Longitudes

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

Workshop for Curating Lab 2014: Imagining an institution

After a morning lecture introducing a range of our projects to the 11 participants of Curating Lab 2014, we proposed a challenging exercise: to define a succinct "about us" paragraph for three imaginary institutions. (Named after the first three Pacific hurricanes of the 2014 season, no less.) Following the root of word "institution" (to establish, to set up), the task was not an architectural challenge nor a branding exercise, but one that first asked what practices are imagined to be initiated, how programmes are established and for whom are they set up.

Participants took into account the parameters we described for each of three art-institution typologies – a residency/studio programme; an annual festival and a commissioning body. After a one-hour brainstorm within each group, participants came up with a paragraph that concisely communicated the "vision and values" of the new entities, responding to "what we do, how do we do it and why we do it that way".

The task wasn't oriented towards building a "business plan", though an integral part involved consideration of funding models, and who or what has a stake in the imagined organisation – city/state, philanthropists/donors, users/members/tickets, prizes/open calls, etc. We didn't expect job descriptions, but participants were encouraged to consider what kind of roles the staff within the imaginary institution might take up – would it have a core full-time team or occasional collaborators? What skills or roles would be taken up across curating, producing, publishing, researching, hosting, leadership, and so on?

The exercise was not to come up with a pitch to potential supporters (i.e. in future tense), but to exercise imagination in the present and to define what an organisation stands for and actually does in a succinct way. The aim was to think holistically about their "pet" organisation, its different programme strands and its relation to its local/international network.

1. CRISTINA – A residency/studio programme


"Cristina provides residential, and studio facilities for national and international artists. It is based in several live/work spaces and as yet undefined rooms in a former school building in a small town on a remote island in an area of outstanding natural beauty. It is a day's travel to the nearest city. The local community of 800 people are mostly involved in fishing and farming."


2. AMANDA – An annual festival


"Amanda is an event-based format and is based in a major densely-populated prosperous city with a strong corporate and media culture as well as several world-renowned museums,  contemporary art centres and universities. The events take place in a specific block of time and involve organised, extended presentations and places for viewing them."

3. BORIS A commissioning body


"Boris invites artists to make temporary artworks in public spaces and locations that are not galleries or museums. It is based in a provincial port city that used to have a thriving economy based on heavy industry. The city is suffering from high unemployment, there are many abandoned buildings and wastelands."
 


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Report of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014

 During the presentation of Shabbir Hussain Mustafa and Charles Lim. Photo: Latitudes.

The public symposium "When Does an Exhibition Begin and End?" (14 May 2014) was part of this year Curating Lab 2014 programme organised by NUS Museum. The event, convened and moderated by Heman Chong and Latitudes, counted with the participation of Shabbir Hussain Mustafa (Curator, National Gallery Singapore), Charles Lim (artist); Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao.

Addressing the format of the exhibition in terms of duration and process, the public symposium "When Does an Exhibition Begin and End?" consisted of two complimentary sessions that reflected on exhibitions' capacity to articulate its own making and incorporate its own history. In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the symposium will further ponder on how the exhibition and today's art institutions are undergoing similar transformations. Should exhibitions embrace or resist becoming more like broadcasting or live-publishing? "When Does an Exhibition Begin and End?" considered how exhibitions produce knowledge through the format of conversations between curators and artists. 


The first panel with Shabbir Hussain Mustafa and Charles Lim. Photo: Luca E.C.

Charles Lim and Shabbir Hussain Mustafa during the Q&A. Photo: Luca E.C.


 Audience. Photo: Luca E.C.

 Vera Mey, Anca Rajoiu and Shubigi Rao during the Q&A. Photo: Luca E.C.

The event was an occasion to reflect on the role of a symposium and its public within curatorial practice, and counted with the engagement of Curatorial-Intensive participants who live-tweeted proceedings, a second group mapped concepts of the discussions (see photos below), and a final group will soon publish a blog post documenting and reporting the day for those not physically present.

 Curatorial Intensive participants live-tweeting the proceedings. Photo: Luca E.C.

