26 Nov 2018 Following on our earlier post from October 26, 2018 announcing our donation of Lawrence Weiner's limited edition tote bag to Tate Archive, we now share some images of its presentation as part of Tate's "ARTIST ROOMS: Lawrence Weiner" currently on view at the McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019. 10th anniversary, 2008, 2019, donation, Exhibition, Fundació Suñol, Lawrence Weiner, Tote Bags
Photo: Lawrence Weiner. ARTIST ROOMS. National Galleries of Scotland and Tate. ©Lawrence Weiner.The Dundee presentation includes the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.
Thank you Valentina Ravaglia (Assistant Curator, Exhibitions & Displays, Tate Modern) for facilitating the inclusion of these ephemera into Tate's collection, and to Lili Bartholomew (Curatorial Assistant, Leisure and Culture Dundee) for liaising from Dundee and sharing the images.
Photo: Creative Learning Team McManus.
26 Oct 2018 2008, 2018, archive, Asia Art Archive, collection, donation, Fundació Suñol, Lawrence Weiner, London, Tate
Limited edition tote bag designed by Lawrence Weiner in 2015. Photo: Latitudes.
We're delighted to share that Latitudes' limited edition tote bag, exclusively designed by Lawrence Weiner to commemorate Latitudes' 10th anniversary in 2015, is now part of Tate Archive. Latitudes' donation is presented as part of Tate's "ARTIST ROOMS: Lawrence Weiner" exhibition, on view from November 2, 2018, at The McManus Museum and Galleries in Dundee, Scotland, until February 17, 2019. ARTIST ROOMS is a touring collection of over 1,600 works of modern and contemporary art. The collection is displayed in museums and galleries across the UK and is jointly owned by the National Galleries of Scotland and Tate.
|Weiner's tote silkscreening process. Photo: Print Workers.|
The Dundee presentation will include the limited edition tote bag and three sugar sachets with the striking typographic rendition of the statement "A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE" in Catalan, Spanish, and English, the latter first commissioned in 2008 as part of Weiner's solo exhibition at the Fundació Suñol, Barcelona.
A booklet of the exhibition, the invitation card, and an audio rendition of the statement (the track can be listed to here) based on a track by Ned Sublette and The Persuasions are also featured in Dundee.
Weiner with his work at the Fundació Suñol. Photo: Jean-Pierre Moulis.
One part of Lawrence Weiner's ‘THE CREST OF A WAVE’ project at the Fundació Suñol in 2008 consisted of an ephemeral sculpture distributed a few days prior to the exhibition opening. 300,000 7-gram sachets of sugar were printed and distributed throughout the most emblematic cafes around Barcelona. Photo: Latitudes.
100,000 sugar sachets ready for distribution. Photo: Latitudes.
Front and back of the 7-gram sugar sachet with Weiner's statement.
(Above and below) The last element of the project manifested as an intimate event realised by the sea during the opening week: an iron horseshoe was wrapped in a cotton cloth and was tossed upon a wave’s crest. Photos: Jean-Pierre Moulis.
"Influential conceptual artist, Lawrence Weiner uses language as his medium. His text work takes many forms, but the core principle remains the same – his ideas should not be confined to the gallery but taken up by the viewer.
Adopting this principle, The McManus has worked with the artist to present his texts in different forms. One cycle of wall texts will be presented in Scots – translated by distinguished author James Robertson. Texts, a selection of posters, drawings, artist books, and ephemera will also be installed within museum displays around the building – the text resonating alongside Dundee’s rich collections of natural history, archaeology, world cultures, industrial machinery and the spectacular architecture of The McManus itself." (text from Tate's website)
17 Oct 2018 2018, Banu Cennetoglu, biennale, Francis Alÿs, haegue yang, immigration, in photos, Liverpool, report, Tate, The Bluecoat
The Liverpool Biennial 2018: Beautiful world, where are you? (14 July–28 October 2018) presented the work of over 40 artists in locations across Liverpool including public spaces, civic buildings and the city’s leading art venues: Blackburne House, Bluecoat, FACT, Open Eye Gallery, Liverpool John Moores University’s Exhibition Research Lab, Liverpool Metropolitan Cathedral, the Oratory, the Playhouse theatre, RIBA North – National Architecture Centre, St George’s Hall, Tate Liverpool, Victoria Gallery & Museum (University of Liverpool), public spaces and online.
The 2018 edition was curated by Kitty Scott (Carol and Morton Rapp Curator, Modern and Contemporary Art at the Art Gallery of Ontario) and Sally Tallant (Director, Liverpool Biennial) with the Liverpool Biennial team.
The following texts are from the Liverpool Biennial website. All photos by Latitudes.
Above and below. Banu Cennetoğlu's "The List" on a 280-metre hoarding on Liverpool's Great George Street.
