Longitudes

FAQ: Where can I find the publications edited by Latitudes?

We often receive enquiries from folks interested in purchasing our publications. As editors (or contributors) we only hold a few copies, which over the years have been mostly entirely gifted to colleagues and donated to expand institutional archives.

MACBA’s Centre d'Estudis i Documentació (MACBA Study Centre) and The Banff Centre Library (Banff, Canada) hold reference copies of all of our publications – including the 2006 publication 'Land, Art: A Cultural Ecology Handbook' (out of print); exhibition catalogues such as Amikejo (2011), 'Greenwashing. Environment: perils, promises and perplexities' (2008) and The Last Newspaper (2010), the monograph 'Lara Almarcegui, Projects 1995–2010’ (2010) publications accompanying projects such as Ignasi Aballí's Nothing or Something (2009), Simon Fujiwara's Museum of Incest (2009), Mataró Chauffeur Service (2010), Campus (2011) or Portscapes' (2010) limited edition which includes Jan Dibbets' DVD with his commissioned film '6 hours tide object with correction of perspective' (1969–2009); exhibition booklets of the exhibition 'Exposition International...' at Meessen de Clercq in Brussels, and that dedicated to Lawrence Weiner 2008 exhibition at Fundació Suñol.

MACBA's library also holds two further references: a recording of the conversation we organised as part of our #OpenCurating research with Dia Art Foundation Curator, Yasmil Raymond in 2013, later published as the #7 in the download-free edition; and Charley Independents, the issue that appeared coinciding with our participation in the second iteration of the festival 'No Soul for Sale' launched at TATE Modern in 2010. 

Below is a list of all our publications and links to the distributors from where you can purchase them:

'Amikejo' (Mousse Publishing, 2012)
+ info on the exhibition series.

'Lara Almarcegui, Projects 1995–2010' (Archive Books, 2011/12)
+ info on the publication
 
Roman Keller & Christina Hemauer, 'United Alternative Energies: Christina Hemauer & Roman Keller' (The Århus Art Building, 2011)
+ info on the exhibition

Martí Anson and Latitudes,'Mataró Chauffeur Service' (Save As...Publications, 2011)
Available via La Central (stores in Barcelona & Madrid)
+ photos 
+ info on the project

'The Last Newspaper' (Latitudes & The New Museum, 2010)
Available via Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid). Special edition (in the box) available via the New Museum store (New York)
+ photos
+ info on the exhibition

'Portscapes' (SKOR / The Port of Rotterdam, 2009)
Available via Motto Distribution (Berlin) and La Central (stores in Barcelona & Madrid)
+ photos 
+ info on the commissioning series

Simon Fujiwara, 'The Museum of Incest' (Archive Books, 2009)
Available via Archive Books (Berlin) and La Central (stores in Barcelona & Madrid)
+ photos
+ info on the exhibition


'Greenwashing. Environment: Perils, Promises and Perplexities' (The Bookmakers Ed. / Archive Books, 2008)
+ photos
+ info on the exhibition

Three of our earlier publications are out of print:
'Land, Art. A Cultural Ecology Handbook' (Arts Council England & Royal Society of Arts, 2006)
Out of print. Available for consultation at MACBA's library.
+ photos
+ info on the publication


UOVO #14 (The Bookmakers Ed., 2007)
Out of print. Available for consultation at MACBA's library.
+ photos
+ info on the publication

Ignasi Aballí, 'Nothing, or Something' (Today Art Museum, 2009)
+ photos
+ info on the exhibition

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

Casa Bloc (1932-39) arquitectura racionalista de la II República en el Barri de Sant Andreu, Barcelona

 Vista de uno de los bloques Casa Bloc en el Passeig Torras i Bages del barrio de Sant Andreu.

Construida entre 1932 y 1939 por los arquitectos Josep Lluís Sert, Josep Torres Clavé y Joan Baptista Subirana (integrantes del GATPAC, el Grupo de Arquitectos y Técnicos Catalanes para el Progreso de la Arquitectura Contemporánea), el grupo de viviendas obreras Casa Bloc es un ejemplo de la arquitectura racionalista catalana en el Districte de Sant Andreu, al este de Barcelona.

Jardines interiores de Casa Bloc

Construída durante la II República (1931-39) y promovida por el Comisariado de la Casa Obrera, organismo de la Generalitat de Catalunya, las más de 200 viviendas funcionales fueron planificadas para obreros de fábricas circundantes, aunque éstos nunca llegaron a mudarse pues en 1936 empezó la Guerra Civil y las viviendas aún no estaban acabadas. En su lugar, fueron ocupadas por familias de militares, y en 1948 se añadió un bloque más en uno de los patios (el Bloque fantasma), rompiendo completamente con el diseño original del edificio en forma de 'S' invertida, que aprovechaba la luz y la ventilación natural en todas las partes de la vivienda, evitando utilizar patios de luces como ocurre en las viviendas del Eixample barcelonés, por ejemplo. En este nuevo bloque vivieron militares, viudas de militares, y más adelante policías nacionales e incluso se construyeron dos caballerizas.

