architect, Barcelona).
UNTIL 15 JANUARY 2012...
'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León, 24 September 2011–15 January 2012.
Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their collaborative working process (in Spanish).
'Amikejo: Fermín Jiménez Landa & Lee Welch', fourth and final exhibition of the cycle 'Amikejo' at the Laboratorio 987, Museo de Arte Contemporáneo de Castilla y León, León, 24 September 2011–15 January 2012.
Read article by Bea Espejo (El Cultural, 2 August 2011) related to the artists' work and their collaborative working process (in Spanish).
Follow #amikejo
FROM THE ARCHIVE...
Coinciding with the first anniversary of the beginning of 'The Last Newspaper' exhibition at the New Museum (6 October 2010–9 January 2011), readers are now be able to flick through the pages of the exhibition catalogue via Issuu:
#0 Contents + Index; #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.
Read the first issue 'The Last Post':
Read the first issue 'The Last Post':
Participación en el simposio 'Antimonumentos: Crítica en el Espacio Público', Espai d'Art Contemporani de Castelló, Sábado 22 Octubre 2011
Fri, Sep 30 2011
Programa simposio
10.30 h: Ángela Molina Climent, Organizadora del simposio: 'ANTIMONUMENTOS: CRÍTICA EN EL ESPACIO PÚBLICO'
Más allá de su papel como site y depósito de obras de arte, el museo como instrumento cultural –que se ha ido desarrollando paralelamente a la museización de la propia cultura– es una institución normalizadora y disciplinaria. Como repositorios de objetos del pasado, los museos dan sentido a la historia, pero también construyen activamente las relaciones entre la producción de la subjetividad y la producción de objetos materiales. Durante los últimos años, con la tendencia a fusionar los lugares de producción y exhibición (lugares discursivos), todo el aparato institucional que rodea a la obra participa en la creación de nuevos valores y significados estéticos. El activismo y el arte han transformado sus estrategias para producir grupos de artivistas favorables a una concepción educativa y participativa de la institución. En este simposio, artistas, comisarios, historiadores y urbanistas hablarán de la necesidad de una crítica independiente desde el espacio público, con el fin de perturbar una cultura dominante que depende de un sistema de valores y líneas de autoridad aparentemente incólumes.
Ángela Molina Climent es Licenciada en Filología Española y doctora en Teoría de la Literatura y Literatura Comparada por la Universitat Autònoma de Barcelona (UAB), ejerció la crítica de arte en el suplemento de cultura del diario ABC hasta 2000. Desde 2001 colabora en las secciones de arte y literatura de los suplementos culturales Babelia y Quadern (El País), y en publicaciones especializadas (LARS, Revista de Libros). Ha dirigido la revista de arte y pensamiento Art&Co, y es especialista en teoría feminista y estudios de género. Editora del libro Los Lugares de la Crítica (Ed. Universidad Pública de Navarra, 2011) y autora de La máquina de las solteras de próxima publicación (Ed. Periférica).
11 h: Iria Candela: 'LATINOAMÉRICA: LA CALLE COMO EXPERIMENTO'
El arte en Latinoamérica de las dos últimas dos décadas viene ensayando formas de intervención poético-políticas en la ciudad que difieren de las prácticas subversivas y anti-institucionales de las dos décadas anteriores, caracterizadas por el represivo contexto de las dictaduras. Estas nuevas formas se insertan en los diversos procesos de democratización y desdemocratización que experimenta el continente, cuestionando ciertos modelos culturales de la globalización y apuntando nuevos desafíos en el interfaz entre estética y política. Se discutirán algunos ejemplos destacados, como las intervenciones recientes de Héctor Zamora en Bogotá o Regina José Galindo en Guatemala.
Iria Candela es curadora adjunta en la Tate Modern de Londres desde 2009, donde ha trabajado en exposiciones de artistas como Theo van Doesburg, Gabriel Orozco, Alejandro Cesarco y, actualmente, Tacita Dean y Roy Lichtenstein, entre otros. Es doctora en Historia del Arte por la Universidad Autónoma de Madrid y máster en Arte Moderno por Columbia University de Nueva York. Autora de los libros Sombras de Ciudad. Arte y transformación urbana en Nueva York 1970-1990 (Alianza, 2007) y Joan Miró (Tate, 2011), ha realizado la edición crítica del catálogo Francesc Torres. Da Capo (Macba, 2009). Ha escrito sobre arte para publicaciones como The Burlington Magazine, Lápiz, Tate Etc y El País, y ha impartido ponencias en las universidades de Harvard, Oxford y Sorbonne. Miembro del Comité de Adquisiciones Latinoamericanas de la colección de la Tate, actualmente ultima la publicación de un libro sobre arte contemporáneo en América Latina.