Compiled and updated each year by UNITED for Intercultural Action, an anti-discrimination network of 550 organisations in 48 countries, "The List" traces information relating to the deaths of more than 34,000 refugees and migrants who have lost their lives within, or on the borders of Europe since 1993. Since 2007, in collaboration with art workers and institutions, Banu Cennetoğlu has facilitated up-to-date and translated versions of "The List" using public spaces such as billboards, transport networks, and newspapers. An updated edition of The List is presented on Great George Street in Liverpool and can be accessed online at guardian.co.uk. Copies of "The List", which were distributed by The Guardian newspaper on World Refugee Day on 20 June, are also available at exhibition venues.
Installed on a 280-metre hoarding on Liverpool's Great George Street, "The List" has been vandalised twice since the biennial opened in July. Cennetoğlu decided not to install it for a third time, leaving the ripped remains as a “reminder of the systematic violence exercised against people”.
Screened within a specially designed structure, Mathias Poledna’s new film "Indifference" (2018) further advances his exploration of modernity’s visual imaginary. The work is set against the backdrop of early 20th-century European history, a period of traumatic modernisation and conflict.
Conceived as a visual translation of the Korean musical notation ‘Jeongganbo’, Land Sand Strand is a new multi-part installation by Suki Seokyeong Kang. The work transforms the exhibition space into a grid. Building on the concept of the hwamunseok – a traditional Korean woven mat, interpreted as the minimum space provided for each individual in society – it is activated by performers and the audience. The choreography, inspired by the Spring Oriole Dance and traditionally performed on the hwamunseok, is shared with visitors. The movements on the mat serve as the blueprint for the wider installation consisting of painting, sculpture and video.
Brian Jungen carves ‘feathers’ from the soles of Nike trainers to create a series of sculptures that resemble Cheyenne-style war bonnets. These headdresses, familiar from countless Westerns, address a long history of conflict and the lingering effects of colonisation. They signify the strength and pride of indigenous people today.
The sculptural works of Duane Linklater consider the notions of cultural loss, social amnesia and identity from the perspective of the indigenous peoples in Canada. Commenting on the economy of the fur trade, they suggest that animals, even in death, might retain their spirits or selfhood beyond the value they possess as commodities.
Haegue Yang presented her sculpture series "The Intermediates" (2015-ongoing) in Tate Liverpool's Wolfson Gallery. Made from artificial woven straw, The Intermediates allude to both traditional arts and crafts techniques and modern industrial production methods. Representing figures and sites from folk tales and ancient traditions, they question definitions of ‘paganism’. Yang’s environment for these works includes recordings of wildlife taken from the British Library’s sound collection, a wallpaper juxtaposing pagan traditions and modern history, and suspended ribbons that evoke folk traditions such as maypole dancing. Her multisensory, hybrid environments suggest fleeting connotations of time, place, figures and experiences that connect ‘folk’ traditions and contemporary culture.
Not as part of the biennial programming, but this conversation coincided with our visit.
The White Pube's Zarina Muhammad and Gabrielle de la Puente were in conversation with Tate Liverpool's new director Helen Legg about their origins as "embodied art critics", their practice and the challenges art criticism presents today.
Tracing the struggles and turbulent histories of the Chechen people, Aslan Gaisumov’s most recent work Keicheyuhea (2017) follows the artist’s grandmother as she returns to her lost homeland in the mountainous scenery of the North Caucasus for the first time since the displacement of her family 73 years earlier.
Naeem Mohaiemen at the St George’s Hall.
Screened in the courtroom at St George’s Hall is "Two Meetings and a Funeral" (2017), a three-channel film by Naeem Mohaiemen – currently nominated for the Turner Prize 2018. The work revisits the Cold War-era power struggles between the political coalitions of the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). The project navigates alliances of convenience made during Bangladesh’s fight for UN recognition, as well as parallel decolonisation struggles in Palestine-Israel, the Portuguese colonies and South Africa.
Display of the Brendel Plant Models of World Museum anatomical models of plants, made for display and teaching purposes by the Berlin firm of R Brendel & Co in Germany around the turn of the 20th century.
Francis Alÿs' paintings at the Victoria Gallery & Museum.
Francis Alÿs presents a selection of postcard-size paintings from the 1980s to today under the title Age Piece. Executed in the tradition of classic à plein air painting, these works allude to the condition of global tourism in the contemporary art scene. Many of the paintings were done while scouting new locations for future film projects, often in conflict zones such as Israel and Palestine, Afghanistan and Iraq.
Liverpool Metropolitan Cathedral Plateau.
Five bench-like sculptures can be found on the plateau behind the Liverpool Metropolitan Cathedral. For this new commission, Ryan Gander dissected a model of architect Frederick Gibberd’s modernist cathedral into a series of simple ‘building blocks’. The blocks were then reassembled into different configurations by schoolchildren from Liverpool: Jamie Clark, Phoebe Edwards, Tianna Mehta, Maisie Williams and Joshua Yates. The maquettes that Gander and the children created have been reproduced on a larger scale to produce this new public seating arrangement within the cathedral grounds. This presentation is part of a larger project, Time Moves Quickly.