 Jardines del GATPAC. En este terreno se construyó el Bloque Fantasma.

Desde finales de Marzo 2012, el Disseny Hub de Barcelona gestiona visitas a Casa Bloc (€3 Euros, hay que reservar plaza aquí. El tour dura 20 min. dentro de una de las viviendas y unos 40 min. afuera). La vivienda que se visita es la número 11, y está en el primer piso del bloque 2. Cuenta con una cocina, un lavabo, un lavadero con ducha (estos últimos con la tradicional volta catalana), el salón comedor, la terraza y dos dormitorios en la planta superior (otras viviendas llegan a tener 4) repartidos en 60m2. El bloque tiene ascensores y pasillos internos desde donde los inquilinos cuelgan la ropa o decoran sus entradas con plantas.

La guía muestra una imagen del Plan Macià de 1934 que pretendía construir un laberinto de viviendas que seguían el patron de Casa Bloc y que unirían el Eixample (izquierda) con la zona industrial al este de Barcelona.

 Imagen de la planta de Casa Bloc en forma de 'S' que permitía que las viviendas tubiesen luz y ventilación natural y jardines a ambos lados.

Imagen de la Casa Bloc en los años 40. En el centro de la imagen se ve la construcción añadida del llamado Bloque Fantasma en pleno Jardín GATPAC, que finalmente se demole en el 2008.

El piso-museo ha sido reformado para mostrar su aspecto original: se ha recuperado el suelo original que estaba debajo del parquet que colocaron los inquilinos anteriores, se ha remodelado la escalera metálica que tenía azulejos en los escalones y recuperado la barandilla original (el pasamanos estaba recubierto con madera), pintado paredes de colores neutros eliminando el papel anterior, etc. y se han recuperado elementos originales como la cocina, el plato de ducha, los interruptores eléctricos o las manillas de las puertas.

 Reforma de la fachada y ventanales. A la derecha el diseño original con la barandilla naranja y las persianas enrollables y a la izquierda la reforma actual.

 Señalética a la entrada del piso-museo.
 Pasillo interno en el primer piso.
 Visitantes entran al piso-museo en el primer piso. Las ventanas a ambos lados de la puerta de entrada dan luz natural a la cocina (izquierda) y al lavadero (derecha).

Comedor con mesa Breuer y sillas Thonet.

 Balcón con el cerramiento original que se abría completamente hacia la terraza.

Comedor visto desde la escalera.

 Habitación en el piso superior.

El mobiliario que se muestra en este es de los años 30 (mesa de Breuer, sillas plegables de Thonet, camas alemanas con cabeceras metálicas...), recuperando el estilo original del mobiliario de la época publicado en la revista A.C. Documentos de Actividad Contemporánea (dirigida por Clavé y Sert, dos de los arquitectos de Casa Bloc). No obstante esta introducción de racionalismo centro-europeo en el mobiliario, los arquitectos quisieron incorporar el estilo mediterráneo en la arquitectura: las ventanas/puertas que separaban el comedor de la terraza originalmente se abrían y plegaban por completo hacia el exterior ampliando de manera fluída el salón-comedor hacia el Passeig Torras i Bages, y aprovechando su orientación al este que permitía obtener mayor luz durante todo el día (tres persianas enrollables regulan la entrada directa del sol y preservan la intimidad). Cuando se proyectó el bloque habían unos terrenos con huertos justo enfrente así como una masía que fue comprada por el Ajuntament en 1930 convirtiéndola en la escuela Ignasi Iglesias y, según el testimonio de un ex-inquilino de Casa Bloc durante la visita, había una fábrica de piratécnia y explosivos más allá de los huertos, hacia el Rec Comtal.

En 1992 conjunto arquitectónico fue declarado Bien de Interés Cultural y en 1997 empezaron las obras de remodelación que se extendieron hasta el 2008, cuando finalmente se derribó el Bloque Fantasma. La actual remodelación ha obviado por completo mantener el diseño original de las terrazas y todos los pisos se han cerrado con grandes ventanales de aluminio y persianas marrones. No obstante se siguen manteniendo los espacios verdes en ambos patios. Tal y como se planificó, todos los pisos son de alquiler y algunos de sus inquilinos son familias que ocuparon el Bloque Fantasma y han sido realojadas aquí y otros son viviendas sociales.