12.30 h: Patricia
Esquivias: 'LIEBE
FRAU'
Patricia Esquivias observa Castellón a la distancia y reflexionará en torno a su identidad geográfica. Compuesto de pequeños monólogos dirigidos a una señora alemana, que ocupa en la obra el papel de censora, Liebe Frau expone los problemas que supone hablar de realidades estrambóticas. Al igual que en otros trabajos de la serie Folklore (videos seudoeducativos sobre España), la artista elaborará exquisitas asociaciones entrelazando referencias personales, cotidianas e históricas. En Liebe Frau, Esquivias llevará un paso más allá la naturaleza subjetiva de su trabajo, y pondrá en evidencia la limitación del lenguaje para explicar ciertas idiosincracias.
Patricia Esquivias observa Castellón a la distancia y reflexionará en torno a su identidad geográfica. Compuesto de pequeños monólogos dirigidos a una señora alemana, que ocupa en la obra el papel de censora, Liebe Frau expone los problemas que supone hablar de realidades estrambóticas. Al igual que en otros trabajos de la serie Folklore (videos seudoeducativos sobre España), la artista elaborará exquisitas asociaciones entrelazando referencias personales, cotidianas e históricas. En Liebe Frau, Esquivias llevará un paso más allá la naturaleza subjetiva de su trabajo, y pondrá en evidencia la limitación del lenguaje para explicar ciertas idiosincracias.
Patricia Esquivias nació en Caracas y creció en Madrid. Estudió arte en Londres y San Francisco. En Madrid trabajó junto con Manuela Moscoso en la programación de los29enchufes. Desde el 2005 trabaja en video y ha expuesto sus trabajos entre otros en Madrid (Museo Nacional Reina Sofía, Galería Maisterravalbuena, Centro de Arte Dos de Mayo), Alemania (Frankfurter Kunstverein, 5th Berlin Biennale), Nueva York (White Columns, Murray Guy, New Museum), Italia (Arcos Museum, Artissima) y en Inglaterra (East International, Royal College of Art). Actualmente disfruta de una beca en la Akademie Schloss Solitude en Stuttgart.
[Pausa almuerzo]
16h: Latitudes (Max Andrews and Mariana Cánepa Luna): 'PORTSCAPES:
ITINERARIOS Y DESTINACIONES EN EL PUERTO DE RÓTERDAM'
 |
| 'Making of' de Jan Dibbets '6 hours tide object with correction of perspective' (2009). |
Con la participación de diez artistas de diversos países (Lara Almarcegui, Bik van der Pol, Jan Dibbets, Marjolijn Dijkman, Fucking Good Art, Ilana Halperin, Roman Keller and Christina Hemauer, Paulien Oltheten, Jorge Satorre y Hans Schabus (web: Maria Barnas (poesía) y Markus Miessen (entrevistas)), el proyecto Portscapes examinó las implicaciones físicas y conceptuales de los nuevos horizontes del Maasvlakte 2, la extensión de la zona portuaria e industrial de Róterdam, la más extensa de Europa, que entre el 2008 y 2013 robará 2.000 hectáreas de terreno al mar. Portscapes giró entorno al leitmotif itinerarios y destinaciones, creando proyectos de escala y temporalidad variable (performances, excursiones, esculturas efímeras y proyecciones), con la intención de desarrollarse como una guía de la zona portuaria que se extiende a lo largo 40 kilómetros. En el simposio se analizarán cuatro proyectos de Portscapes, los realizados por Jan Dibbets, Jorge Satorre, Lara Almarcegui y Cyprien Gaillard (no realizado), y se pondrá en cuestión la noción de anti-monumento y específicamente las negociaciones y retos que se plantearon a nivel artístico y curatorial.
Latitudes es una oficina curatorial independiente dirigida por Max Andrews y Mariana Cánepa Luna, fundada en el 2005 y con sede en Barcelona. En el 2009 comisariaron Portscapes, una serie de diez proyectos públicos en el Puerto de Róterdam producidos en el contexto de la expansión del puerto, la zona portuaria e industrial más extensa de Europa. Latitudes ha participado en el festival de organizaciones independientes NO SOUL FOR SALE (X Initiative, Nueva York, 2009 y Tate Modern, Londres, 2010); fue organización asociada en la exposición The Last Newspaper, New Museum, Nueva York (2010–11) para la que publicó un periódico semanal durante la exposición. Durante la temporada 2011 ha comisariado el ciclo Amikejo en el Laboratorio 987, MUSAC, León.