Group working on the mapping of concepts throughout the symposium. Photo: Luca E.C.

 Map 1 by Curatorial Intensive participants. Photo: Latitudes.

Map 2 by Curatorial Intensive participants. Photo: Latitudes.

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Storify of Curating Lab 2014 Overseas Field Trip to Hong Kong, 16–20 June 2014







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Public Symposium "When Does an Exhibition Begin and End?" on 14 June 2014 at the National Library, Singapore



"When Does an Exhibition Begin and End?"
A public symposium part of Curating Lab 2014
Saturday 14 June 2014
3–5pm 
Level 5 - Possibility, National Library Building, Singapore 
Free admission with registration, please write to [email protected]

Addressing the format of the exhibition in terms of duration and process, the public symposium "When Does an Exhibition Begin and End?" on June 14th, will consist of two complimentary sessions with the participation of curators and artists who will reflect on exhibitions' capacity to articulate its own making and incorporate its own history. In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the symposium will further ponder on how the exhibition and today's art institutions are undergoing similar transformations.

Is an ongoing production of discourse and research accountability increasingly expected of curators? Are artists engaging differently with new channels for the documentation and distribution of their work and what contextualises it? Should exhibitions embrace or resist becoming more like broadcasting or live-publishing? "When Does an Exhibition Begin and End?" will consider how exhibitions produce knowledge through the format of conversations between curators and artists.


In the first session Shabbir Hussain Mustafa (Curator, National Gallery Singapore) and artist Charles Lim will talk about their ongoing professional collaboration including Lim's long-term SEA STATE project and the related solo exhibition In Search of Raffles’ Light (NUS Museum, 24 October 2013–27 April 2014). Mustafa and Lim will address these projects' engagement with the maritime history of Singapore in its intersection with the present while speculating about their approach to future exhibitions, including their forthcoming collaboration for the Singapore Pavilion at the 2015 Venice Biennale.

In the second session Anca Rujoiu and Vera Mey (Curators,
CCA — Centre for Contemporary Art, Singapore) will discuss their recent project "The Disappearance" (CCA, 5–6 April 2013), which took place during the dismantling of a previous exhibition "as a durational event unfolding over two days including a continuous series of manifestations". Rujoiu and May will be joined by participating artist Shubigi Rao to discuss her project "Visual snow" (2014), presented during "The Disappearance" as an ongoing part of her biographical study of "the reclusive S. Raoul".

Within the context of Curating Lab 2014, "When Does An Exhibition Begin and End?" will be treated as an occasion to reflect on the role of a symposium and its public within curatorial practice. It will count on the engagement of Curatorial-Intensive participants who will be live-tweeting proceedings, mapping concepts of the discussions, and devising an approach to documenting and reporting the day for those not physically present.

The symposium is convened and moderated by artist, curator and writer Heman Chong and Barcelona-based curatorial office Latitudes (Max Andrews and Mariana Cánepa Luna).

Organised by: NUS Museum
Institutional Partner: Centre for Contemporary Art, Singapore
Supported by: National Arts Council
Venue Sponsor: National Library Board, Singapore
 



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Lead Facilitators, Curating Lab 2014–Curatorial Intensive, National University of Singapore (11–14 June), symposium (14 June, 15–17h) and field trip to Hong Kong (16–20 June)

Curating Lab 2012. Courtesy: NUS Museum.

Alongside artist, curator and writer Heman Chong, Latitudes will lead the first phase of Curating Lab 2014 (11–14 June), a curatorial intensive in which 15 participants engage with the practice of exhibition-making through lectures and tutorials concluding with a field trip to Hong Kong (16–20 June).

Curating Lab 2014 is an eight month-long programme offering final year students, recent graduates and young curators exposure into contemporary curatorial perspectives and practices. Organised by NUS Museum with support from Singapore's National Arts Council, participants are firstly involved in a week-long curatorial intensive completed with an overseas field trip to Hong Kong. This first phase is followed by internship assignments to contemporary art spaces in the city (July–December 2014), and concludes with a final exhibition project in January 2015.