Más info aquí y reciente foto-reportaje "La Casa Bloc, un museo del racionalismo catalán", en el suplemento El Viajero de 'El País', 22 Marzo 2012.

 Casa Bloc desde la calle de l'Almirall Pròixida.
Vista de la zona desde c/ del Palomar. Al fondo a derecha se ve la cúpula de la Parroquia de Sant Andreu de Palomar.


Fotografías: Latitudes | www.lttds.org


When did we start being 'Contemporary'? Peter Osborne's MACBA lecture

Peter Osborne lecture at MACBA, 12 April 2012. Photo: Latitudes
Yesterday at MACBA, Peter Osborne made a sparkling analysis of the emergence of 'contemporary' as a fully critical art term. Starting from the "decisive and devastating" hinge of Tino Sehgal's 2005 "This is So Contemporary", Osborne, the Professor of Modern European Philosophy at Kingston University London, asked what it implies to be making a claim to being 'contemporary' beyond being "the up-to-date", the "new".

Tracing a genealogy of 'contemporary' from its first emergence in post-war Britain, with the founding of the Institute of Contemporary Art in London in 1946 ("to be contemporary in 1946 was very avant-garde!") through The Boston Museum of Modern Art changing its name to become the Institute of Contemporary Art in 1948, he charted how it disengaged from the 'modern', yet was then eclipsed by the 'postmodern' as the term of choice for the condition of the new in the 1980s. 'Contemporary', he argued, found its feet as a term of "disjunctive temporality" which also provided space for the 'repressed' modernities of the "event-concept transmedia tradition" (Fluxus, Dada, etc.). Whereas the questions asked of the Modern work of art is "What does this negate?", one asks of the Contemporary work "When did the present of this work begin?".

"The present began in 1989, because previously the present began in 1945", concluded Osborne (dismissing Giorgio Agamben's 'What is the Contemporary?' as "weak" along the way), noting that publishers Phaidon would not allow any pre-1945 works by Duchamp to be illustrated in his "Conceptual Art" as the series was about contemporary art.

Yet, surely different geo-political contexts propose different contemporaneities? Osborne talked about a philosophical and cultural debate in Japan asking 'has the post-war ended yet?' Similarly from a Spanish perspective, we might ask ourselves when did our present begin? After Franco's death in 1975? In 1979?

Latitudes promotional tie-in: With similar philosophical and art-historical aplomb Osborne presents his thoughts on the ubiquity of the term 'project' in contemporary art in his essay for the Latitudes-edited Amikejo, accompanying the exhibition series at MUSAC's, Laboratorio 987."The idea of ‘project space’ is a peculiar one insofar as it characterizes a type of space wholly by its appropriateness for a particular kind of temporalization: the temporalization of the project. What is the distinctive spatialization corresponding to this? And how is it affected by the specifically artistic coding of a project? This essay will reflect upon these questions from the standpoint of both their philosophical structure and the historical development of project space as a type of art space."
  
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)

Creative Commons Licence
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Mousse Publishing and MUSAC release the publication 'Amikejo' edited by Latitudes

 Publication in front of MUSAC's façade, León. Photo: Carlos Ordás.

The publication concludes the 2011 exhibition cycle 'Amikejo' curated by Latitudes, which included exhibitions by Pennacchio Argentato; Iratxe Jaio & Klaas van Gorkum; Uqbar (Irene Kopelman & Mariana Castillo Deball and Fermín Jiménez Landa & Lee Welch at the Laboratorio 987, the project space of the Museo de Arte Contemporáneo de Castilla y León (MUSAC).

Inside the publication: section dedicated to Pennacchio Argentato.

As advanced in previous posts, the publication includes essays by:  

Peter Osborne (Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy at Kingston University London) text "‘Fragments of the future’: Notes on project space" centres on the idea of ‘project space’ as a peculiar one insofar as it characterizes a type of space wholly by its appropriateness for a particular kind of temporalization: the temporalization of the project. What is the distinctive spatialization corresponding to this? And how is it affected by the specifically artistic coding of a project?; 

Ryszard Żelichowski (Professor and Director for Scientific Research at the Institute of Political Studies of the Polish Academy of Sciences) text "Neutral Moresnet and Amikejo – The Forgotten Children of the Congress of Vienna" offers an overview of how Neutral Moresnet (the state 'renamed' Amikejo in 1908) came into existence; 

Pages with Ryszard Zelichowski's essay on the history of Neutral Moresnet/Amikejo.

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) text "Free time. The rise and fall of a social project" traces western society’s relation to work and time, from Seneca the Younger, through the rise of the factory and Frederick Winslow Taylor's 'The Principles of Scientific Management' (1911), to today's blurring of labour and leisure; 

Pages with Theo Beckers' essay.

