Longitudes

Text on Lara Almarcegui's project for Expo Zaragoza 2008 and exhibition at Pepe Cobo, Madrid

'Open Ground on the Banks of the Ebro' (2008) by Lara Almarcegui. Courtesy the artist. 

Latitudes contributed a short text on Lara Almarcegui's work for the recently released publication 'Intervenciones artísticas en las riberas del Ebro' ('Artistic interventions around the riberas del Ebro'), printed on the occasion of the commissions series produced by Expo Zaragoza 2008.

Almarcegui's 'Un descampado en la Ribera del Ebro' (Open Ground on the Banks of the Ebro) was commissioned by ExpoAgua Zaragoza 2008 and produced in collaboration with The Centro de Arte y Naturaleza–Fundació Beulas in Huesca.

Here an extract of the text:
 

(...) Almarcegui’s project for Expo Zaragoza 2008 started from an agreement to preserve a section of land in an untouched state for as long as possible. The artist has set up a legal stipulation whereby an otherwise unremarkable 700 sq.m. ‘wasteland’ is put beyond the control of developers for 75 years. This project takes its place among several sites that she has sought to preserve, including Rotterdam Harbour, 2003-2018; Genk, 2004-2014 and Arganzuela Public Slaughterhouse, Madrid, 2005-2006, for example. Each place seems banal yet beautiful while confounding what we understand as ‘wild’. They are what they they are: what they have left to be.  

(...) The terrain is located within the boundaries of the Parque del Agua, in the Sotos del Río area where the Expo fair itself takes place. Almarcegui chose this area as she was attracted by its proximity to the Ebro river and to the idea that the flux of the currents during the seasons would slowly modify its appearance―blurring the margins where land becomes water. This interstitial, entropic site was picked without the intention of “trying to experiment with new ideas”. As she has described, “The project is something I thought necessary ... given the speed of construction ongoing in Spain and also the construction involved in the Expo, I somehow felt compelled to stop and preserve something in its raw state.”

Other artists included in the publication: Javier Peñafiel, Federico Guzmán, Christopher Janney, Klaus Bury, Nicolás Camoisson y Marion Coudert, Isidro Ferrer & Batlle i Roig, Atelier Van Lieshout, Miguel Ángel Arrudi, Fernando Sinaga, Dan Graham, Miquel Navarro, Jeppe Hein, Jaume Plensa, Tony Cragg and Richard Deacon.

Distributes: Actar D, Turner, FNAC, Casa del Libro, Librería Central, Barrabes, amongst others.
Editor
: Expoagua Zaragoza 2008, S.A.
Languages: Spanish, English, French
Pages: 240 pp.
Format: 22 x 27 cm
ISBN: 978-84-93657-23-9
Price: 35 Euros

On 23 October, Lara opened the solo exhibition 'Ruins in the Netherlands' at Galeria Pepe Cobo, Madrid, where she presented a selection of 26 photographs of sites in ruin (an abandoned open theatre, a barn, a bunker, a windmill, a ferry station, an IBM tower, a swimming pool...) which are featured in her publication 'Ruins in the Netherlands XIX–XXI' (Episode, 2008, ISBN 978-90-5973-092-2) – also present in the exhibition. Alongside this, a photograph of her recent project 'Removing the outside wall of a ruined house' is included, as well as a slideshow of 80 images, 'An empty terrain in the Danshui River', accompanied by a small guide analising this particular area – three elements related to her presentation at the 2008 Taipei biennial.


Above and below: Installation views of the exhibition 'Ruins in the Netherlands' in Galeria Pepe Cobo, Madrid. Photos: Latitudes.

Read Mariano Navarro's review 'Lara Almarcegui. Memoria de los lugares vacíos' here ('El Cultural' suplement, week 30 october, in Spanish).



'X, Y, etc.!', Video Lounge, Artissima 15, Turin, 7–9 November 2008


X, Y, etc.! is an array of videos motivated by the methodological project of Charles Fort a quack to some, a visionary to others, Fort was a relentless researcher of ‘paranormal’ phenomena avant la lettre, yet he made no attempt to present a coherent theory, or to endorse what he compiled. Instead, his accounts of uncanny artifacts, unexplained disappearances, objects falling from the sky, etc., comprise a satire of acceptable theories and beliefs. X, Y, etc.! is titled after two of Fort’s early manuscripts – X and Y – which were burned by the author yet became the basis for his iconoclastic The Book of the Damned (1919).