Courtesy: NUS Museum.

Curating Lab 2014 will focus on contemporary art and curatorial practices that engage with the exhibition as a site of knowledge production; one that is multifarious, relational and participatory providing scopes for intents and slippages, opened to interpretative articulations and re-articulations, subjected to varying contexts of exhibition-making and the very audiences that perform and shapes its production. Lectures and workshops will be led by Heman Chong and Latitudes to explore concepts of knowledge production in the realms of art, fiction, journalism, theory and other possibilities. 

As part of Curating Lab 2014's curatorial-intensive, the public symposium "When Does an Exhibition Begin and End?" on 14 June (3–5pm, Level 5 of the National Library Building), will bring together Singapore-based artists and curators Shabbir Hussain Mustafa (Curator, National Gallery Singapore), artist Charles Lim; Anca Rujoiu and Vera Mey (Curators, CCA — Centre for Contemporary Art, Singapore) and artist Shubigi Rao, to discuss their recent and ongoing projects. Addressing the format of the exhibition in terms of duration and process, the symposium will consist of two complimentary sessions that will reflect on the exhibition's capacity to articulate its own making and incorporate its own history. In the same way that the Internet has untethered television from fixed schedules and newspapers from print deadlines, the symposium will further ponder on how the exhibition and today's art institutions are undergoing similar transformations.

"When Does an Exhibition Begin and End?" will count on the engagement of Curating Lab 2014 participants who will be live-tweeting proceedings, mapping concepts of the discussions, and devising an approach to documenting and reporting the day for those not physically present.

The symposium is convened and moderated by Heman Chong and Latitudes.

The Asia Art Archive (AAA) library. Courtesy: Asia Art Archive.








Following on the Curatorial-Intensive, the overseas Field Trip to Hong Kong (16–20 June) aims to expose participants to international curatorial practices and situate their curatorial processes within the region. Participants will be visiting a range of private and public spaces such as Spring Workshop, Asia Art Archive, Para/Site and M+ Museum.

Follow:
#CuratingLab2014



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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.
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Lunchtime Art Forum and seminar with PhD candidates in Curatorial Practice, MADA | Monash Art Design & Architecture, Melbourne, 14 May 2014

Announcement on MADA | Monash University Art Design & Architecture's website.
| UK |

Lunchtime Art Forum: Latitudes (Max Andrews and Mariana Cánepa Luna)
14 May 2014
12:30h
Lecture Theatre G1.04, MADA | Monash Art Design & Architecture

900 Dandenong Road / Caulfield East / Victoria 3145 / Australia
Free entry / all welcome


On May 14 Latitudes will present an overview of the projects they have commissioned, participated in or self-initiated as curators, such as the series of new public projects Portscapes (Port of Rotterdam, 2009), the two iterations of No Soul for Sale: A Festival of Independents (New York in 2009 and London in 2010), or the exhibition series Amikejo (MUSAC, León, Spain, 2011).

The lecture will be followed by an afternoon seminar with candidates from the
Curatorial Practice PhD [download course pdf] during which Latitudes
will present two of its recent projects that are the basis of ongoing research since 2010. Firstly, its involvement as a partner organisation of The Last Newspaper exhibition at the New Museum, New York (2010–11) and secondly, its self-initiated research #OpenCurating (2012–13) formed by ten published interviews with curators, artists and editors that focused on digital strategies, new forms of interaction between publics with artworks, and their production, display and discursive context. To conclude, Latitudes will moderate a debate around the responses to four of the interviews.

This lecture is framed within Latitudes's Visiting Curators Programme residency at Gertrude Contemporar until June 7th.

Related content

Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 April 2014) 


| ES |

Lunchtime Art Forum: Latitudes (Max Andrews y Mariana Cánepa Luna)
14 mayo 2014
12:30h
Lecture Theatre G1.04, MADA | Monash Art Design & Architecture
900 Dandenong Road / Caulfield East / Victoria 3145 / Australia
Entrada libre


El 14 de Mayo Latitudes presentará varios de los proyectos que se le han comisionado, en los que ha participado o ha iniciado de motu proprio como comisarios, tales como la serie de nuevos proyectos en el espacio público Portscapes (Port of Rotterdam, 2009), las dos iteraciones de No Soul for Sale: A Festival of Independents (Nueva York en 2009 y Londres en 2010), o el ciclo expositivo Amikejo (MUSAC, León, 2011).