Menno Schilthuizen (Research scientist at NCB Naturalis, an endowed chair for Insect Biodiversity at the University of Groningen and an Associate Professor at Leiden University) contributed a text "On Mirror Images in Nature: How Identical Forms Can Be Completely Different" reflects on Uqbar's exhibition centered on chirality: on how in asymmetric animals and plants, sometimes both mirror-image forms exist side by side, but sometimes only one exists, the other being "forbidden"; 
 
Pages dedicated to Uqbar and to Prof. Dr. Menno Schilthuizen's essay.
as well as texts on each project by exhibition curators Latitudes, reprints by Giorgio Agamben ('Notes on Gesture', 1996) and Georges Perec (excerpts from "Species of Spaces and Other Pieces Gesture", 1974), installation views and biographies of the participating artists.

Pages with Georges Perec's reprint.
Pages with installation views of Pennacchio Argentato's exhibition.
Pages with spanish translations.

More info on the exhibition series, and photos of the shows by Pennacchio Argentato, Iratxe Jaio & Klaas van Gorkum, Uqbar (Irene Kopelman & Mariana Castillo Deball) and Fermín Jiménez Landa & Lee Welch (see performance)

'Amikejo' publication, beginning to end. Photos: Mousse Publishing

Title: Amikejo
Edited by: Latitudes
Publisher & Distributor: Mousse Publishing
Format: 22.5x15.5cm, 216 pp., hardcover
Language: English and Spanish
Publication date: April 2012 
ISBN: 9788896501832
Price: 26 Euros


(Part 3) Latitudes interviewed for "Radio For Example, part 2: R22-Dubai", a project by the Curatorial Delegation for Art Dubai 2012 and The Pavilion Downtown Dubai

Car where the interviews led by the Curatorial Delegation took place.
 
Latitudes was interviewed for Radio For Example by curator and writer Juan A. Gaitán, member of the Curatorial Delegation together with Rabat’s L’Appartement 22founder Abdellah Karroum, organisers of "Radio For Example, part 2: R22-Dubai" one of the projects of this year's Art Dubai (see more on the fair in this previous post). Radio For Example consists on a temporary nomadic recording studio in a car that will be circulating throughout Dubai, taking people between different art spaces, public transportation stations and homes, while conducting a series of dialogues and interviews with artists, curators and practitioners aimed at exploring the ways in which individuals engage with notions of the collectiveand operate within institutional frameworks.

 Juan A. Gaitán holding the mic and conducting the interview.

Privileging the active role of the listener in the construction of knowledge, Radio 22 documents a series of discussions carried out in different places (Morocco, Medellín and now in Dubai) through live engagement with these specific social, geographic and political environments.

The interview-on-wheels took place on March 21, between Art Dubai and The Pavilion Downtown, where Gaitán also curated the yearly 40-metre banner commission by Lebanese–Egyptian artist Lara Baladi.

  Banner commission at The Pavilion Downtown Dubai by artist Lara Baladi.

 Juan A. Gaitán and Mariana Cánepa Luna of Latitudes arrive at the final destination: The Pavilion Downtown, in the background Burj Khalifa, (so far) the tallest building in the world.  

 Curatorial Delegation tote bag.

The Pavilion Downtown, a non-profit contemporary art space in downtown Dubai, also hosted the exhibition 'Living with video' curated by Paris-based gallerist Chantal Crousel, which featured 15 video works of artists Jennifer Allora & Guillermo Calzadilla, Melik Ohanian, Hassan Khan, Fikret Atay, Wang Bing, Gabriel Orozco, Mona Hatoum, Anri Sala, Wolfgang Tillmans, all represented by the French gallery.

 Terrace of The Pavilion Downtown
 
Open cafeteria/restaurant and library space

  Library space. On the shelf a TV screens Gabriel Orozco's animation "Samurai Tree Animation" (2007)

Wi-fi lovers in the library

Open lounge/cafeteria
 Chantal Crousel gives an introduction to the 'Living with video' show (17 March – 30 June 2012)

Cinema space screening  the 16/9 Wang Bing's film "Man with no name", 2009.

 Gallery 2 with works by Fikret Atay, Anri Sala, Melik Ohanian and a plasma screen with a looped selection of the films.
 
A project by the Curatorial Delegatation (Juan A. Gaitán & Abdellah Karroum)
Streamed on Radio Apartement 22 and presented at Art Dubai and The Pavilion Downtown.



The Pavilion Downtown Dubai
Emaar Boulevard, Downtown Dubai
Dubai, United Arab Emirates
[email protected] 
T (+971) 4447 7025
Opening: Everyday, 10am–12am

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

Latitudes | www.LTTDS.org (except when otherwise noted).

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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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Latitudes
2005—2020