Fort’s masterful collections of oddities can seem random and jumbled, yet they are also a carefully clustered continuum of humor, data, wonder, and ridicule. Hence in X, Y, etc.!, everything can be considered plausible – the banal with the unique, artistic with non-artistic, fact with fake, sincere with insincere, correct with incorrect, etc. In this contrary borderland of knowns and unknowns, cynicism and speculation, science and fiction, each film is anomalous and the whole is underdetermined. Art and reality are far more mysterious, complex and nuanced than we realise. “It does not matter where we begin”, Fort wrote, “whether with stars, or laws of supply and demand, or frogs, or Napoleon Bonaparte. One measures a circle beginning anywhere.”



Films selected for the 2008 Video Lounge (in screening order, starting 11.30am):

* Mark Titchner, Ivy Meets Mike, 2007, Peres Projects, Berlin & Los Angeles
* Hans Op de Beeck,The Building, 2007, Galleria Continua, San Gimignano / Beijing / Boissy-le-Châtel
* Christelle Lheureux, Non ricordo il titolo, 2008, Artericambi, Verona
* Elizabeth McAlpine,The Film Footage Missed by the Veiwer Through Blinking While Watching the Feature Film ‘Don’t Look Now’, 2003, Laura Barlett Gallery, London
* Elizabeth McAlpine, Light Reading (1500 Cinematic Explosion), 2005, Laura Barlett Gallery, London
* Michael Fliri, Early Morning With Time to Waste, 2007, Galleria Raffaella Cortese, Milano
* Emilie Pitoiset, Othello, 2006, Galerie Lucile Corty, Paris
* Gianni Motti, The Messenger, Raël and Brigitte Boisselier, 2003, Cosmic Galerie, Paris
* Sven Johne, Elmenhorst, 2006, Klemm’s, Berlin
* Swetlana Heger, Untitled (The Cohen Residence / Paradise Valley), 2006, Galerie Frank Elbaz, Paris
* Morag Keil, Fainting for YT, 2008, Grimm Fine Art, Amsterdam
* Danai Anesiadou & Sophie Nys, X, A & M, 2008, Elisa Platteau Galerie, Brussels
* Christian Jankowski, Hollywood Schnee, 2004, Cosmic Galerie, Paris
* G.R.A.M., Zephyr, 2007-8, Christine König Galerie, Vienna
* Anja Kirschner & David Panos,Trail of the Spider, 2008, Hollybush Gardens, London

_BREAK_

* Carles Congost, La Mala Pintura, 2008, Artericambi, Verona
* Andrea Büttner, Little Works, 2007-8, Hollybush Gardens, London
* Pia Maria Martin, Go, 2008, Galerie Reinhard Hauff, Stuttgart
* Jordan Wolfson, Favourite Things, 2008, T293, Naples
* Judith Hopf & Deborah Schamoni, Hospital Bone Dance, 2005, Croy Nielsen, Berlin
* Shana Moulton, Whispering Pines #4, 2007, Pianissimo, Milano
* Gianni Motti, Shock and Awe, 2003, Cosmic Galerie, Paris
* Sergio Vega, The Ants, 2006, Umberto Di Marino Arte Contemporanea, Napoli
* Julika Rudelius, Adrift, 2007, Galerie Reinhard Hauff, Stuttgart
* Delphine Reist, Averse, 2007, Triple V, Dijon
* Gareth James & Cesare Pietroiusti, Untitled, 2006, Franco Soffiantino ArteContemporanea, Torino
* Haris Epaminonda,Tarahi I, 2006, Rodeo, Istanbul
* Haris Epaminonda,Tarahi III, 2006, Rodeo, Istanbul
* Aurelien Froment, Théâtre de Poche, 2007, Motive Gallery, Amsterdam
* Shimabuku, Fish & Chips, 2006, NoguerasBlanchard, Barcelona