La conferencia será complementará con un seminario con los candidatos del doctorado en
Curatorial Practice [descargar pdf del curso] durante el cual Latitudes
presentará dos de sus proyectos que forman la base de su investigación en curso desde 2010. En primer lugar, su participación como organización asociada en la exposición The Last Newspaper en el New Museum, Nueva York (2010–11) y en segundo lugar, la investigación #OpenCurating (2012–13) formada por diez entrevistas publicadas online con comisarios, artistas y editores, enfocadas en el análisis de las estrategias digitales y las nuevas formas de interacción entre los públicos y las obras de arte, su producción, exhibición y su contexto discursivo. A continuación Latitudes moderará un debate en torno a los contenidos de cuatro de las entrevistas de #OpenCurating.  

La conferencia se enmarca dentro de la residencia como parte del Visiting Curators Programme en Gertrude Contemporary, del que Latitudes participa hasta el 7 de junio.

Contenido relacionado:
 
Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014 (28 abril 2014)
 

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Visiting Curator Program, Gertrude Contemporary, Melbourne, 12 May–7 June 2014

Courtesy: Gertrude Contemporary.

Latitudes has been invited to participate in Gertrude Contemporary's Visiting Curator Program between 12 May and 7 June.
 
The Visiting Curator Program is an initiative in which three international curators are invited to Australia each year. During the residency (between two weeks up to two months) the invited curator is hosted in Gertrude's Studio 18 and Gertrude Contemporary facilitates a series of studio visits and meetings with artists and Australian peers within the contemporary arts sector. The residencies receive support from Arts Victoria International or the Australia Council for the Arts. 

As part of the residency, Latitudes has been invited to present their work at MADA | Monash University of Art Design & Architecture. The talk will be followed by an afternoon closed-door seminar with candidates from Curatorial Practice PhD [download course pdf] and other guests, during which Latitudes will lead a discussion concentrating on their #OpenCurating research which manifested in 10 freely published interviews with artists, curators and editors investigating new forms of interaction between publics with artworks and their production, display and discursive context.

Residency in partnership with MADA | Monash University of Art Design & Architecture, as part of Gertrude Contemporary’s Visiting Curator Program.

Follow us on our twitter and the archived posts on storify.


Courtesy: Gertrude Contemporary.


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Witte de With opens the group show "The Part In The Story Where A Part Becomes A Part Of Something Else" on May 22, 2014

Anthony Marcellini, "The Object In And Of Itself", 2011. Courtesy the artist and Witte de With, Rotterdam.

The group exhibition "The Part In The Story Where A Part Becomes A Part Of Something Else", opening on 22 May at Rotterdam's Witte de With brings a conclusion to "Moderation(s)", the long-term multifarious programme that began in August 2012 with a teaser event at Spring Workshop, Hong Kong, co-partner of the initiative. 

The exhibition, curated by 'moderator' Heman Chong (artist and writer, Singapore) and Samuel Saelemakers (Associate Curator, Witte de With), will include works by +40 artists "gathered around key concepts such as time, duration and space (Douglas Gordon, Felix Gonzalez-Torres, On Kawara), memory and inscription (Ang Song Ming, John Cage, Sharon Hayes), transformation (Bik Van der Pol, Nicolás Lamas), pleasure (Ivan Argote, Chu Yun, Willem de Rooij, Haegue Yang), and encounters (Lee Kit, Narcisse Tordoir)." [from the website].
 
"Moderation(s)" began in January 2013 with Latitudes' month-long residency at Spring Workshop, Hong Kong, with its project "Incidents of Travel": an invitation to four Hong Kong-based artists – Nadim Abbas, Ho Sin Tung, Yuk King Tan and Samson Young – to develop day-long tours, thus retelling the city and each participant’s artistic concerns through personal itineraries and waypoints. 

