Longitudes

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

NoguerasBlanchard announces "Curatorial Open Call 2012" – deadline 31 December 2011

View of the gallery space. Courtesy NoguerasBlanchard.

NoguerasBlanchard is pleased to announce a Curatorial Open Call 2012, which invites individuals or collectives to submit a proposal for curating an exhibition at NoguerasBlanchard in Barcelona. The successful proposal will take place between June and July of 2012.

For four years now NoguerasBlanchard’s exhibition program has included in the month of June an exhibition proposal by a guest curator. In order to continue this line, to expand artistic horizons and provide a platform for curatorial practice and the making of group exhibitions, we launch our Curatorial Open Call 2012.

The selected curator/s will receive a maximum of €4.000 in concept of honorarium and exhibition production budget.
NoguerasBlanchard will provide administrative and production support, design and mailing of the press release/invitation card and an opening reception. The curator/curatorial collective must be in Barcelona for the setting up and the opening evening.

Application criteria

The proposal should:
- Be thought taking in consideration NoguerasBlanchard exhibition space (see floorplan below)
- Have an international interest
- Show financial feasibility
We encourage proposals to challenge curatorial and gallery practices.

Application procedures

The decision will be made public on
NoguerasBlanchard website and by mail, before February 1st, 2012
The jury will consist of 4 curators/curatorial group that have previously carried out group shows in the gallery:
Latitudes (Max Andrews and Mariana Cánepa Luna), independent curatorial practice. Extraordinary Rendition, exhibited in 2007;
Jacqueline Uhlmann, independent curator. Shining by Absence, exhibited in 2009;
Juan Canela, independent curator. Ref 08001, exhibited in 2010;
Direlia Lazo, independent curator. Somewhere Else, exhibited in 2011.

The submission should include:

- A short biography or curriculum vitae (1 page), and contact address of the curator/s.
- An exhibition/project outline explaining the purpose and concept (600 words maximum)
- Initial list of artists and a succinct description of their practice and recent exhibitions (100 words maximum)
- Images of the works to be included with suitable captions.
- Detailed production budget that must include:
 
  1. Proposed curatorial fee / expenses derived from curators attendance to requested events
  2. Return transports and insurance
  3. Eventual production of new works
  4. Eventual architectural adaptation of gallery space (see map below)
Application deadline: December 31, 2011
 
Please submit your applications exclusively in English, in a pdf file up to 3MB, to: [email protected]

 
Please write ‘NoguerasBlanchard Curatorial Open Call’ in the subject line. You will receive an email confirming the reception of your proposal. For more information please contact Zaida Trallero at [email protected]

Information about NoguerasBlanchard
NoguerasBlanchard opened in June 2004 and is located next to Las Ramblas in the historic, multi-ethnic, Raval neighbourhood, in Barcelona. In this context we are strongly committed to developing an exhibition programme with emerging international artists whose work shows strong conceptual concerns and participates in the dialogue between art and broader currents in contemporary society.

The gallery's main goal is to engage in a long-term commitment with the careers of its artists and to be highly involved in the production of works. We are assisting with proposals, raising funds to produce films, biennial projects or catalogues while working in close alliance with international galleries and institutions, generating from co-productions to traveling exhibitions.
NoguerasBlanchard's participation in international fairs is essential for the promotion of our artists world-wide, while enabling us locally to maintain a lively and stimulating environment for art production and exchange.



Map of NoguerasBlanchard
NoguerasBlanchard
c/ Xuclà 7
08001 Barcelona · Spain
www.noguerasblanchard.com
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Newsletter #38: November/noviembre 2011


Newsletter en Español  |  Newsletter in English



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).

Follow #amikejo


RECENT BLOG POSTS...


 
FROM THE ARCHIVE...

'Exposition Internationale des Art Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne', Meessen De Clercq, Brussels, Belgium, 25 February–16 April 2011. With the participation of Kasper Akhøj (1976, Copenhagen, Denmark. Lives in New York, US); Martí Anson (1967, Mataró, Spain. Lives there); Maria Loboda (1979, Kraków, Poland. Lives in London, UK); Charlotte Moth (1975, Carshalton, UK. Lives in Paris, France); Sarah Ortmeyer (1980, Frankfurt am Main, Germany. Lives there). See photos of the exhibition.