17.15h: Racons Públics (Sara Dauge y Alejandro Giménez): "ARTE Y MICROCIRUGÍA URBANA"
La
constante transformación de nuestras ciudades deja atrás espacios
residuales, huecos y rincones. En el paisaje urbano actual, esos
rincones ponen de manifiesto la falta de atención al detalle en el
acelerado proceso de desarrollo que transforma nuestras ciudades. Son
problemas de pequeña escala que quedan enquistados en los
intersticios de la gran metrópoli: roces entre tejidos, en los
perímetros y en el contacto con las infraestructuras, las
dificultades de adaptación al relieve, las discontinuidades en las
tramas, la desertización de la ciudad abierta, los monocultivos
funcionales, las medianeras desnudas como evidencia de los conflictos
internos de los crecimientos compactos, los cambios normativos, las
imprecisiones del planeamiento, la desafección del promotor privado
y la falta de recursos materiales o técnicos. El
concurso de participación ciudadana en el diseño de la ciudad
Racons
Públics
es una iniciativa que plantea la recuperación y dinamización de
lugares degradados, olvidados o desaprovechados, para su uso público.
Sus objetivos son abrir la disciplina urbanística a
otras áreas del conocimiento, de las ciencias y de las artes al
tiempo que se recuperan ocho enclaves significativos de la ciudad de
Castellón.
Sara Dauge es historiadora urbana. Estudió en la Universidad de París Panthéon Sorbonne. En su doctorado investigó las formas de sociabilidad en Barcelona desde 1833 hasta 1844. Se dedicó a la investigación histórica y urbana dentro del despacho de arquitectura, urbanismo y paisaje de Beth Gali, Barcelona. Fue comisaria de la exposición Urbanismo y ocio en la Barcelona de 1850, casa Elizalde, Barcelona 1999. Desde 1998 en colaboración con Alejandro Giménez se dedica al comisariado y coordinación del concurso de participación ciudadana Racons Públics, organizado en Barcelona en 2004 y 2010 por el FAD (Foment de les arts i del disseny) y con el apoyo del Ayuntamiento de Barcelona. Desde 2006 es secretaria ponente de la comisión de esculturas del Ayuntamiento de Barcelona, encargada de establecer un diálogo entre el arte contemporáneo y el espacio público.
Alejandro
Giménez es
arquitecto por la Escuela Técnica Superior de Arquitectura de
Barcelona, donde es profesor en el Departamento de Urbanística y
Ordenación del Territorio desde 1998. Es
profesor en la Universidad de Salamanca, máster de Diseño de
Interiores, desde 2004
y profesor
en la Universidad Pompeu Fabra, máster de Nuevos Formatos
Expositivos. Ha
colaborado con arquitectos de Barcelona: Beth Galí, Enric
Miralles, Oriol Bohigas, y otros. Desde 1998 forma estudio
propio, con proyectos de espacio público para el centro de
Dublín, edificación y rehabilitación en Barcelona y otras
poblaciones catalanas. Es
comisario y coordinador del concurso Racons
Públics
de participación ciudadana en el diseño urbano.
18.30h: MESA REDONDA CON LA PARTICIPACIÓN DE TODOS LOS PONENTES
18.30h: MESA REDONDA CON LA PARTICIPACIÓN DE TODOS LOS PONENTES
–
INSCRIPCIÓN AL SIMPOSIO
Precio:
20 €
Precio
Amigos del EACC:
14 €
Forma
de pago:
mediante
depósito en BANCAJA,
nº de cuenta 2077 0583 87 3101700604
Al
realizar el ingreso, es necesario colocar el nombre y apellidos e
indicar el nombre del Simposio para el cual se hace el ingreso.
Fin
de la inscripción:
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Plazas limitadas
Opening performance: 'Himno Nacional' (2011) by Fermín Jiménez Landa & Lee Welch in the context of their exhibition 'Amikejo' at the Laboratorio 987, MUSAC
Mon, Sep 26 2011
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' – 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
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)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Report in quotations from 'Talking Galleries', 19–21 September 2011, MACBA auditorium
Tue, Sep 20 2011A 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
2011, ARCO, Art Basel, art fairs, arte contemporáneo, artworld, Carles Guerra, conference, Frieze Art Fair, MACBA, Spanish Art Scene, talk
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)
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
Robert Smithson's 'Broken Circle/Spiral Hill Revisited' (1971–2011) and The Land Art Contemporary programme
Wed, Sep 14 2011
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) by Alauda Publications to be released 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.
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.
Mon, Sep 12 2011
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.
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.
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.
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...
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. |
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
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
Tour around Stockholm: 'The Spiral and the Square' opening at Bonniers Konsthall, IASPIS, Moderna Museet, Biologiska Museet and a few gallery openings
Mon, Sep 5 2011
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.
Newsletter #36 – September/septiembre 2011
Thu, Sep 1 2011
'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.
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www.youtube.com/LatitudesVideos
www.flickr.com/photos/lttds/
SAVE THE DATE: 24 September opening final 'Amikejo' show with Fermín Jiménez Landa & Lee Welch, Laboratorio 987, MUSAC, León
Mon, Aug 29 2011
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 sovereignty – borders, 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
Photo gallery of Uqbar's 'Amikejo' exhibition, on view until 11 September at the Laboratorio 987, MUSAC, León
Sat, Aug 20 2011Uqbar's flickr slideshow
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 musacmuseo's 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).
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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.