_BREAK_

* Hans Schabus, Loch, 1999-2000, Zero..., Milano
* Harry Dodge & Stanya Kahn, All Together Now, 2008, Elizabeth Dee, New York
* Donna Conlon, Low Tide, 2004, Galleria Giorgio Persano, Torino
* Donna Conlon, Summer Breeze, 2007, Galleria Giorgio Persano, Torino
* Alice Cattaneo, Untitled 1, Untitled 2, 2007, Galleria Suzy Shammah, Milano
* Patrick Tuttofuoco, La Noce d’Oro, 2005, Studio Guenzani, Milano
* Guillaume Leblon, Notes, 2007, ProjecteSD, Barcelona
* Clemens von Wedemeyer & Maya Schweizer, Rien du Tout, 2007, Galerie Jocelyn Wolff, Paris
* Alterazioni Video, Black Hole ... Our Understanding of the Universe is About to Change, 2008,V.M. 21 arte contemporanea, Roma
* Cezary Bodzianowski, Cacadu, 2006, Zero..., Milano
* Matthew Darbyshire & Sam Gunn, Le Chant du Rossignol, 2008, Herald St, London

_TOTAL SCREENING TIME_ 6 hours 20 min


The films will be shown continuously each day in a specially-constructed screening environment, and will also be available on three video-on-demand consoles.

For further information on Artissima 15 programme, dowload the newsletter 'Radio Sick 2008 #3' here



Lingotto Fiere
via Nizza 280
10126 Torino, ITALIA
T +39 011 197 441 06
F +39 011 197 461 06
[email protected]
www.artissima.it

 7-8-9 November 2008. Open to the public 11.00 am - 8.00 pm
 
Image credits: (TOP) Leaflets of the programme. Photo: Latitudes. BELOW: Aurélien Froment, production still of 'Théâtre de Poche', 2007 (12 min). Photo: Aurélien Mole. Courtesy: the artist and Motive Gallery, Amsterdam.

Proyección final ciclo entorno al Land Art, Centro Dos de Mayo, Móstoles, 25.10.08, 12–14.30h


El próximo sábado 25 Octubre tendrá lugar en el Centro de Arte Dos de Mayo (Móstoles) la proyección final del programa de video "Una estaca en el lodo, un hoyo en la cinta. El campo expandido del Land Art, 1968-2008" que hemos presentado anteriormente en México DF, Vigo, Sevilla, Basilea, Barcelona, Wilheminapolder (Holanda) y Bristol.
El ciclo se divide en dos partes: la primera parte (52m duración) muestra obras clásicas del Land Art realizadas en 1968 (algunas son post-producciones del 2004 y 2005) y la segunda parte (1h 15m duración) incluye obras contemporaneas producidas en los últimos 6 años.

Para más información sobre la programación, consultar programa completo en w3art.es, en EXITMAIL o descargar programa de mano en el archivo. En la galería podreis ver imágenes de proyecciones anteriores.

La proyección se presenta en contexto de la exposición 'Gustos, colecciones y cintas de vídeo', comisariada por Virginia Torrente.


 
Sábado 25 Octubre
De 12 a 14.30h


CENTRO DE ARTE DOS DE MAYO
Avda. de la Constitución, 23-25
28931 Móstoles
Tfno: 91 276 02 13 / 19[email protected]
Acceso gratuito al centro y a sus actividades

MAPA ubicación
Metro: Móstoles Central L 12
Renfe: Móstoles (línea C5 desde Atocha)
 


Imagen: Programa impreso por el Centro de Arte Dos de Mayo; y WALTER DE MARIA, 'Two Lines Three Circles on the Desert', 1969, 4’45”, en: GERRY SCHUM 'LAND ART', 1969. 16mm transferido a DVD. Cortesía Groninger Museum, Groningen.


Lawrence Weiner at the Nivell Zero, Fundació Suñol, Barcelona (until 15 November 2008)


The second and third parts of the project 'THE CREST OF A WAVE' by Lawrence Weiner will be presented this evening at Nivell Zero (image above): an adaptation of the sentence painted on the exterior wall of the courtyard in Catalan, Spanish and English. In the interior space the same statement was recorded within a catchy musical composition based on a track by Ned Sublette and The Persuasions.

The last element of the project took place as a small event realised by the Mediterranean on October 6, 2008: an iron horseshoe was wrapped in cotton cloth and was tossed upon a wave's crest.

The
first part of the project coincided with the 24th September festivities of the patron saint of Barcelona: La Mercè (see post 23.09.08). 300,000 white sugar sachets were distributed throughout emblematic cafés, restaurants and bars of the city [locations: http://www.mapme.com/map/thecrestofawave] to sweeten our conversations.

Exhibition runs until Saturday 15 November. A 16 page booklet has been printed for the ocasion.