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'Banquete sinestésico' de Erick Beltrán en Halfhouse

[Web de Halfhouse/La Estrategia Doméstica]:

Erick Beltrán realizará una cena-performance transformando con la ayuda de un chef el espacio Halfhouse en el comedor para un banquete, utilizando los platos como base de su discurso. La performance es un estudio del fenómeno de sinetésia como metáfora para la práctica de la traslación. Erick nos presentará una variedad de platos llevando al invitado a una exploración culinaria y histórica.


Beltrán ha realizado este tipo de evento analizando el concepto de sinestesia en dos ocasiones anteriores: la primera fue en la Kadist Art Foundation ('A dinner with...', 2008) y recientemente en Villa Arson (2010), en el contexto de la exposición 'Double Bind/Stop trying to understand me!'.

'Banquete sinestésico' tuvo lugar el 29 Octubre en Halfhouse, Barcelona:

3 mesas, 30+/- invitados.

 Inspeccionando la cocina para obtener pistas acerca del misterioso menú...

 Ingredientes revelatorios...

 Nos dicen que el segundo plato está descansando...

 más pistas... parece que en el medievo cuando no se tenía pescado a mano, se preparaba este plato a base de hígado

el tedioso trabajo de pelar huevos de codorniz

 Primer plato casi listo...

 Erick ultimando su presentación

 Invitados empiezan a llegar y a degustar el aperitivo especial de la noche, el cocktail Snake in the grass

 Empieza la cena-performance

 Entrante: Aspic de huevo de gallina y huevo de codorniz, acompañada de anguilas y cilantro

 Sigue la charla...

Presentación oficial del primer plato: codorniz dentro de una perdiz, dentro de una gallina de Guinea, dentro de un pato, dentro de un pavo, o algo así...el 'campo expandido' de una matrioska/Turducken. Se acompaña con una salsa de higos y/o garo

 Por cierto exquisito...

 Siguen los diagramas...los ourobouros...la patafísica...el yo y el super-yo...

Segundo plato: boquerones dentro de una lubina dentro de un bacalao. Buen provecho.

 Sobre cómo leer el futuro observando las partes de un hígado...

 Tercer plato: conejo con chocolate...

Sirviendo vino con hinojo como acompañante del postre (no comestible): música futurista

 Muchos cocktail, muchas Estrella...

 Apocalíptica cocina post-cena...


Erick Beltrán (México DF, 1974. Vive y trabaja entre Barcelona y México DF) estudió Artes Visuales en la Universidad Nacional de México (ENAP-UNAM), entre 1993 y 1997. Posteriormente, participó en residencias artísticas como ENSAD, París (2000-2001) y Rijksakademie, Amsterdam, (2002-2004). Ha realizado diversas exposiciones individuales incluyendo Enciclopedia, Galería OMR (Ciudad de México, 2005); Punchdrunk, SMAK (Gent, Bélgica, 2005); Analphabet, Stedelijk Museum Bureau (Amsterdam, 2005); Réplica (con Jorge Macchi), Muca Roma (Ciudad de México, 2004). Además, ha participado en exposiciones colectivas como la Bienal del Mercosur (Porto Alegre, 2005); Algunos libros de artistas, Proyectes SD (Barcelona, 2005); Prague Biennale 2 (Praga, 2005); Circuitos/Circuits, Matucana100 (Santiago de Chile, 2005), Bienal de Sao Paulo (2008), Manifesta 8 (Murcia, 2010) y más recientemente la actual 11ª Bienal de Lyon.

 
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
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Update: Contents of the forthcoming publication 'Amikejo' to be realised in January 2012 by Mousse Publishing

Photo: Courtesy Musée de la Vallée de la Greule
As announced on our previous post, we are currently editing the forthcoming catalogue 'Amikejo', which concludes the exhibition cycle that has taken place at the Laboratorio 987 in MUSAC, León.