John James Audubon at the Central Library.
One of the only 120 complete edition copies of The Birds of America by John James Audubon at the Central Library. The 19th-century book contains exquisite illustrations of a wide variety of birds of the United States.
Paul Elliman's work at the Exhibition Research Lab.
Paul Elliman presents the "Vauxhall Astra 2020", the forthcoming and newest model of a car available since 1979 when General Motors launched the Vauxhall/Opel Astra, now the only car produced at Ellesmere Port. The Astra 2020 is offered as a constellation of raw materials, half-a-dozen boulders and rock-like lumps of the car’s constituent parts at original scale, made of steel (iron ore), glass, plastic, aluminium, rubber, and electrical components.
Mohamed Bourouissa has created a garden working with local people, gardeners, school pupils, teachers and artists. The artist was inspired by a garden made by a patient of the psychoanalyst and writer Frantz Fanon at the Blida-Joinville Psychiatric Hospital in Blida, Algeria. Fanon’s patient created the garden as occupational therapy, reflecting the organisation of his mental space through its structure. Bourouissa researched and learned the patient’s approach to botany, architecture, and therapy in order to create a similar garden in Liverpool. The garden has been conceived as a space of ‘resilience’. Some of the plants are native to Algeria and others have healing effects. A film documenting the garden and its evolution are presented at FACT.
|Very close to Bourouissa's Resilience Garden is Assemble's ongoing project at Granby's Street.|Assemble's ceramic workshop in Granby Street, "a manufacturer of architectural ceramics, based in Liverpool and established in 2015. The workshop is part of Assemble's ongoing involvement with the Granby Four Streets neighbourhood."
Work by Taus Makhacheva at Blackburne House.
Taus Makhacheva has created a ruin-like sculptural installation that serves as a spa, in collaboration with artist Alexander Kutovoi. The installation incorporates ASMR (Autonomous Sensory Meridian Response) techniques and video.
- Report from Athens: "AGORA", 4th Athens Biennale 2013 4 November 2013
- (Post 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013 9 June 2013
- (Part 2/3) "The Encyclopedic Palace", 55th Venice Biennale in tote bags 14 June 2013
- (Post 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013 17 June 2013
- Manifesta 9, "The Deep of the Modern", Genk, Belgium, 2 June – 30 September 2012 in pictures and seen by the critics 12 June 2012
- dOCUMENTA (13) in pictures & as seen by the critics, 9 June–16 September 2012 12 June 2012
08 Oct 2018 2018, 2019, Barcelona, Centre d'Art Barcelona, Joan Morey, Latitudes-curated, live art, performance
Third floor of the Centre d'Art Contemporani de Barcelona - Fabra i Coats. Photo: Eva Carasol.
Event: Reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan MoreyScheduled for: October 11, 2018, 7pmInterpreter: Jordi Vall-lamora
Location: Third floor, Centre d'Art Contemporani de Barcelona - Fabra i Coats.
The reenactment is part of the live programme of six performances reactivated within Joan Morey's exhibition survey ‘COLLAPSE. Desiring Machine, Working Machine’ at the Centre d'Art Contemporani de Barcelona - Fabra i Coats (on view until January 13, 2019).Each of the performances of the programme is extracted from their original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
Access to all performances is unrestricted.
‘APORIC LITANY’ was originally presented in 2009 as a pre-recorded spoken-word work in English (included in full in the audio programme of the present exhibition), and excerpts of it in Catalan were also read live as part of the final part of ‘CRIES & WHISPERS’ that same year. The second word in its title derives from aporia, a philosophical notion of dynamic uncertainty. In common use, the word litany has also come to signify a long list of failures, complaints, or disasters. The litany addressed to a deity conventionally takes the form of a series of set invocations recited by a priest, which alternate with the invariable responses of the congregation. Yet, here, the rhythmic and rhetorical expressions that have been scripted by the artist leave no semantic room for reply, and piety has been infused with profanity.
This dramatized, repetitive oration—at moments marked by obedience, anguish, apostasy, regret, abuse, and provocation—is delivered in Catalan by an inscrutable priest-courtier character. Because the format of the litany has been folded in on itself (believers are neither being addressed nor obediently responding), the effect of the voice is more akin to a conflicted interior monologue that stutters and recurrently ties itself into the same knot of compulsions and desires.
‘COLLAPSE. Desiring Machine, Working Machine’ is the first chapter of a three-part project curated by Latitudes. The second part of COLLAPSE will take place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat from November 23, 2018 (and on view until January 13, 2019). Titled ‘Schizophrenic Machine’, the third comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona.
- Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
- Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
- Full performance programme
- Wakelet archive of social media content
- NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
- Save the date: 19 September at 7pm, opening of the solo show by Joan Morey ‘COLLAPSE. Desiring machine, working machine’, Centre d'Art Contemporani Barcelona - Fabra i Coats, 3 September 2018