Press coverage:

Avui, 8 October 2008 in Catalan 
El Punt, 8 October 2008 in Catalan
Time Out17–23 Octubre 2008, in Catalan
FlashArtOnline, 09.10.08
Exit Express by Frederic Montornés 
Avui by Pilar Parcerissas, 1 November 2008
La Vanguardia by Violant Porcel, 5 November 2008


Nivell Zero at Fundació Suñol
c/ Rosselló, 240
08008 Barcelona
T. (+34) 934 961 032
www.fundaciosunol.org
 Monday to Saturday, 16–20h

– –

Above: Installation at Nivell Zero–Fundació Suñol of 'A CLOTH OF COTTON WRAPPED AROUND A HORSESHOE OF IRON TOSSED UPON THE CREST OF A WAVE', Cat. #929, 2006–2008. Courtesy the artist. Below: Lawrence Weiner with a horseshoe wrapped around a cloth of cotton.
Courtesy the artist/Latitudes. All photos: Latitudes

1st Catalan Pavilion, Venice Biennial 2009: Institut Ramon Llull appoints Valentín Roma as curator



The Institut Ramon Llull (IRL), has announced today the appointment of Valentín Roma as the first curator of the Catalan Pavilion. The project will include works by 3 artists/groups: the 'Archive FX' by Pedro G. Romero; the 'Post-capital archive' by Technologies to the People (a multimedia project conceived by Daniel Garcia Andújar) and work by Sitesize, 'a platform of project founded by Elvira Pujol and Joan Vila-Puig that explores the territori of social analysis and creative processes'.

Curator Valentín Roma (Sabadell, 1970) currently teaches at various post-graduate art and design schools (Mecad, Eina, Elisava) and has a PhD in Aesthetics by the Universitat Pompeu Fabra, Barcelona.
Amongst his recent curatorial projects are: 'Don’t believe them' (La Capella, Barcelona, 2008); Al otro lado del espejo, Col·lecció d’Art Contemporani de «la Caixa», Centro de Arte Tomás y Valiente (Fuenlabrada, 2007); 'Barcelona Producció ‘06' (with Amanda Cuesta and Manuel Olveira, 2006); 'Pedro G. Romero. Archivo F.X.' (PhotoEspaña 04, Centro Cultural Conde Duque, Madrid, 2004); 'Muntadas. On Translation: Museum' (with Enric Franch and José Lebrero Stals), Museu d’Art Contemporani de Barcelona (2003).

The jury, chaired by Manuel Borja-Villel (Director Museo Nacional Centro de Arte Reina Sofía), comprised Ignasi Aballí (participating artist Venice Biennial 2007); Daniela Ferretti (curator Palau Fortuny, Venice); Marta Gili (Director Jeu de Paume, Paris), Chus Martínez (Chief Curator MACBA, Barcelona, and Director of Frankfurter Kunstverein, Frankfurt) and Vicent Todolí (Director Tate Modern, London) − made their selection on 26 September after interviews with three finalist (the runners-up have not yet been announced). A total of 18 projects were presented by 32 individuals from an international background (Mexico, Italy, Finland, Switzerland and the US).


In the press release the jury also comments on their initial intention to resign in order to support the "open crisis" created by the sudden change of hands of Barcelona's Centre d'Art Santa Mònica (see post 17.07.08) leaving the city with no 'kunsthalle' space. In the note, the jury also acknowledges the transparency of IRL's procedure which led to the selection of the curator of the Catalan Pavilion as exemplary of the 'Código de buenas prácticas' (Code of good practice) design to avoid 'al dedo' ('made') job appointments in art institutions.

In the next phase the semi-finalised project will be presented to the La Biennale di Venezia Foundation and to the 2009 artistic director, Daniel Birnbaum, for final approval as part of the Eventi Collaterali.

The project will take place at the Magazzini del Sale (space #3, see image above), a 500 square metre venue in the cultural area of Dorsoduro (address: Zattere 259), nearby the Peggy Guggenheim Collection and the Palazzo Grassi which hosts the collection of French businessman François Pinault (Japanese architect Tadao Ando is refurbishing the nearby space Punta della Dogana to become the new space for Pinault's collection, planned to open Summer 09).

[Top photo: views of the Magazzini del Sale © Comune di Venezia; Bottom photo: detail of the Magazzini, http://flickr.com/photos/tsukimi/2301471755/in/photostream]

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

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Founded in 2005 by Max Andrews and Mariana Cánepa Luna, Latitudes is a curatorial office based in Barcelona, Spain, that works internationally across contemporary art practices.

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