One of the main essays (aside that by Prof. Peter Osborne around the philosophical and the historical development of the 'project space' as a type of art space) is that by Prof. Ryszard Żelichowski, Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences, titled "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna", which narrates the story of the small state Neutral Moresnet which, in 1908 became the first Esperanto state and changed its name to 'Amikejo' ('a place of great friendship' in Esperanto).

Below an excerpt of what's to come...
Upon Napoleon’s defeat in 1814, the victorious coalition faced the need to introduce a new order in Europe. European citizens could gain entirely new borders for the states they inhabited; first and foremost however, the coalition saw hope for the improvement of the terms of their nation’s existence. The Congress of Vienna had to deal with these challenges while reconciling the often contradictory expectations of both big and small states.One such challenge was posed by an area of what had been the Aubel canton during the French Empire, which today is part of the Belgian municipality of Kelmis. This territory – more precisely a small part of it – wedged between what is today Belgium and Germany enjoyed a certain amount of independence for over a century, and had many attributes of a sovereign state: its own anthem, flag, currency, and postage stamps. This mini-state, Neutral Moresnet (1816–1919), has been mostly forgotten by historiography, and almost two hundred years since its creation, I would like to commemorate the extraordinary fortune of this tiny piece of land at the heart of Western Europe.

Title: 'Amikejo'
Edited by: Latitudes
Publisher & Distributor: Mousse Publishing and MUSAC
Format: 22,5x15,5cm, 200 pp, hardcover
Language: English/Spanish
Print run: 1,200
Date of publication: Spring 2012


Follow the project on Latitudes' Twitter #Amikejo
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Details of the forthcoming 'Amikejo' exhibition catalogue published by Mousse Publishing

Poster of the exhibition cycle. Designed by Latitudes.


We are now editing the 'Amikejo' final publication to be released by Mousse Publishing in Spring 2012. The 200-page-publication will include essays by:

Peter Osborne (Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy at Kingston University London);
Ryszard Żelichowski (Professor and Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences);
Theo Beckers (Former Professor of Leisure Studies at Tilburg University and currently faculty member of the Tilburg Sustainability Center and Visiting Professor of the Chinese Academy of Sciences);
Prof. Dr. Menno Schilthuizen (Research scientist at NCB Naturalis, an endowed chair for Insect Biodiversity at the University of Groningen and an Associate Professorship at Leiden University)

amongst others, as well as texts on each exhibition by Latitudes.

In the meantime some images of the exhibitions on Latitudes' flickr, including the final exhibition 'Amikejo: Fermín Jiménez Landa & Lee Welch', on view at the Laboratorio 987, MUSAC, until 15 January 2012. More soon!




All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)

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Newsletter #37 - October/octubre 2011


Newsletter en Español | Newsletter in English

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).

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':


...The rest (#2 to 10 plus #0 with Contents+Index) now available on Issuu!


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Participación en el simposio 'Antimonumentos: Crítica en el Espacio Público', Espai d'Art Contemporani de Castelló, Sábado 22 Octubre 2011

Programa simposio

10.30 h: Ángela Molina Climent, Organizadora del simposio: 'ANTIMONUMENTOS: CRÍTICA EN EL ESPACIO PÚBLICO'

Más allá de su papel como sitey 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 producirgrupos 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 ABChasta 2000. Desde 2001 colabora en las secciones de arte y literatura de los suplementos culturales Babeliay 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 solterasde 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 EtcyEl 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 Frauexpone 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 Portscapesexaminó 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 leitmotifitinerarios 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. 

Latitudeses 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 Amikejoen 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 Públicses 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 concursode participación ciudadana Racons Públics, organizado en Barcelona en 2004 y 2010 porel 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 2004y 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 Públicsde participación ciudadana en el diseño urbano. 

18.30h: MESA REDONDACON 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: 21 de octubre o cuando se cubran las plazas
    Plazas limitadas
    Para más información: [email protected]/ tel. 964 72 35 40

    Espai d'art contemporani de Castelló
    c/ Prim s/n
    12003 Castelló
    Tel +34 964 72 35 40
    Fax +34 964 26 07 71
    [email protected]

    www.eacc.es
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    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."

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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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