Around Kwun Tong market and shops with Samson Young. Photo: Spring Workshop. More photo-documentation here.

On 31 January a group of "Moderation(s)" participants [Heman Chong, Latitudes (Mariana Cánepa Luna and Max Andrews), Nadim Abbas, Mimi Brown, Chantal Wong, and Yuk King Tan] spent eight hours consulting the Asia Art Archive and engaging in multiple discussions around collectivity, time and knowledge triggered by archival resources [see "Asia Art Archive Intervention"]

Latitudes will also contribute to the forthcoming publication to be released on the occasion of the "The Part In The Story...", with documentation from each of the "Incidents of Travel" tours and an interview with curator Christina Li, Moderation(s)' witness.  

Participants during the Asia Art Archive intervention on 31 January 2013. Photo: Spring Workshop.

Follow:  
#ThePartInTheStory

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This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
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Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
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'The Margins of the Factory' on Artforum's Critics' Picks

 
If you can't read it correctly, click this link to the review by Miguel Amado.

The exhibition 'The Margins of the Factory' by Iratxe Jaio and Klaas van Gorkum is on view until 30 April at ADN Platform. There will be a breakfast and guided visit on Saturday 12 April at 10:30am. If you would like to join please contact Jordi Vernis <[email protected]>

La exposición 'Los márgenes de la fábrica' de Iratxe Jaio y Klaas van Gorkum permanecerá abierta hasta el 30 de abril en ADN Platform. El sábado 12 de abril a las 10:30am habrá un desayuno y visita guiada, si estáis interesados en asistir, por favor poneros en contacto con Jordi Vernis <[email protected]>


Related posts:
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This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
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.
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Tuesday 18 March, 17:30h: Book launch of "European contextualising in analytical sociology and ethnographical representation on history and present" and conversation between Remco Torenbosch and Max Andrews (Latitudes) at the Library Fundació Tàpies

This and following images, courtesy of Remco Torenbosch.
Book launch
"European contextualising in analytical sociology and ethnographical representation on history and present"
Tuesday 18 March, 17:30h
Library of the Fundació Tàpies
c/ Aragó 255, 08007 Barcelona
Limited seating available. Please RSVP [email protected]

Book launch and conversation between Dutch artist and publication editor Remco Torenbosch and Barcelona-based curator Max Andrews of Latitudes.

In the context of the solo exhibition "European Contextualisation" by Dutch artist Remco Torenbosch (1982, Assen) opening next Thurday 20 March, 19h at NoguerasBlanchard, the gallery has organised the book launch of his most recent publication "European contextualising in analytical sociology and ethnographical representation on history and present" (Black Dog Publishing, 2014) at the library of Fundació Tàpies. The exhibition is part of the exhibition cycle "The Story Behind", curated by Direlia Lazo.



From the artist website:  

"Originally conceived for the Council of Europe, the successful design of the flag was later adopted by the European Union in 1985 whilst under the moniker of the European Economic Community. Designed by Arsene Heitz, a French draughtsman at the CoE, and Paul Levy, a Jewish-Belgian Holocaust survivor who worked for many years as the council's Director of Information, the finalised design was presented to the CoE in 1955 at its headquarters in Strasbourg, Heitz's hometown.

This publication profiles the documents, design proposals and written correspondence between Heitz, Levy and further collaborators that would form the painstakingly diplomatic development of an iconic vexillological moment. As part of the book's research, a collection of fabric monochromes woven by weavers from all 28 member states of the EU in the base colour of the flag was compiled. These collated monochromes as such become a map themselves of the socio-economic shift within EU member communities, an embodiment of the disappearing textile industries of Europe."




Author/Editor: Remco Torenbosch
Contributors: Charles Esche, Mihnea Mircan, Council of Europe Archive

Paperback: 244 pages
Publisher: Black Dog Publishing London

ISBN-13: 978-1908966698



This is the blog of the independent curatorial office Latitudes. You can also follow us on Facebook and Twitter.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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